Harper strums inspiration in latest album release

MARC CHOQUETTE
Online Content Manager

Those who have traveled overseas know the kinds of nostalgic effects those places can have one one’s emotions. Street scenes, architecture, people and natural landscapes all combine to give one a completely unique feeling and often can serve as a creative catalyst.

Perhaps this is why Claremont native and popular recording artist Ben Harper, with backing band The Innocent Criminals, chose Paris as the setting for recording his newest album, “Lifeline.”  

Or maybe Harper just belongs in Europe, where he is strangely far more respected than in America (In 2003, Harper won the award for Artiste De L’Année, or Artist of the Year, in France’s version of “Rolling Stone Magazine”).

“I had always wanted to make a record in Paris… because it’s Paris,” Harper said  about his latest effort in a personal note on his Web site. “And, I had always wanted to make a record directly coming off of a tour…You’ve got all your best equipment, and your musical abilities are never as sharp or as heightened as when you’ve been consistently on the road.”

“Lifeline” represents a back-to-basics mentality rarely seen from the ambitious Harper. Following 2006’s double album “Both Sides of the Gun,” which topped out at No. 7 on the Billboard Top 200 (Harper’s highest-ever ranking), the new effort is noticeably different in its approach.

In this album, Harper decided to go old-school and record analog. This gives the album a more relaxed, almost classic rock vibe without the computers and programs like Pro Tools to perfect, or ruin (depending on your opinion), the sound.

“Fight Outta You,” the album’s first song and, coincidently, the first single, features Guster and Wilco-like acoustics over laid-back bongo-infused rhythms.

Yet, Harper’s protest lyricism is king on this one, as he sings, “Don’t believe the headlines / check it for yourself sometimes / the lies you live become you / the love you lose it numbs you / they say that you’ve arrived / that’s just a high class bribe.”

Harper covers a lot of genres as the album progresses, as well. Tracks range from harmonica-infused, Dylan-esque acoustic rhythms (“Fool for a Lonesome Train”) to more southern-fried gospel tunes and textbook Harper slide guitar solos (“Say You Will”), to simplistic-yet-eerie piano-laced ballads (“Younger Than Today”). Many of the tracks’ lyricism feature biting social commentary, in addition to musical variety.

But, the most memorable track, given the importance Harper placed on the setting, is the instrumental track near the album’s close entitled “Paris Sunrise No. 7.”

The track begins with a slide guitar intro so stunning that it will give listeners chills. The title and movement of the song can evoke vivid imagery. Imagine the street sweepers and shopkeepers opening their stores to the dim light of morning, paperboys doing their rounds and bakeries smelling sweet with a few early bird customers filing in. “Lifeline” might be worth the $9.99 for this track alone.

Overall, the album reeks of classic. It features shorter tracks than Harper is usually known for (many are under three minutes). There is an easygoing, clean sound with an obvious lack of distortion among the guitars.

While Harper has at times been ridiculed for trying to do too much in one album (Pitchfork Media), one should see this as his defining talent as opposed to a shortcoming.

Changing tracks will give you changing emotions, changing images, along with getting you to think like few other lyricists can do today. “Lifeline” is certainly worth a listen.

09-06-2007