This review’s not meant for the download, purchase it on line, store it in the cloud listener. This review’s for those who are still lost in the dream, feet firmly routed in the 60’s and 70’s, where giant discs of wax shouted like beacons, calling to likeminded souls. Why hey, this isn’t even a review of the music, it’s a review of the physical product, and all that I feared lost for all time. Kurt Vile’s Walkin’ On A Pretty Daze is a brilliant blast from that past, delivered as a limited edition numbered gatefold on two transparent aqua blue platters spinning at 33⅓ rpms, and sounding like nothing you’ll ever hear on compact disc. But it’s the presentation that’s so comfortable and compelling, designed for those of us who drop the tone arm, lay back, and let the music wash over us as we scan the liner notes and get swept away with the lyric sheets. Presentations like this don’t so much demand our attention, it’s more that they entice us in, unfolding, and like the music, showering us with something new at each turn.

As a pre-release to Walkin’ On A Pretty Daze, Kurt had a commissioned wall mural painted down under the subway at Front and Master’s Streets in Philadelphia, right next to his home, painted with images and slogans taken from the album, and the time laps presentation of this feat shows what would become the album cover for most people would come to know, though here, only the top half is presented, with Kurt giving us all of the mural’s detail on a sheet of small stick-ons, so that we can arrange and manipulate the mural in any manner we choose. And at this point, I must sadly inform you that some fool has since painted over this piece of artwork, for no apparent reason than he could. Nevertheless, this album touches the listener on a visual and playfully physical level, one that keeps the music in check, and hopefully reminding us not to take ourselves so seriously. There was a time when it was almost, but not quite, common to be dazzled by records like this, and these treats are what made owning and cherishing the physical product so tasty and special.

So here’s to all of you who never peeled the Velvet Underground’s banana, punched out the buckle to open the Sticky Fingers zipper, or where mindful enough not to decorate their bongs with the Wish You Were Here stickers. But now that I think of it. My hats off to all of you who did peel the banana, opened the zipper, and plastered those stickers, leaving me to hope for more of what I find right here. And on a musical note, please do see my review of this great piece of music. Review by Jenell Kesler. By no means is Walkin On A Pretty Daze a lazy album, though it does have that feeling, that same feeling The Kinks tried to capture on “Sunny Afternoon,” yet couldn’t seem to sustain the lack of momentum.

But Kurt’s managed to sustain that lack of momentum and more, where fluffy clouds and contagious yawns pass the day. And he does it by engaging long soft songs that morph, cycle, re-cycle, and fold endlessly back onto themselves in true stoner fashion, without edges, almost without consciousness, existing for but a moment, then caught on a breeze, and are gone. I sincerely doubt that these numbers simply rained down on Kurt Vile.

From his lyrics, they seem to have required a great deal of thought and consideration. Take the lines, “To be frank, I’m fried, and that’s fine,” though he follows that up later with “Not feelin’ it,” which literally means “not eatin’,” because if one’s not working and creating songs, then there’s no food on the table. But then he turns the tables and hits us with a Beat Poet’s attitude on “A Girl Called Alex,” where he obsesses over the imaginary life he’s created for his friends, endlessly thinking about them, and weaves one of the sweetest ballads with limited lyrics, that cuts right to the heart.

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And all of this makes the album more of a literary diary, where in a true Dylan-esq Blonde On Blonde dance step, he slips out clues through secretive imagery, allowing the listener to string together some meaningful understanding, and perhaps a new way of perceiving the world. Walkin On A Pretty Daze is not psychedelic in the fashion that it reaches out, grabs you, bestowing wondrous visions across the landscape of your mind. It’s much more ordinary than that, focusing on being comfortable, being right here where you are, and letting all things ordinary and comfortable surround and sustain you. To be honest, the songs barely ebb from the speakers, they more ooze into being, and once out of the tube, are impossible to put back in.

And through all of this, if Kurt has any message at all, it’s that it’s good to do things, it’s great to achieve, yet in true Zen fashion, allow it all to seem effortless. Review by Jenell Kesler.

All LPs include a digital download coupon for high quality MP3s or FLAC Kurt Vile is slowly, quietly becoming one of the great American guitarists and songwriters, of our time. This 69-minute double album is comprised of sweeping, expansive songs that are both very intimate and conversational. Wakin On A Pretty Daze is a timeless record that would have sounded great 30 years ago, sounds great today, and will still sound great in another 30 years’ from now.

Beautifully produced by John Agnello, the record is filled with hazy, swooning guitar lines and dreamy, beatific, and occasionally sardonic vocals. It is summed up by the staggeringly gorgeous 9-minute opener, Wakin On A Pretty Day. The song is also the first video, directed by Jonathan Demme in the spirit of his landmark Springsteen video “Streets OfPhiladelphia.” The record has other connections to Kurt’s home town. Steve Powers (ESPO), the renowned Philly street artist, painted the cover mural on an abandoned building near the Northern Liberties. The album is being announced via a mini-doc of Powers creating the mural with Kurt’s commentary, and the two of them talking about Philadelphian music and visual arts. The mural will be re-created in London, Los Angeles and New York.