Morello’s Sophomore Solo Album Can’t Escape His Rage

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Author: Jack Butcher & zDgsdshdgoihsfdiogb|Jack Butcher

What started as simple support for the Wisconsin labor demonstrations last February became a concert on the steps of the Madison Capitol building touting, among other things, the new album “World Wide Rebel Songs,” the second solo album released by the Nightwatchman, better known as Tom Morello. Despite this publicity, most probably know Morello better as the guitarist of the politically-charged Rage Against the Machine. For Morello, the legacy of Rage hangs over his most recent solo effort, which started in 2003 as a side-project from his uncharacteristically a-political band Audioslave. But “World Wide Rebel Songs,” while as a whole does not measure up to his previous work, produces some noteworthy gems that are definitely worth to check out.

Musically, the album sounds more like Bob Dylan than gritty Rage, with a hint of early punk rock as well. Most tracks feature driven folk style instrumentals, which work particularly well on “The Dogs Of Tijuana,” a violent tale where the world does not end in fire and brimstone, but when the “dogs,” personified with thunderous acoustic guitars, arrive. Overall though, there is little change in  sound as the album progresses and what change there is often detracts from the album rather than adding to it.

A handful of songs feature Morello’s unconventional style, most notably on “It Begins Tonight,” but it feels out of place and unnecessary. For example, while most of the album sticks to powerful acoustic instruments, the third track on the record features a hard rock sound that is an unwelcome shock to the ears. The guitars sound as if they were strummed by Morello wannabes. After stumbling around for three minutes, most will be grateful to return to the acoustic instruments that make up the rest of the album.

As far as the rest of the solos go, Morello sounds more like himself, but it is a case of great musicianship used at the wrong time. His unique methods worked in the context of Rage’s music, but not as the Nightwatchman.

Lyrically, there is unsurprisingly not much deviation from the themes of the singer’s liberal ideals. Morello is preaching to the far-left choir on this album and succeeds in some instances while in others the lyrics seem forced and even fall flat of the intended messages. The title track is a prime example of this, as he tries to channel John Lennon’s “Give Peace a Chance,” taking the original’s theme of unity and delivering it with a snarl. Ultimately, it is brought down by its own earnestness, a recurring problem throughout the record. Put simply, the majority of topics here have been rehashed many times, and the Nightwatchman does not change the formula much. The effectiveness of this strategy is still questionable as it varies from track to track.

Morello’s singing lacks flair and might turn some off, especially those looking for a well-trained voice. However, his raw style fits well here, especially when the pace slows and Morello almost whispers to the audience in a storyteller fashion on “The Fifth Horseman Of The Apocalypse” and “Branding Iron.” The soft, contemplative voice harkens back to early 80’s Bruce Springsteen as it relates tales of the common man. Ultimately, it is the subdued nature of these two pieces that make them the strongest songs out of the whole collection.

In the end, “World Wide Rebel Songs” is certainly worth a listen. The majority of the material is strong and provides an intriguing contrast to the musician’s earlier work, even if it comes off as repetitive at times. It might have been better if Morello had stuck with the tone of the first Nightwatchman album, “One Man Revolution,” and distanced himself from his more recognizable works. It is not Rage, as Morello has not entirely distanced himself from that, but it is a start in the next chapter of his career.

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