by Heather Phares
Over the course of his previous albums, Bill Callahan explored every nuance of humor and despair; with 1997's Red Apple Falls, he adds hope and possibility to Smog's scope. Musically, the album concentrates on spacious, acoustic-based music rather than Callahan's prior lo-fi experiments. With flourishes of piano, horns, drum machines, and pedal steel, Red Apple Falls appropriates the best of folk, rock, and country, defying easy classification. &Blood Red Bird& and &Red Apples& focus on Callahan's voice and mournful pianos, while epics like &Red Apple Falls& and &Inspirational& use weepy steel guitars for maximum emotional impact. Lyrically, the album's intensity and clarity is equally strong: motifs of apples, horses, and widows thread through the album, evoking rustic, traditional songs as they tell the story of a star-crossed love affair. &Most of my fantasies are to be of use/like a spindle, like a candle,& Callahan sings on &To Be of Use,& blending pain, pleasure, selfishness, and selflessness in a typically Smog manner. But the best songs here combine the album's musical expansiveness and lyrical intensity. On &I Was a Stranger& Callahan sings, &Why do you women in this town let me look at you so bold?/You should have seen what I was in the last town/Or in the last town/I was worse than a stranger/I was well known,& backed by more sighing steel guitars. &Ex Con& blends synth washes, horns, and a stiff, mechanical beat in a unique country/new wave hybrid, emphasizing the bleak wit of lyrics like &Out on the streets/I feel like a robot by the river/Looking for a drink.& Another fine addition to Callahan's distinguished, distinctive body of work.