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Cassadaga

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Cassadaga album cover
01
Clairaudients (Kill or Be Killed)
6:05
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02
Four Winds
4:16
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03
If the Brakeman Turns My Way
4:53
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04
Hot Knives
4:13
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05
Make a Plan to Love Me
4:14
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06
Soul Singer in a Session Band
4:14
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07
Classic Cars
4:19
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08
Middleman
4:49
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09
Cleanse Song
3:28
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10
No One Would Riot for Less
5:12
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11
Coat Check Dream Song
4:10
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12
I Must Belong Somewhere
6:19
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13
Lime Tree
5:53
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Album Information

Total Tracks: 13   Total Length: 62:05

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The proof is in the pudding

foxes_have_holes

This album proves Conor Oberst to be the next great song writer.

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Conor

jimb83

Conor Oberst gives me hope for the future of music.

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A Lot of Variety Here...

theenddecay

This is the album before Conor ventured into his solo career, and you can almost sense that it's coming based on the variety of songs that are on here. Still it's got a lot of great tracks, but I disagree with the reviewer below that says it's the worst Bright Eyes. I would say that Digital Ash in a Digital Urn is my least favorite.

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Not the First Bright Eyes Album You Should Get

Collins

There are some good songs such as Four Winds, Hot Knives, ...Breakman..., and Coat Check Dream Song. However, this is my least favorite Bright Eyes album. At least his solo album was better.

eMusic Features

2

36 Songs To Soothe the Pain

By Wondering Sound Staff, Contributor

Whether you're happily married or told Cupid to shove it a long time ago, we can all agree on one thing: to quote the one-and-only Nazareth, "Love hurts/ Love scars/ Love wounds/ And mars." Or something. That's why we went ahead and compiled a list of 36 Songs To Soothe the Pain, from the bloodletting confessionals of Neko Case, Bright Eyes and Sunny Day Real Estate to the melancholic melodies of Sigur Rós, the Shangri-Las… more »

They Say All Music Guide

Call him pretentious, call him sensitive, call him what you will, but there’s no denying the fact that Conor Oberst is a talented and intelligent songwriter. Actually, it’s probably more correct to say that Bright Eyes are a group of talented and intelligent songwriters, because it’s the pedal steel, the clamorous percussion, the orchestral arrangements, the thick background vocals that add to the songs in Cassadaga — the band’s fullest and most developed record to date — almost as much as the lead singer’s own wobbly voice and sharp lyrics. Because the album is, like all of Bright Eyes’ albums, very much about the words. Besides the usual swatch of Middle America character sketches and the occasional political allusions, Oberst writes dialogue that travels throughout the record, questioning religion and truth and love and purpose the entire time. He knows he has to go somewhere, and he’s hoping that if he just keeps moving, where exactly that is will make itself clear. “Cassadaga might be just a premonition of a place you’re going to visit,” a psychic says to him in the opener, “Clairaudients (Kill or Be Killed),” which acts an introduction to both the album’s musical (slightly spacy, organic acoustic melodies) and lyrical (direction, control) themes. Oberst sees himself in a place where “everything must belong somewhere” and “death may come invisible,” a place where mystics and clairvoyants can tell us as much about our own selves as we can, a place where destiny exists, a place where God is both an omnipotent “Brakeman” and a myth construed in books. Perhaps because of this, Oberst appears more unsure than he ever has. But also because of this, this lack of control, it’s not an insecurity about himself that he feels, but rather a kind of shadowy acceptance of the uncertainty of life. “The ‘I don’t know,’ the ‘maybe so’/Is the only real reply,” which he sings on the stormy Western dirge “Middleman,” his voice accepting and empty at the same time, is the most truthful assurance he can offer. Because, despite the gravity of the ideas presented on Cassadaga, it’s not a depressing or even overly serious album. Rather, it’s finding what you can, be it a geographic location or a mind state, when and how you can, amid the incomprehensible world around you; it’s Americana, full of folky acoustic guitars and dobro and dissent and yet, still, a kind of hopeful optimism that can’t hide itself completely under the strings, clarinets, and cynical irony; it’s a mature interpretation of life, not just whining complaints. “I’m leaving this place but there’s nothing I’m planning to take/Just you,” Oberst confesses on “No One Would Riot for Less.” Where he’s going — Manhattan, California, the Hague, New England, or even Cassadaga itself — he doesn’t know, but he’s going to keep looking until he finds it, and he’s got his guitar, his simple chords, his verses and choruses, to help him (and perhaps us) along. – Marisa Brown

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