Lifted or The Story Is in the Soil, Keep Your Ear to the Ground

by Bright Eyes

Overview

When Bright Eyes brainchild Conor Oberst issued Lifted or The Story Is in the Soil, Keep Your Ear to the Ground in August 2002, he was 22 years old. Critics were already calling him the "indie Bob Dylan," but the new millennium had seen a lot of those introverted, intelligent types (Ryan Adams, Beck). Bright Eyes, though, delivered a solid, intricately produced album without the majors' monotony. Immediately, one can sense Oberst's literate approach. His vocal curdle is abrasive yet warm. It's similar to the cooing of Robert Smith, but lush in heartache like Paul Westerberg, leaving the storybook of Lifted or The Story to earn massive praise. "Waste of Paint" is rough-cut with edgy acoustics, while "From a Balance Beam" glows with pop-like optimism. Chimes and simple drumming keep the story of personal insecurity and the fear of the unknown coming alive in a dreamy sort of way. Even when he's aching his way through the pop rumble of "Method Acting," Bright Eyes convincingly lures one into his eclectic musical world. Oberst obviously has the talent to support the hype. "Lover I Don't Have to Love" is a dark number with its Radiohead-like doom and gloom; however, the piano swirl of "A Bowl of Oranges" offers a brighter reflection. On Lifted or The Story Is in the Soil, Keep Your Ear to the Ground, Bright Eyes has mixed badness with beauty for a sonic storybook that relates to everyone. It's slightly overwhelming at first, but one must allow a grace period to fully absorb the abstract desire behind this album. ~ MacKenzie Wilson

Product Details

Release Date:	11/25/2022
Label:	Dead Oceans
UPC:	0656605158624
Rank:	20446

Tracks

Disc 1

1. The Big Picture
2. Method Acting
3. False Advertising
4. You Will. You? Will. You? Will. You? Will.
5. Lover I Don't Have to Love
6. Bowl of Oranges

Disc 2

7. Don't Know When But a Day is Gonna Come Nothing gets Crossed Out
8. Make War
9. Waste of Paint
10. From a Balance Beam
11. Laura Laurent
12. Let's Not Shit Ourselves (To Love and to Be Loved)

Album Credits

Performance Credits

Bright Eyes   Primary Artist
Andy LeMaster   Vocals,Keyboards,Choir/Chorus,Guitar (Electric)
Ted Stevens   Guitar (Electric)
Sean Cole   Harmonica
Matt Maginn   Bass
Conor Oberst   Organ,Piano,Guitar,Vocals,Fender Rhodes
Casey Scott   Bass
Chris Brooks   Piano
Blake Sennett   Vocals
Clark Baechle   Drums,Clarinet,Choir/Chorus
Todd Fink   Vocals,Choir/Chorus
Mike Sweeney   Drums
Clint Schnase   Drums
Orenda Fink   Vocals,Trumpet,Choir/Chorus
Jiha Lee   Flute,Vocals,Choir/Chorus
A.J. Mogis   Choir/Chorus
Matt Focht   Drums
Tiffany Kowalski   Violin
Maria Taylor   Organ,Piano,Vocals,Choir/Chorus
Jenny Lewis   Vocals
Mike Mogis   Banjo,Bells,Dobro,Mandolin,Vibraphone,Pedal Steel,Choir/Chorus,Glockenspiel,Hammer Dulcimer,Guitar (Electric)
Jason Flatowicz   Trombone
Gretta Cohn   Cello
Clay Leverett   Drums,Vocals,Vocals (Background)
Jennifer Lewis   Vocals
Roger Bass   Choir/Chorus
Jeff Tafolla   Choir/Chorus
Rob Bass   Choir/Chorus
Katie Muth   Oboe
Todd Baechle   Vocals,Choir/Chorus
Julee Dunekacke   French Horn
Margret Fish   Bassoon
Robb Bass   Choir/Chorus

Technical Credits

Andy LeMaster   Engineer,Horn Arrangements,String Arrangements
Conor Oberst   Composer
Mike Mogis   Mixing,Engineer,Horn Arrangements,String Arrangements
Kathleen Murphy   Cutting Engineer