Historical Conquests

Josh RitterThe Historical Conquests of Josh RitterFor some time now songwriter Josh Ritter has been fumbling around through a country full of dingy nightclubs, working to become his own artist with his own brand of straight-ahead rock music. This can be a very tricky thing to do for anyone working in the singer/songwriter genre – about as tricky as it gets. The Idaho-born songwriter's third official studio album, The Animal Years (2006), earned him a slew of new fans due to it's high quality of writing, but still featured prevalent Dylan and Springsteen overtones. While his first two widely available albums, Golden Age of Radio and Hello Starling, are very impressive records, Ritter - who is for whatever reason a John Mayer-like star in Ireland – has been stuck in the B-Class, shadowed behind more established artists like Ryan Adams and Rhett Miller. No more. Not since the release of his fourth studio album, The Historical Conquests of Josh Ritter, an album that is not just Ritter's best and most original work, but also one of the year's most rewarding long-players.

Released only 15 months after The Animal Years, Historical Conquests sounds like the kind of album that would take years to write and perfect, thus giving the impression that Ritter might have finally found his unique slant, or at least perfected his approach (or maybe just hit a hot streak). Fourteen tracks deep (not to mention a stellar four-song bonus disc that accompanies the first pressing of the album), Ritter's record warrants its girth, playing through with no real holes, resembling at times the sprawling feel of some of the great double albums of the 70s (which were about half as long as any double-album released in today's market). Opener "To the Dogs or Whoever" sees Ritter's voice muffled and his words fast and sharp; as a chugging pop tune rumbles on Ritter throws a nod to his smarmy songwriting hero by delivering the word “hurricane” with a Dylan-esque vocal swagger. This single word, simple as it is, also works as a nod to everyone who has criticized Ritter through the years for sounding just a bit too much like the great one. Really though, it works as a kiss off – a buttery farewell to the crutch that only his longtime fans will notice.

Next up is “Mind’s Eye,” an offbeat pop rock song (complete with a very London Calling-like riff) that sees Ritter twisting his verses over strange-but-fitting effects and a reverberating piano that brings to mind Spoon’s Gimme Fiction. It’s tempting to call this junk-drawer-builder one of Ritter’s best ever, but then track three, “Right Moves,” kicks in, and it’s even better – and that’s how Historic Conquests works. It’s the rare album that offers listeners a new favorite track with each day until the lot is run. It’s the rare album that is both instantly accessible and a grower – a grower in that the already very likable songs get exponentially better with every few listens. There are moments that still bring to mind Springsteen and even Leonard Cohen (though mostly only on the bonus disc), but it’s okay, those are the guys – along with Neil Young, Dylan, etc. – who perfected the book on modern Americana music, no denying that.

Along for the Historic ride is the Great North Sound Society Orchestra, who contribute swells and subtle ambiance with efficiency on tracks like “The Temptation of Adam” and “Still Beating.” This element, coupled with Ritter’s encyclopedic knowledge of his chosen genre, keep Historic Conquest’s simple constitution from ever approaching formulaic results. The songs, all 12 large of ‘em (two songs are more-or-less short segues), are in their own world. A world where pop music and memorable hooks are cool, organic production is a must and lean, literate lyrics are the way. Don’t walk, but run to your record store and buy this album. If you’re still not convinced, head over to amazon.com and check out audio samples for “Rumors” or “Wait for Love” or “Real Long Distance” or “Next to the Last Romantic.” Check ‘em all out – they may sound a bit too similar at first, but hang in there, they’ll reveal themselves. Hang in there and you might just discover your album of the year.    9/10

Written by G. William Locke