Robert Christgau: Dean of American Rock Critics

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Hamell on Trial

  • Big as Life [Mercury, 1995] *
  • The Chord Is Mightier Than the Sword [Mercury, 1997] *
  • Choochtown [Such-a-Punch, 1999] B+
  • Ed's Not Dead--Hamell Comes Alive! [Such-a-Punch, 2000] ***
  • Tough Love [Righteous Babe, 2003] **
  • Songs for Parents Who Enjoy Drugs [Righteous Babe, 2006]
  • Rant and Roll [Righteous Babe, 2008] A-
  • The Happiest Man in the World [New West, 2014] A-

Consumer Guide Reviews:

Big as Life [Mercury, 1995]
gainfully employed enough to know what he and his amplified acoustic are pissed about ("Big as Life," "Z-Roxx") *

The Chord Is Mightier Than the Sword [Mercury, 1997]
more songs about jobs and saloons ("In a Bar," "Red Marty") *

Choochtown [Such-a-Punch, 1999]
Ed Hamell is a DIY folkie with a punky band who inhabits the sleazy corner where boonie bohemia meets pure low-life. Drugs can make that happen, as can marginal employment slipping toward petty crime. His pals Chooch and Joe Brush certainly don't read Hammett, maybe Elmore Leonard or Carl Hiaasen for the warm weather. I bet Hamell reads them all--and that along with talk TV, they've influenced his narrative poesy. B+

Ed's Not Dead--Hamell Comes Alive! [Such-a-Punch, 2000]
de facto best-of cum fine how-de-doo to you and several hordes of Ani DiFranco fans ("Sugarfree," "7 Seas") ***

Tough Love [Righteous Babe, 2003]
Say this for near-death experiences--they tune up the sensitivities ("Don't Kill," "Downs"). **

Songs for Parents Who Enjoy Drugs [Righteous Babe, 2006]
See: Ed's Not Dead.

Rant and Roll [Righteous Babe, 2008]
Though the man aka Hamell on Trial wields a loud acoustic guitar, this document of his award-winning 2007 performance at the Edinburgh Festival Fringe is basically a comedy record. Sinking old, new, and previously unrecorded songs into monologues about pizza-faced pizza bosses and his kid's chance of getting hit by a car, he harangues, jokes around, and rocks out about "the terrorism of everyday life"--a theme epitomized for Hamell by the recent finding that oral sex increases the practitioner's susceptibility to cancer by 250 percent. He rarely bothers scoring political points because he figures his audience doesn't need them. Instead he expands on power's existential ramifications. The concert lasts 63 minutes; a truncated version pumped with sharp interviews and low-budget visual interpolations occupies a one-hour DVD. Comedy records wear out, and unless friends come over, you may not play this one much even if you love it the first time. But if my description makes you think you might love it, you will. A-

The Happiest Man in the World [New West, 2014]
Aside from the protest song itself, not a dud in 13, although the rock-and-rolling solo-acoustic leadoff "Artist in America"--"I fought the law and the law won, and my mailbox read Mr. Pitiful. Fulfilling the prophecy of the bad moon on the rise, I had lost my race with the devil, I was moaning at midnight, I was Mr. Dyingly Sad . . ."--does tend to blow the rest away. So listen up. The album rocks frantically even though there are drums on only two tracks. It includes five songs about the lowlifes he knows so intimately, including the title manifesto and the feminist "Jennifer's Strippin' Again." "Gods at Odds" is feminist, too--matrideistic, even. "Mom's Hot" features his son Detroit and lusts after women or a woman missing a total of one leg and one breast. A-

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