Eleventh Dream Day is probably as much a force as a band at this point. There’s something about it that draws Rick Rizzo, Janet Bean, and Doug McCombs (and Mark Greenberg, for the last few albums) back together every X years to show that they’re still one of America’s most underappreciated rock bands. It seems they’ve been upping the energy since Greenberg joined the band, and on Works for Tomorrow they’re further energized by the presence of Jim Elkington (using a second guitarist for the first time since 1994’s Ursa Major).
“Vanishing Point” kicks things off with a tense groove that has Janet delivering not just strong vocals but a performance as raw and forceful as we’ve ever heard from her and setting up a great squalling feedback solo. The energy starts high…
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…and really doesn’t let up until “The Unknowing” (track eight), which builds to a particularly great guitar solo. “Snowblind” isn’t so much reinvented as amped up and ends with some nice guitar tradeoffs between Rizzo and Elkington. Janet and Rick sound great together on “Cheap Gasoline,” one of those instant EDD classics. Greenberg’s keyboards are as understated as his stealth production, staying out of the way while adding just the right accent: piano, organ, or less-identifiable sounds. The guitars have plenty of room with a crisp mix and the rhythm section sounds great. It’s pretty amazing when a band that’s been around 30-plus years puts out an album that rocks as hard as its debut, but it’s not just the energy level and renewed twin-guitar attack. The guitar breakdown in “Cheap Gasoline” is reminiscent of the break in “Tenth Leaving Train” and the slide guitar on “Requiem for 4 Chambers” harks back to tunes like “Tarantula” and “Life on a String.” Works for Tomorrow stands alongside their best albums. Whatever it is that keeps bringing this band back, let’s be thankful for it.