 I don't have very many musical heroes. There are a ton of bands that I like and a number of musicians whose talents I admire greatly, however there are only a handful of guys out there that I would love to actually BE. Greg Dulli is one of those few.
Don't get me wrong. I don't want the addiction problems. I want the delivery. I want that voice and that ability to pour your soul into every syllable. When you hear a Greg Dulli song (whether it be with his former band The Afghan Whigs or his current Twilight Singers incarnation), you can bet that it's almost always powered by 100% unfiltered id. That's why when Greg Dulli sings the words, "I need it bad, I need it now. Won't you come and give me some?" women want him. If I were to try that it would end in much laughing and pointing.
The Twilight Singers have carved an interesting post-Whigs arc for Dulli. Since the band is essentially just him and an ever-rotating supporting cast, he is free to indulge every whim. Each release seems to blend elements of all of Dulli's interests (be it white boy soul or trip-hop) with ever increasing amounts of the churning rock that first got Whigs' songs like "Gentlemen" and "What Jail Is Like" noticed. In May 2006, Dulli released the latest Twilight Singer's full-length Powder Burns. It was a wonderfully thorny album about addiction that begged repeated listens. It was also a solid step forward for a man battling his demons, and I was very hopeful that I'd see a release in 2007 that was even stronger.
Guess what… I only had to wait seven months for the best Twilight Singers release in the band's history. The EP A Stitch In Time (on One Little Indian and available as an import via Amazon.com, or for regular download via iTunes and eMusic) contains five songs of greatness worth every penny you'll pay. It kicks off with a smoky, seductive cover of Massive Attack's "Live With Me" sung by Mark Lanegan. Listening to this song, I can't  help but visualize a shot of the city at night (like you’d see in Michael Mann’s Collateral). It's sultry but classy enough to be the soundtrack to the end of your night of club excess. Lanegan completely sells it like a less gravel-voiced Tom Waits while Dulli takes the backing vocals.
Next up is "Sublime" which could have been lifted right off of the Whigs final album 1965. It's got subtly tripping electronic beats supporting soft keys, sexy bass and a faint crying guitar. Guest vocalist Joseph Arthur sets the vocal tone with a mix of sex and menace that leaves you wondering whether the object of his desire should be turned on or scared shitless. "Flashback" is another perfect mix of white boy soul and Afghan Whigs rock. Its winding bass line and vocal trade off between Dulli and Lannegan easily could make it a standout track on any rock album. It's another indication of what to expect when these two release their side project The Gutter Twins in 2007. If that was all there was to this release I'd be happy as hell. However, believe it or not, I just described to you the worst three songs on this five song EP. "They Ride" is 100% Afghan Whigs, even featuring Rick McCullom's fantastic guitar work. While some may say this is a retread, it is in fact everything that fans of that band could have wished for in a Dulli release: proof that not only does he still have it, but he also knows when to wield it.
 Finally, the album ends with a song so good and so fucking strong that I find it hard to believe it's been relegated to an EP. "The Lure Would Prove Too Much" is a beautifully lazy yet tortured track that blurs the lines between Dulli's desire for a former flame and the drugs he so infamously embraced. I am a huge fan of expertly crafted song structure. When an artist deftly grabs all of my attention at the moment I least expect it and takes me on a ride that blocks out everything else going on around me, I become an instant fan. That's what got me into The Afghan Whigs back in the early 1990's, but I never expected something this good from Dulli this late in the game. The build from the beginning of "The Lure" to the end is so perfectly executed that it literally brought tears to my eyes the first time I heard it. As Dulli sings the word "sunrise" over the final two minutes, voices from his answering machine drift in, alternately giving directions to an LA party and expressing worried "I love you’s. I cannot put into words how much I love this song. It makes me ache... but in a good way.
The Twilight Singers may never be able to put together a full length release this strong, but even if they never do, A Stitch In Time stands as one hell of a great mark. I can't recommend this enough. Stop reading now and go buy it. You can check out samples of it at http://www.myspace.com/twilightsingers.
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