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Chief Lambchopper Kurt Wagner's magpie tendencies are fully displayed on the band's lovely 10th proper album.
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OH (ohio) is flat-out one of the best records Lambchop has made, and certainly their best since 2000’s classic "Nixon."
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With OH (ohio), Wagner has crafted a soundtrack of specific detail for that lazy mid-morning melancholy that comes to anyone who feels like the world is turning without them. Enjoy it.
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Whatever: just?listen to the damn disc.
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Taken as a whole, however, OH consists of more stellar stuff from a band that’s always taken the tortoise’s view of the race.
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While the upbeat Lambchop records of the past are missed, OH (ohio) is a well-paced and engaging trip through Wagner's lush, scenic tunes.
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Their tenth LP OH (ohio) lands with some nervous expectation attached. As it turns out, it’s their best record since 2000 landmark, "Nixon."
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As ever, Wagner's narratives, such as on 'National Talk Like A Pirate Day,' are impressionistic, shifting time and perspectives, like the Norman Raeburn-influenced Dylan of 'Blood On The Tracks.'
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His dry, enunciative singing style still achieve a remarkable combination of pretension and playfulness. Lambchop may be evolving, but its capacity for sounding like nothing else remains intact.
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OH (Ohio) is a singular accomplishment, and it's hard to imagine anyone but Lambchop doing this so well--or even imagining it at all.
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Mojo'Of Raymond' one exquisite lick of brass sends out enough light to illuminate the whole record. [Nov 2008, p.106]
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The emotional tenor on Lambchop’s 10th LP is hard to miss. Not that there’s anything wrong with being touchy and tender, but the calm, spare arrangements on OH (ohio) can only be described as pretty.
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Consider OH the "most Lambchop" of Lambchop releases, as it swings through almost every tone in the band's history of influence-collisions, arriving at a soul of its own.
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Under The RadarThe album's pace quickens on tracks such as 'Sharing A Gibson With Martin Luther King, Jr.' and 'Popeye,' only to drift back into the lilt that makes OH (Ohio) one of Lambchop's finest. [Fall 2008, p.76]
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OH (Ohio) ends with a straight-faced rendition of the hokey country standard 'I Believe in You,' with lyrical mush about dogs and babies, but Wagner sings it like he wants to believe every word.
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That is part of Lambchop’s charm--irony might be the hipster flavor for the time being, but you’d be hard-pressed to find less ironic and more modestly beautiful sentiment than on OH (Ohio).
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Its restrained combination of new and old, tradition and innovation, sums up the strengths of OH (ohio), an album which isn't another Lambchop masterpiece, but rather a fine addition to an extraordinary body of work.
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Give Oh Ohio time--there's more than enough here to breath life back into a resurgent band.
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Oh (Ohio)'s languid chamber folk murmurs as expected with Wagner sketching vivid relationship dramas like a master painter. Should it all sound overly proper, a closer listen revals sly humor in the details. [Nov 2008, p.96]
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OH (ohio) gets the sophistication and tone right, but something's slightly off.
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OH (Ohio), typically for the Lambchop, is at its best when it's specialising in tight-wound reserve.
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After nine albums the Nashville oddball's parade of styles has dissolved into ambient noodling.
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The Nashville band’s ninth studio album is definitely sleepy and nuanced, only Wagner’s halted singing is disintegrating further into the background as the overall sound inches closer to adult contemporary.
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Q MagazineAside from the relatively oomph-laden, piano-driven 'Sharing A Gibson Withh Martin Luther King Jr.' and a lonesome cover of Don Williams's 'I Believe In You,' there's barely a melody to savour. [Nov 2008, p.118]