Do you feel VanGogh by explanation?

I think this album is like an expressionist painting. Although I love the songs individually, it's the way it comes across as a whole that is unique. If you want to compare his playing here to one of his many other records I don't think you can. The closest I would say though is the way "6 and 12 String Guitar" has a feeling about it as a collection. But this group of songs is updated in the harmony used and also Leo plays with a band. His voice is used more as an instrument rather than to carry a melody. There are jazz influences as well as reggae with some of the style that he is most noted for. And Leo's humor is alive and well. I haven't bought an album that is this creative in a long long time. I hear something different every time I listen to it. It has that kind of debth. Go Leo.

What's what?

One of the world's finest guitarists plays around with interesting sonics on one of his many mostly-instrumental recordings. Don't expect a lot of flash, unless you are the kind of listener who can appreciate the difficulty of his fingering technique. The word "quirky" is perhaps overused when referring to Kottke, but I can't think of a better adjective either, really.

Suffice to say that if you click on the samples of tunes from this CD you'll find a representative sampling of his sound, in styles that range from Cajun to jazz to blues to pop. He's never trying to get his stuff played on radio, being happy to just hang out and create wonderful sonic art. Very enjoyable, relaxing, intriguing, humorous stuff on this collection, even a few toe-tappers.

Yeah, I couldn't believe it either

In many ways, it is debatable whether or not That's What is a fine, quality recording. And in a few ways, it's debatable whether to say it's any good at all. But one thing is clear: this is Leo Kottke's weirdest album, hands down. I could try to describe the music to you, but don't be surprised if it seems I don't know what I'm talking about. Because the truth is, I'm not sure what this is.

Those who followed Kottke through the years are the most likely to be apalled by That's What. If the genre of acoustic folk-blues fingerstyle were personified as a bully, this album is a slap in that bully's face. Or knowing Kottke's wry sense of humor, it's kind of like painting a mustache on the Mona Lisa. This album has many enemies. I met one myself at a open mic one night. He referred to That's What as "that time Leo was smoking cigars and messing around with synthesizers." This album is so shocking that it actually got disapproving remarks from Mrs. Kottke and Kottke's manager.

The experimentation hits the ground running with Little Snoozer. The first thing you hear is Kottke playing a 6 string bass fingerstyle. A simple electric guitar line weaves in and out of the bouncing bass creating an odd texture. Oddball, one of the only tracks here to have a trace of traditional guitar music, features quircky jazz harmony placed with impeccable rhythm. Unfortunately, there is a misplaced synthesizer playing overtop the otherwise charming composition. The live version, appropriately enough, does not have this.

What The Arm Said is similar in jazz harmony but the tempo is slowed way down. And some of the best tracks on That's What are the ones that drag at a more peaceful volume like Czech Bounce, The Great One, Jesus Maria, and Mid Air. The album falls flat with the attempts to be intricate, as with Creature Feature. A would-be good idea kind of gets redundant and overstays its welcome.

And one cannot write about That's What without discussing the two vocal pieces which are probably, to this date, Leo Kottke's most twisted compositions. Buzzby, as far as I can tell, is about nothing. He plays a slide on the steel string with an intention of almost sounding incompetent at it (which he isn't). Over this he mutters his lyrics with haphazard percussion banging behind him, almost sounding like they're all drunk. All I can make out is "He's running up the street," "carbon monoxide," and "the dog goes crazy in Buzzby's room."

Huh.

But even weirder is Husbandry. Like Little Snoozer, the song is propelled by a finger-picked bass line with a lite, minimal guitar overdub. A violinist scrapes the bow over their instrument in the most ugly fashion possible. And in between all of this, Leo is rambling out a story about a 60-some year old woman hiding in a school bus who meets a man who likes to put his cigar out in dog's faces. Anyone who hears Husbandry, regardless of whether or not you are a Leo Kottke fan, will be convinced that he is whacked out of his gourde.

Thus are the simple pleasures in That's What. Kottke's need to experiment came at a small price. Instead of making a great piece of work, he made a sometimes good, sometimes off, and all-around intruiging CD. Consider yourself warned.