‘Long Live the King’ Review

The Decemberists do not fit the mold of the modern day chart-toppers. The quintet of indie folk-rockers have very little in common with the auto-tuned divas that currently dominate the music industry. Rather than retelling the events of last Friday night’s booze-infused glitter orgy, lead singer Colin Meloy relies on a more intellectual narrative style: a combination of literary references and witty wordplay. They play actual instruments, unlike most of today’s computer-generated beat makers. But despite these differences, The Decemberists last album, “The King is Dead,” earned the top spot in the US in February of 2011. The band has enjoyed a great deal of critical acclaim throughout its ten-year career, but never expected to rise to the top of the charts. Looking to capitalize on their recent success, they have released six outtakes from the previous album onto their latest EP, “Long Live the King.” These tracks may not have had a home on “The King is Dead,” but they are still essential to the library of any music fan.

Right off the bat, Colin Meloy puts his masterful narrative on display. His distinctive voice and unrivaled storytelling shines through on the opening track, ‘E. Watson.’ Accompanied only by an ominous steel guitar, Meloy solemnly tells the legend of Edgar Watson, a lawless bandit from Florida. The apocalyptic chorus calls for the Lord to “bring down the flood, wash away the blood, drown these Everglades, put us in our place.” These lyrics seem to foreshadow a gloomy collection, but the band totally shifts gears on the following track.

The EP takes an unexpected, upbeat turn as The Decemberists go country. The band travelled back to their native Oregon and recorded this album in a barn, hoping to harness the rustic atmosphere of their surroundings. This change in scenery is most obvious on ‘Foregone,’ which embraces the simplicity of country music by incorporating a twangy guitar and repetitive chorus. It’s a satisfying and well-crafted track, but for listeners who prefer the band’s more traditional music, ‘Foregone’ is quite forgettable.

Next on the EP is the spooky, Neil Young-esque, “Burying Davy,” followed by the lighthearted love song, “I 4 U & U 4 me.” The Decemberists take a break from playing original music towards the end of the album and instead pay homage to one of their greatest influences, the Grateful Dead. Their rendition of “Row Jimmy” is a fine and faithful version of the original, even though it lacks some of Jerry Garcia’s drug-addled charm. Covering other musicians work can remove a lot of the pressure from recording and The Decemberists certainly appear to let loose and have fun on this track; Meloy even lets out an audible laugh as the cover comes to a close. Lead guitarist Chris Funk lets emotion flow through his fingertips as he lays a beautifully bluesy solo down. Stripped of excessive production quality, “Row Jimmy” gives a welcome insight to the band in their element.

“Sonnet,” the final track on the EP, briefly exhibits Meloy’s poetic side as he describes a delightful daydream. The whimsical lyrics are reminiscent of a nursery rhyme–quite a contrast from spooky tracks like “E. Watson” and “Burying Davy. The sonnet drops off halfway into the song and gives way to an infectious horn melody. This little tune will burrow its way into your skull and stay there for days, possibly weeks.

It’s hard to believe that these six songs didn’t make it onto the full-length album. The Decemberists are so consistent that even their “outtakes” are a cut above the rest. “Long Live the King” is a terrific collection of songs that showcases the band’s talent and range, proving that everything they record deserves to be released and enjoyed. Whether they sink back into obscurity or remain at the top of Billboard, The Decemberists will continue to make great music.