Vic Chesnutt - Skitter on Take-Off (2009)
XLD Rip | Flac (Tracks) Cue, Log, m3u, md5, st5, ffp | complete Artwork 300 dpi | 240 MB
Alternative Rock | Urban Folk | 2009 | Vapor Records | 2-521680
Skitter On Take-Off is Chesnutt’s first album for Vapor Records. It was produced by indie legend Jonathan Richman and his drummer Tommy Larkin, and they had a very definite idea of how they wanted the album to sound. According to Richman, “We were both thinking that the way to get the feeling for Vic as a listener was to hear just Vic — no arrangements, no guest guitar solos, no “ironic” touches or anything else to cloud his voice or his poetry.” The end result is an album that features Chesnutt on guitar and vocals, Richman on guitar and harmonium, and Larkin on drums. It was recorded completely live, and there were no overdubs.
This is one of those albums that sounds like it was recorded late at night, in a dark room. The subject matter matches the darkness of the mood. Chesnutt wears his anger and bitterness like a badge of honor. He writes songs like a man who doesn’t have the time or inclination to humor you. The songs are straightforward, and straight from his heart. There’s been no fussing around with this syllable or that comma. Chesnutt is guarded, demanding, and sometimes just plain funny as hell. Listen to “Worst Friend,” which is by turns horrifying and hysterical.
Skitter On Take-Off is a short album; all nine songs clock in at well under 40 minutes. The songs have a way of insinuating themselves into your core. Richman and Larkin’s instincts were spot on. This is the way Vic Chesnutt should be heard: at his rawest, unfiltered, most provocative best.
Ken Shane - popdose.com
Vic Chesnutt has recorded with many different people for all kinds of labels, but he s never made an album like his debut on Vapor Records. Skitter On Take Off allows Vic Chesnutt to create his most dramatic album yet, recording devastating songs like Rips in the Fabric and Dick Cheney live with no overdubs. This album becomes a unique addition to his history, and allows the singer songwriter the chance to collaborate with an important influence. "I'm honored to work with Jonathan Richman. Over the years he s taken me under his wing and mentored me in a very meaningful way, truly shaping me into the songwriter and performer I am today. And it is an ongoing process." Chesnutt and Richmans work together is one for the ages.
Skitter on Take-off makes astonishing use of silence. It’s everywhere on this record, oppressively still, gathering, and Chesnutt’s unadorned music, his warped guitar and thin voice are barely a candle flickering against the black. Jonathan Richman’s production is brilliant, and it’s hardly even there. Always a master of minimalism, he strips away every ornamentation, every unnecessary element, making the greatest use yet of Chesnutt’s oddly skeletal, almost chord-free plucking style. Richman virtually leaves the state—Chesnutt sounds so utterly alone on the album that it’s hard to believe there actually was a producer, or even another soul within a hundred miles. Outside of some distant brushed drums on a few songs and Richman’s mumbled voice on the introduction to “Dimples” (an inclusion that adds to the casual, DIY spirit of the record but which ultimately damages its aesthetic of remoteness and alienation), the album is all Vic Chesnutt, a man alone, making a heartsick sound with just enough notes to be considered music. You can feel the hunger, the disquietude and unease in the small muscles of your neck. Skitter on Take-off is not a fun listen—it’s not good background music—but it’s very powerful.
It takes an extraordinarily rare talent to compel and captivate with no tools, no tricks, no impressive displays. Chesnutt doesn’t perform or entertain. It sounds like he made the record by mysterious compulsion and he doesn’t even know you’re listening. Skitter on Take-off is in the mode of Robert Johnson’s recordings: quiet, worried-man blues glowing hesitantly in the dark, shaky, uncertain, spare—just enough song to keep the devil at bay. Barely at bay, and only for the moment, but for the moment that’s enough.
Joshua O'Neill - popmatters.com
Tracklisting:
1. Feast In The Time Of Plague 3:53
2. Unpacking My Suitcase 3:23
3. Dimples 4:09
4. Rips In The Fabric 6:00
5. Society Sue 2:51
6. My New Life 4:11
7. Dick Cheney 3:18
8. Worst Friend 7:46
9. Sewing Machine 4:01
X Lossless Decoder version 20100218 (116.4)
XLD extraction logfile from 2010-02-19 19:44:42 +0100
Vic Chesnutt / Skitter On Take-Off
Used drive : PIONEER DVD-RW DVR-K06A (revision Q631)
Use cdparanoia mode : YES (CDParanoia III 10.2 engine)
Disable audio cache : OK for the drive with cache less than 2750KB
Make use of C2 pointers : NO
Read offset correction : 48
Max retry count : 100
TOC of the extracted CD
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3 | 07:15:33 | 04:11:68 | 32658 | 51550
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8 | 27:58:00 | 07:49:38 | 125850 | 161062
9 | 35:47:38 | 04:01:63 | 161063 | 179200
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End of status report
XLD extraction logfile from 2010-02-19 19:44:42 +0100
Vic Chesnutt / Skitter On Take-Off
Used drive : PIONEER DVD-RW DVR-K06A (revision Q631)
Use cdparanoia mode : YES (CDParanoia III 10.2 engine)
Disable audio cache : OK for the drive with cache less than 2750KB
Make use of C2 pointers : NO
Read offset correction : 48
Max retry count : 100
TOC of the extracted CD
Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 00:00:00 | 03:54:57 | 0 | 17606
2 | 03:54:57 | 03:20:51 | 17607 | 32657
3 | 07:15:33 | 04:11:68 | 32658 | 51550
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7 | 24:37:22 | 03:20:53 | 110797 | 125849
8 | 27:58:00 | 07:49:38 | 125850 | 161062
9 | 35:47:38 | 04:01:63 | 161063 | 179200
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