However, 'Supper' holds a special place in my heart and it will always be a personal favorite of mine, let me explain why...
Bill Callahan's journey began in the lo-fi underground scene with home recorded tales of introspection, longing and asocial misanthropy, and developed into slightly more accomplished tales of outsiderism and weirdness, but always kept a blackened heart of humor.
These tales followed me through the latter 90's, and I was happy to submit to their negative energy.
When Callahan released 'Supper', (billed as (smog), the brackets perhaps a sign that Callahan no longer felt the Smog persona fitted like it use to) there was a clear change in the air. Suddenly Callahan's twangy country flecked baritone finished lines on the up-note, he sang of stability, happiness, even marriage. He became more accessible, touring the UK, and instead of the previous rare and shy appearances, he even made eye contact with the audience, including my future wife.
It seemed that Callahan's journey into stability, love and new found happiness had mapped my own. In 2003 I had moved in with my fiance, was deeply in love (still am) had a job and was fully prepared to embrace Callahan's new world. Michelle and I listened to this all through 2003, went to the show, and it remains a special album for us.
If you have a working knowledge of the old Smog stuff, it is remarkable what a change in mood this album was. Without losing the essential Smog soundworld of Cohen like poetry, with minimalist country refracted through the Velvets and punk.
The album opens with 'Feather by Feather', describing his relationship as Ali Vs Clay, still, any relationship with an actual living human is progress from '96's 'All Your Woman Things' where he strikes up a relationship with a doll, made from an ex-partners deserted items.
'Butterflies Drowned in Wine' boasts a Lou Reed alike riff, plus a lovely slowed down and speed up bit. No longer wishing he lived in a bathysphere, he sings "Move the tables & the chairs aside and give me some room', Callahan staking his place in the world.
'Ambition' is a rocker, and delights in a success unimaginable in Smog's old world, 'I'm in your bedroom, just off the highway'.
'Vessel in Vain' finds Callahan able to face and compartmentalize past traumas, 'I cant be held responsible for what I've seen, my ideas have me on the run, my connection with everyone'.
Callahan always strikes me perhaps as a son of disciplinarian parents, they were language analysts for National Security. The early Smog records came at the same time as films like American Beauty and similar themes do emerge. Callahan always displays a strain of righteous deviance fed through his punk background, fueled maybe as a result of childhood hypocrisy. Speculation of course. But all the more impressive to see this positivity emerge.
'Truth Serum' feature lush pattering brushes, and suggests that real truth can only be found between two people.
'Our Anniversary' is a floaty jig, where everything is infected by love. It is refreshing to hear an underground artist doing something this honest and heartfelt, there is no edge at all.
'Driving' evokes a hazy summer drive through the rain, with a drunken woozy instrumental.
Finally 'A Guiding Light' provides the saddest song on the album, and the only one where he appears alone, reminding us we are all alone, but finally opens up to love as a deliverance from pain,
Callahan would become doubtful and make sad music again, later. But for this one glorious moment, everything was right with his world. I'm thankful that he chose to share this moment with us.
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