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The opening “Rebel” sets the tone with a country-style tale of how a good-hearted man’s attempt to live up to his father’s ideals backfires to leave him a criminal, losing his beloved’s respect and affection in the process.

Jim White, finds familiar Americana tropes and sounds given his distinctive twist.

Currently, it is being used as a modifier along side of an earlier adjective form – , meaning 'an amusing or enjoyable thing'.

Originally used as a noun, it started to be used as a noun modifier and then an adjective dating to around 1850 to 1950.

“Joanna”, for instance, is a rape revenge ballad told without judgement, in spartan Nebraska style, while the title-track tale of youthful love is a crisp, punchy heartland rocker with kids staving off the future on their own Oregonian Thunder Road: “If I ever get old, and I’m looking back on these wild and reckless times, well, they’re the best days of our lives.” Peter Oren, , that he likes it that way.

These 10 songs are like soundings from between the cracks, faint echoes from an inveterate wanderer whose revulsion at our anthropocentric ruination of the world leads him to ever-darker places. ” he wonders in the title track, before conceding defeat in the closing “Welcome/Goodbye”, “Welcome to this record, and goodbye to this world/May a new one soon unfurl”.

In ordinary attributive use as an adjective, several other term it informal, and a couple who dislike it themselves still note how nouns have a way of turning into adjectives in English….

The [OED] Supplement calls it as attributive use of the noun passing into an adjective and cites examples from the middle of the 19th century on, inducing this title from 1853…In between, he’s more content dealing in animist and elemental imagery: in “Falling Water” he imagines himself as rain, heading for the ocean; while in the sly, barbed metaphor of “Chain Of Command”, a dog reminds sheep that it’s his master’s word that will protect them from the wolf – but for what?Ornamented by subtle drumming and spare shards of brilliant guitars, Oren’s simple guitar stylings make a solid setting for a haunting baritone that recalls the comparable dark musings of Bill Callahan.Just as important is Caroline Corr’s slap-beat command of rockier tracks like “Chasing Shadows” and “Bulletproof Love”, a mandolin-led folk-rocker in REM vein.It’s not all romantic, though: the undulating roll, combined with fiddle and whistles, of “SOS” disguises the underlying theme of what is apparently a refugee plaint, while the song to an unborn child “No Go Baby” raises thorny but timely issues of termination.REM, REM’s brooding masterwork ultimately notched up some 18 million sales – remarkable for an album that tackles mortality and mercy with due mystery and compassion.