Let’s Tell a Story…

The art of storytelling is under attack. The digital age and the ever-presence of the Internet has seemingly shrunk everyone’s attention span. Novels go unread, unless they contain a murder mystery or world destruction at its core and even short stories are too much for most.

But songwriters, using their three- to five-minute vehicles, can and do still reach us with worthwhile messages.

THE RACONTEURS’ message is often “Let’s rock!” But as their name suggests, they often do go beyond that ancient command.

A four-piece outfit, they are fronted by Jack White, a tremendously well-respected guitarist and leader of the two-person White Stripes. The Raconteurs’ are a real band, however, and White’s co-leader is Brendan Benson, a Detroit native who spent his formative years in Gramercy, La.

Both White and Benson co-wrote all of the songs, and they trade lead and background vocals as well as guitar leads and fills.

Their first album was pleasant enough, but their second, CONSOLERS OF THE LONELY, is of a different order. Everyone I know who’s given this more than a casual listen has wound up loving it. The songwriting here is superb, with flat-out rockers interspersed with change-of-pace ballads and other oddities that all work. It’s a cohesive set that hangs together as an entire album, and individual songs can also be plucked out to spice up your I-Pod’s playlists.

On to specifics. The lead-off title track is a blues-based slap upside the head. A swaggering drum beat thunders in with a rhythm, which subtly shifts gears as the guitars come crunching in. This is no mopey post break-up song, but rather a kick in the pants to those who might be immersed in self-pity. Essentially a stitched-together group of disparate riffs, the song jumpstarts the album magnificently.

Things go well after that, too. “Salute Your Solution” conjures Pete Townsend’s (The Who) windmill power chording and teeters on the brink of overkill, then steps back.

The third cut, “You Don’t Understand Me” is a bit of a breather, with Jack White tinkling the ivories in waltz-time.

“Old Enough” gives Benson the chance to flaunt his vocal chops, and the guitars are deliciously processed as ear candy when they come in at full volume. And the fifth song, “The Switch and the Spur” is a curious bit of spaghetti western foolishness that is eminently listenable.

There’s enough for an album right there, but things are just starting. “Hold Up” again revs up the pace to an almost pogo dance level followed immediately by another country-tinged challenge from White in “Top Yourself.” Benson gets a bit melodramatic on “Many Shades of Black,” while “Five on the Five” cleanses the palate with a shot of pure rock energy.

The next third of the album ups the ante. “Attention” demands just that, and the next three songs maintain it. The final cut, “Carolina Drama” is an old-fashioned southern murder ballad, which may require more than one listen to fully understand.

The album came out in March and has stayed on heavy rotation every since. The Raconteurs were one of the highlights of this year’s Jazz Fest where the crowd embraced them as the up-and-coming phenomenon that they are.

When the term “songwriter’s songwriter” is used, that’s usually a synonym for “boring unpopular performer with a bad voice.” RON SEXSMITH is certainly not popular and he doesn’t have the strongest voice in the world either. But he’s more than worth your while to check out. His latest album, EXIT STRATEGY OF THE SOUL is his 10th album and one of his best.

Sexsmith is Canadian and one can’t help seeing some of that country’s reticence and self-deprecation in his work. And no, this doesn’t equate to “boring,” since Sexsmith is a songwriter of the highest caliber and knows how to vary arrangements.

His prior albums were mostly produced by Mitchell Froom, who held in check his usual penchant for adding oddball flourishes, and instead added nifty wrinkles to a hefty sound.

“Exit Strategy” takes a new direction. Sexsmith brought his recorded tapes down to Cuba where horns and percussion where added to the mix. Several songs are given an added kick, but the album doesn’t sound like a Latino version of Tapestry; rather, there is merely added spice to Sexsmith’s already sterling songs.

Exit Strategy makes a clear allusion to the currently in vogue phrase concerning our country’s unfortunate overseas involvement. And as the title further makes clear, Sexsmith is concerned about how global matters affect the individual. He doesn’t preach, nor does he get too specific on his obvious leanings. Rather, he uses a poet’s tools to make his points with an oblique potency.

Standout tracks include “This is How I Know”, a jaunty tune dealing with life’s disappointments turning into resolve, “Brandy Alexander,” a collaboration with Feist that’s got hooks for days and “Brighter Still,” an uplifting bit of optimism appearing toward the end of the album.

Remember, gentle doesn’t mean wimpy, and Sexsmith’s gentleness has bite, warmth, and smarts. And because he can write the hell out of a song, you feel as though you’ve made a new friend.

There’s nothing gentle about ALEJANDRO ESCOVEDO’S REAL ANIMAL. Escavedo is a 62-year-old troubadour who is credited as being one of the fathers of alternative country. There’s nary a trace of Latino influence in his work, but rather he traces his lineage to the roots of punk and glam rock – think Mott the Hoople, David Bowie and the Ramones.

Lately, he’s mellowed out quit a bit, especially since he contracted Hepatitis C. The last few albums have contained more introspective lyrics combined with thoughtful arrangements with live strings including cellos and horns.

His latest, presents a return to his rocking roots. Every song was co-written with Chuck Prophet, another one of rock’s criminally unsung performers. While Escavado’s in a reflective mood, the album’s producer, Tony Visconti, keeps things mostly bright and ebullient.

“Always a Friend” starts the record off with an abundance of both qualities. It’s got classic anthem written all over it, and the song itself sounds like a long-lost brother. “Chelsea” Hotel ’78” adopts the punk style of its subject, Sid Vicious. As Alejandro’s noted, he wasn’t a real friend of Mr. Vicious, but he did play a role in his past.

Other great songs are sprinkled throughout the album, including “Sister Lost Soul,” “Smoke,” “Golden Bear” and “Slowdown.” But that’s only my current favorites on an album, which promises to be one of this year’s favorites.

Lastly, I mentioned with no small amount of satisfaction that we caught Escavedo a couple of weeks ago at Tipitina’s, which he proceeded to tear down.