Day 335 – #297. Right Away, Great Captain! – The Church of the Good Thief

Right Away, Great Captain! - The Church of the Good Thief Album Review

ed’s note: I am writing this on my bus from New York back to DC because we are living in the future. #technology

I almost miss DC by now, what with its compactness and relative ease of transportation. I’ve admittedly never been to New York City, and my impression of it on the whole wasn’t what I would call “stellar.” But I think that’s exactly what I needed. I guess I had some absurd fantasy of NYC saving me in some way. I’m alright with loving, but not being in love with the city.

Also of note for this holiday weekend: today marks the first day of the final month of One Record Per Day. When January 1st rolls around and I have nothing to write about, I will probably vomit both from excitement and boredom. I’ve been kicking around some ideas for a new project set to launch next year sometime, but nothing is final and it definitely will not be an every day thing like this one was. As an experiment, it totally worked and fulfilled its purpose. But, in the last few months of this thing, I’ve been experiencing a pretty heavy fatigue from trying to formulate coherent thoughts worth reading, on a daily basis.

As always: thanks for reading; stay away from the Anacostia River; and, don’t live in Florida.

MEANWHILE, in music land, Right Away, Great Captain!’s The Church of the Good Thief, is the final release in a trilogy of albums centered around the story of a 17th century sailor whose wife commits the ultimate act of betrayal – with his very own brother.

The Bitter End and The Eventually Home precede Church, and because of their limited production values, neither sounds as clean or crisp as this last entry. In a way, though, it gives each album a distinctive personality and voice.

The problem with writing a series of albums that are this stocked with emotion and contain a deep storyline isn’t just capturing an audience’s attention – rather, the magic is found in retaining them. Because, I’ll admit, because I’m not enthralled with Moby Dick-type stories, I found myself focusing more on the musicality of the records and less on what was happening within the context of the story.

If you’re like me, this presents listeners with a bit of a challenge. The entirety of the trilogy spans over the course of 36 tracks. If you were to include the ‘bonus tracks’ from The Lost Sea, it would clock in at almost 50 songs.

While that may be great for Herman Melville, it grows tiresome as an acoustically-minded release. I had trouble paying attention for much of the trilogy, only punctuated and grasped by tracks here and there.

Now that all three albums and the epilogue The Lost Sea are out, I’m not sure how I feel anymore about it. If you’re into ship tattoos, I guess?

Andy Hull can do little wrong, but perhaps the trilogy could have been pared down.

From The Church of the Good Thief, this is “Blame” –

Standout tracks: “Blame,” “When I Met Death,” and “I Wait For You” –
Weakest track: “We Were Made Out of Lightning”

RIYL: Moby Dick.



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