By: Matthew Fox

Rating: 4 out of 5

Alright, before going any further into a discussion of Rome, an explanation should be in order. This is not your average album by any means. Rome is, in short, a pseudo-soundtrack catered to that of a spaghetti western. This project, headed by the one and only Danger Mouse (Gnarls Barkley, Broken Bells, Sparklehorse, etc.) involves three other people: Jack White (The White Stripes, The Raconteurs, Dead Weather), Norah Jones, and Daniele Luippi (arranger for John Legend, multiple films, and Gnarls Barkley). For more background information, read about it here. With a dream team such as this, it is quickly assumed that this concept album would do nothing short of blow us all away. This assumption, however, is not exactly the case. Although Rome is an incredible album in almost every way imaginable, it is not the be-all end-all of music that some of us were expecting it to be.

First, the album could have had more vocal tracks than it currently sports. Here’s a breakdown of the album: six vocal tracks (three with Jack White and three with Norah Jones) and eleven instrumental tracks. Luckily the instrumental tracks, even the short filler ones, are intriguing and didn’t make me want to bash my head into a wall out of boredom (as most fillers do on albums). Also, the reason for so many instrumental tracks is probably because Rome is supposed to serve as a soundtrack. These facts aside, when you have artists as talented and untouchable as Norah Jones and Jack White, people are going to want to hear much more than six tracks of them.

A feature worth noting about this album is the frequent use of electric organ throughout. Whether used for an early 60s psychedelic rock feel (“The Matador Has Fallen”) or simply to serve as a melodic metronome (“Problem Queen”), Rome has reminded me how awesome the electric organ is, and how versatile it and other instruments are when utilized properly.

Also, this album flows smoother than a rich man’s cognac out of fine crystal into an unscathed arctic inlet (yeah, that smooth). Each track adheres to the same themes and melodic movements, making the entire project appear to be a pop culture-laced orchestral piece. The good news about this is that it makes for an incredibly consistent album. The bad news, however, lies in the lack of stylistic change from song to song. If you don’t enjoy one track, don’t expect to enjoy any of the others too much.

Rome is a special treat for any music-lover and a breath of fresh air in the smog of bland new releases. So if you like any of the four musicians taking part in this endeavor, I suggest you pick up Rome, but be warned: it is and should be treated as a soundtrack. Top vocal track recommendations for this album are “Two Against One” and “Black”, and the top instrumental tracks are “The Matador Has Fallen” and “The World (Interlude)”.

Matthew Fox lives in Nashville, TN. He drives a Jeep, frequently looks up cute pictures of animals online, and once won $15 off a lottery ticket. An archive of his blog posts can be found at foxtalks.wordpress.com.