Tomorrow Morning
Eels
Tomorrow Morning
Mark Oliver Everett, E, The Eel, etc., is once again all over the place with Tomorrow Morning, the final album in a trilogy that included recent albums Hombre Loco (not so great) and End Times (not too bad). The record, an 18-song double album if you grab a copy from the first pressing (or a 14-song single disc record if you don't), is the best of the trilogy, stocked with some of E's most memorable songs yet, including at least five cuts that could easily be strong radio singles in a different era.
Following 2005's proper double album, Blinking Lights and Other Revelations, my personal favorite from the band, E took a break, eventually emerging with a new batch of mediocre tracks for the Yes Man soundtrack, then a book, then, of course, this trilogy, which explores a number of themes, including loss, desire, pain, age - you know, the normal themes bearded songwriters sink into. The sound is classic Eels (think Daisies Of the Galaxy) mixed with the cinematic, autumnal vibe of Blinking Lights. But, unlike that very long record, Morning manages to feel concise, passing quicker than anything else E has thus far produced - one of the fastest passing double albums you'll hear.
Many of the more annoying Eels hallmarks are still present, often as ever, such as the sudden hip-hop drum loops, the way-too-obvious lyrics and, well, all those other E-centric things that keep him one of the more tragically overlooked outsider pop writers of his era. Mostly, I think the record should, with time, stand as one of the band's best works, mixing all the things E has done so well over the years into one record.
Despite some of the downer lyrics, the overall vibe on Tomorrow Morning is mostly hopeful, even downright uplifting at times, even if the music is sometimes melancholy. After a brief and beautiful instrumental opener "I'm a Hummingbird" starts things off with confessional lyrics and a mellow string composition. "The Morning" keeps things mellow, E waxing nostalgic over a subtle organ-and-electronics composition that is both cinematic and scene-setting, flying high, thanks to E's strong writing and uber-raspy pop vocals. By the time "Baby Loves Me" kicks in E seems bored with sweet string arrangements, jumping into a beat-heavy backdrop and singing one of his classically annoying hooks.
Selecting favorites on Tomorrow Morning is difficult, as E covers much ground, playing his way through his whole arsenal of styles and tricks. "Spectacular Girl," however, does stand out, not just as one of the record's best moments, but maybe one of the Top 10 or so tracks in E's very deep catalog of healthy material. "Oh So Lovely," another track from the record's core-14, stands out, as does "The Man," a should-be hit single. "Looking Up," a surprising gospel stomp, is memorable and "I Like the Way This is Going," a lullaby of sorts made perfect for any fall-time mix tape, could've easily fit on Blinking Lights.
Here's where things get heavy: thus far I've only crushed on songs from the record's 14-track core set, not even touching on the four additional tracks included on the aforementioned first-run double album version of Tomorrow Morning. Similar to Ryan Adams' 2001 classic, Gold, Morning saves many of the most accessible moments from its session for the bonus disc. I'll say no more about this excellent disc, instead, I'll simply urge you to pick it up - the two disc version. Sure, E and his Eels have seemed kinda/sorta over with for sometime now. But, damn, this record just might somehow even be the best release yet from The Eels, and all it took was a new, happier vibe. 7.75/10