Review: Schneider's 'Lonelyland' not part of crowd

Bob Schneider

Bob Schneider
"Lonelyland" (Universal Records)

By Greg Rolnick
Special to CNN

(CNN) -- Bob Schneider, the latest musical entry to emerge from Austin, Texas, offers up a concoction of well-crafted songs that runs the stylistic spectrum from folk to pop to rap to blues (and even an operatic interlude thrown in for effect) on his solo album debut, "Lonelyland." Invoking, at times, Bob Dylan, Dave Matthews, Everlast, Tom Waits, G. Love and (dare I say it?) Don Ho (on the island-inflected tune "Moon Song"), Schneider still manages to create a sound all his own.

And, lucky for us, it works quite nicely.

	AUDIO
Metal and Steel Madeline Oklahoma

In this age of angry rap/metal and boy-band fluff, it is not just refreshing to hear a talented original artist such as Schneider come along, it's invigorating. Schneider managed to sweep his way through the 2000 Austin Music Awards, winning Musician of the Year, Best Male Vocalist, Best Songwriter and Band of the Year. And if "Lonelyland" gets the radio reception it deserves, those won't be the last acceptance speeches Schneider will be delivering.

Range of themes

"Lonelyland" kicks off with the radio-friendly pop tune, "Metal and Steel," then proceeds to evolve and explore a range of themes (both musical and lyrical) over the next 13 tracks.

Standout tracks include "Madeline," which weaves a soft, beautiful ballad with low-in-the-mix feedback guitars to provide a wailing, heart-wrenching plea for love. Schneider evokes a vivid visual with his cries of "Madeline, save me from myself." The track is one of the longer songs on the album, clocking in at 7:34, but it wonderfully illustrates Schneider's ability to fully flesh out ideas and emotions through his music. The listener is taken on a journey and can't help but feel deeply connected to the song's protagonist.

With its finger-plucked guitar line, smell-the-cotton-candy-at-the-circus organ riffs, and Tom Waits-esque vocal styling, "Blue Skies for Everyone" stays with you long after the song has run its course. Schneider sings a song of Austin-based Zen, pointing out that no matter what transgressions we commit against ourselves, we all come out with our own "Blue Skies" in the end.

The bittersweet "2002" features Schneider on acoustic guitar, broken-heartedly composing an autobiographical letter to a lost love. Sort of a modern lonesome cowboy's lament, "2002" has the listener pulling for the shiftless, "half-drunk and half-crazy" Generation X-er, whose girlfriend walked out on him a long time ago, sending him into a tailspin of drink, drugs, European travel, dancing international girlfriends, arrest, eviction, recovery, school bus driving and TV watching.

"Lonelyland" is blessed with the fact that there isn't a clunker track in the bunch. Schneider's debut is impressive and reminiscent of Ben Harper's work in its well-crafted songwriting and soulful vocal deliveries.

At worst, like Harper, Schneider will likely develop a sizeable cult following that will allow him to retain his livelihood -- and record deal. And that, given the current musical climate, is a great victory.

Bob Schneider

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