Posts Tagged ‘Folk’

Suzy Bogguss: American Folk Songbook

Tuesday, August 9th, 2011

The simple pleasure of classic folk music

If you grew amidst the 1960s folk revival, you may well remember a favorite Pete Seeger, Burl Ives or Johnny Cash record of great American folk songs. You might have been schooled by the Dillards (in the guise of the Darling Family) on The Andy Griffith Show, had parents who sang these songs as you drifted off to sleep, sang folk songs at camp or had a progressive grade school teacher who introduced these songs at music time. But it’s probably been a few decades since folk songs were central to your life. Of course, you’ll still hear many of these titles on Prairie Home Companion and at bluegrass festivals, but their mainstream circulation has dwindled, pushing their legacies to the fringe. And that’s a shame, because these are great songs, rife with historical significance (both in their creation and in the stories they tell) and deep musical pleasures.

Suzy Bogguss has collected seventeen titles, mostly well-known, and assembled them into a songbook of both musical and intellectual depth. In addition to her lovely acoustic renderings, assisted by a terrific band of musicians and backing vocalists, she’s written a companion book that provides history and sheet music. The song backgrounds essay the unsettled origins of many songs (is “Red River Valley” a reference to a tributary of the Mississippi, a spur of the Hudson, or the valley drained by the Red River of the North?), the variations of their lyrics, and their paths to prominence. The sheet music is perfect for accompanying your home sing-along on piano or guitar, and the CD is sure to be a favorite for both parents and kids, not to mention a nutritious respite from calorie-free children’s records. [©2011 hyperbolium dot com]

Suzy Bogguss’ Home Page

New Album Coming from The Shants!

Sunday, August 7th, 2011

Word from Oakland, California is that the Shants (whose earlier Russian River Songs was reviewed here) will release their first full-length album, Beautiful Was the Night, in September. There’s a release party scheduled for Viracocha (998 Valencia St., San Francisco) on October 8, for those of you in the Bay Area. The band writes:

The album is called Beautiful Was The Night (which is a phrase taken from Longfellow’s epic poem Evangeline). It was recorded in Oakland at Rec Center Studios and Tones On Tail Studio by Eliot Curtis (who has worked on records for Bare Wires, Nectarine Pie), with some vocal harmonies from Brianna Lea Pruett & Quinn DeVeaux, violin by Howie Cockrill, and horns by Ralph Carney (Tom Waits, Elvis Costello, Black Keys) as well as the Blue Bone Express. Half the album was funded by our fans, via Kickstarter.

As an appetizer for the album, they’re offering the track “Baton Rouge,” of which they write “It’s basically a letter to the city of Baton Rouge, as though it were an ex-lover.” Enjoy!

MP3 | Baton Rouge

Paul Simon: Paul Simon in Concert: Live Rhymin’

Thursday, August 4th, 2011

Paul Simon live in 1974

With Paul Simon having licensed his early solo catalog to Sony, the Legacy branch has taken the opportunity to reissue four key titles on their original Columbia label. Of the four (which also includes Paul Simon, There Goes Rhymin’ Simon and Still Crazy After All These Years), this 1974 live album is the only one to get a fresh remastering (by Dan Hersch at D2 Mastering) and the addition of two previously unreleased bonus tracks. Given that this is the least consequential of the four albums, it’s a good marketing move to make it the sole title to be updated. Coming off two commercially and artistically successful solo albums, Simon hit the road for a series of solo shows that included the Brazillian group Urubamba and the gospel Jessy Dixon Singers.

The song list includes Simon’s recent solo hits and several classics from the Simon & Garfunkel catalog. Though he wasn’t ever going to replace Garfunkel’s award-winning vocal on “Bridge Over Troubled Water” or duplicate the bite of the duo’s harmonies on “Homeward Bound” and “The Sound of Silence,” the net effect is a showcase of the Paul Simon songbook. The Singers’ take the spotlight for the gospel “Jesus is the Answer,” and in the original concert set, Urubamba was featured on several instrumentals. Legacy’s 2011 reissue adds solo acoustic performances of “Kodachrome” and “Something So Right,” but here’s hoping a complete rundown of the reported 24-song set eventually sees the light of day. [©2011 hyperbolium dot com]

Paul Simon: Paul Simon

Thursday, August 4th, 2011

Paul Simon sets out on a brilliant solo career

Though not technically Paul Simon’s solo debut – that honor goes to the acoustic performances he recorded for 1965’s The Paul Simon Songbook – this first post-Simon & Garfunkel album does represent the true beginnings of Simon’s massive success as a solo artist. Released in 1972, it came two years after Simon & Garfunkel bowed out with the Grammy winning Bridge Over Troubled Water, and the same year as the duo’s greatest hits album topped the chart. Simon’s re-debut was a strong artistic statement that was both commercially successful and the seedbed for experimentation and growth that would mark his solo career. The album opens with the reggae-inspired hit single “Mother and Child Reunion,” and along with the Latin influences of “Me and Julio Down By the School Yard” and haunting Andean instrumental breaks in “Duncan,” the melting pot of styles predicted the wealth of world music Simon would fold into his music.

At 32, Simon had matured from the sharp, at times bitter, worldview of his twenties. The difficulty of Simon & Garfunkel’s end had given way to the freedom of a solo act, and there’s a sense of renewed discovery in his characters and lyrical forms. The wayward “Duncan” recounts the education of a small-town fisherman’s son into a clear-eyed world traveler, while the fragmentary allusions of “Mother and Child Reunion” are surprisingly open-ended and poetically opaque. Simon’s marriage with his wife was apparently following his professional partnership with Garfunkel into dissolution, providing grist for “Everything Put Together Falls Apart,” “Run That Body Down” and “Congratulations.” Simon’s voice never sounded better, he asserts his picking talent on “Armistice Day” and “Peace Like a River” and vamps happily behind violinist Stephane Grappelli on the swing instrumental “Hobo’s Blues.”

Producer Roy Halee, as he’d done for Bridge Over Troubled Water, surrounded his artist with friendly, talented and inventive musicians. Together they crafted spacious, highly sympathetic arrangements that had the delicacy of an acoustic band, the depth of a jazz combo and the power of well-placed moments of electric guitar. Columbia/Legacy’s 2011 reissue reuses Bill Inglot’s remastering and the three bonus tracks of Rhino’s 2004 reissue, including solo acoustic-guitar demos of “Me and Julio Down by the School Yard” and “Duncan,” and an alternate version of “Paranoia Blues.” Legacy’s traded out Rhino’s digipack for a standard jewel case and an 8-page booklet of lyrics and pictures. [©2011 hyperbolium dot com]

The Greencards: The Brick Album

Tuesday, June 21st, 2011

Genre-blending Austin-based acoustic string band

If you imagine an intersection where the traditions of country and bluegrass meet the inventions of newgrass and the changes that swept through British contemporary folk, you’ll have a sense of the music spun by the Greencards. Their songs feature the tight harmonies of country and bluegrass, the sophistication of jazz, and the pluck of folk. As on 2009’s Fascination, the band traverses numerous styles from song to song, but unlike the contrasting colors of their previous outing, here they explore varying shades of their progressive string-band sound. The opening “Make it Out West,” though sung about modern contemporary emigration to the coast, still manages to conjure pickaxes and transcontinental rails with its rhythm. Similar   changes are also heard in the jig “Adelaide,” while the album’s second instrumental, “Tale of Kangario,” hints at South American styles.

Vocalist Carol Young moves fluidly from country to jazz to pop, occasionally transitioning within a single song. The bass and plucked mandolin of “Mrs. Madness” provides a ‘30s supper club setting for the verses, slides into contemporary harmonies on the chorus and adds modernly picked fills. The longing of “Faded” and harmony blend of “Naked on the River” lean more toward pop harmony groups like the Rescues than to traditional bluegrass or country, but the mandolin (courtesy of guest Sam Bush), fiddle (from recent addition Tyler Andal) and guitar (from the band’s other recent addition, Carl Miner) keep the song anchored to the group’s roots. Vince Gill adds a duet vocal on “Heart Fixer,” and several dozen fans star as financial supporters, with their names emblazoned on the covers.

You can imagine several of these songs turning up on an episode of Grey’s Anatomy or another lovingly curated television show’s soundtrack. The Greencards have combined their diverse musical interests in a showcase that highlights the ingredients without sounding forced. They sound modern, but still rooted, a group whose acoustic framework is still recognizable to bluegrass, country and string band fans, but one that could also appeal to contemporary pop listeners. [©2011 hyperbolium dot com]

MP3 | Heart Fixer
The Greencards’ Home Page
The Greencards’ MySpace Page

Patrolled By Radar: Be Happy

Saturday, June 18th, 2011

Rocking blend of country, pub rock, post punk, folk and blues

Patrolled by Radar is a long-running Southern California quintet, previously known as 50 Cent Haircut, and led by singer/songwriter Jay Souza. Their music mixes country, folk, blues, psych, pub rock and post-punk. Souza’s singing occasionally suggests a rustic, nasal incarnation of the Bongos’ Richard Barone, but he also brings to mind the promenading music hall soul of Ray Davies on the horn-lined “Pachyderm,” and a polished, yet equally disturbing version of Holly Golightly’s blues on “Widow Next Door.” Souza’s lyrics are more poem than narrative, leaving behind impressions and images rather than story arcs. You’ll find yourself singing “my skull was cracked / like a cathedral dome,” but you may not know why. More easily digested are the teary loss of “Coat of Disappointment, the alcoholic’s spiral of “Fast Life, Slow Death,” and a soldier’s consideration of his circumstances in “Carried Away.” The songs are often dressed in catchy melodies and clever word play that initially obsure the lyrics’ underlying darkness, but the contrast makes this both immediately accessible and grist for deeper consideration. [©2011 hyperbolium dot com]

MP3 | New Fight Song
Patrolled By Radar’s Home Page
Patrolled by Radar’s Facebook Page

David Serby: Poor Man’s Poem

Thursday, June 9th, 2011

Folk-country song cycle relates 19th century issues to today

David Serby’s 2009 release, Honkytonk and Vine, was a welcome blast from Los Angeles’ honky-tonk past. The pointy-toed cowboy boots he wore on the album cover were matched by twangy country two-steppers that recalled the mid-80s Southern California roots renaissance of the Blasters, Dwight Yoakam and others. His follow-up retains the country melodies, but drops the rhythm-driven honky-tonk in favor of acoustic guitars, accordion, mandolin, banjo, dobro, fiddle and harmonium.

The ten songs essay the economic and social concerns of nineteenth century workers, but find repeated resonance with contemporary issues: union turmoil, damaged soldiers returning from war, displaced populations, and investors swindled by financiers. Though the specifics have changed – Iraq rather than Gettysburg, gentrified neighborhoods rather than the Sioux Nation, computers rather than assay offices – the results are despairingly the same. But so too is the spirit and bravery that Serby’s characters demonstrate, as miners return to the dark recesses of their work, and a destitute teenage mother turns from tears to a hopeful prayer.

This is an imaginatively written record, the sort that Johnny Cash pioneered with his historical travelogues at Columbia. The CD package is superbly finished, with the cover’s weathered edges complemented by the booklet’s vintage typography and poster reproductions. Those looking for another whirl around the dance floor may be disappointed by the introspective nature of the project, but anyone who enjoyed the craft of Serby’s earlier releases will find even deeper artistry here. Where Honkytonk and Vine spun clever song titles into smoothly rhyming lyrics, Poor Man’s Poem tells stories from the characters, and in doing so reflects on the struggles we all face today. [©2011 hyperbolium dot com]

MP3 | Watch Over Her Baby
David Serby’s Home Page

Sarah Jarosz: Follow Me Down

Monday, May 23rd, 2011

Sophomore outing confidently meshes string band, bluegrass and modern sounds

Though only 19 when she wrote and recorded this set, Sarah Jarosz has pushed well beyond the “prodigy” title of her early years on the bluegrass circuit. Even her 2009 debut, Song Up in Her Head, showed her to be a lot deeper than a musical wunderkind. Her string-band background is still evident on this sophomore outing, but as on the earlier single, The New 45, she also reaches to progressive folk and indie-rock.  The album menu remains the same as the debut: a wealth of original material and an ingeniously selected pair of covers (Bob Dylan’s “Ring Them Bells” and Radiohead’s “The Tourist”), played by a mix of her regular musical compatriots (Jerry Douglas and Stuart Duncan), young bucks (Alex Hargreaves, Nathaniel Smith), guests (Shawn Colvin, Darrell Scott, Dan Tyminski, Bela Fleck), and a dozen more interesting players.

Jarosz stamps all eleven tracks with her musical vision. The haunting tone of her voice, the assuredness with which she weaves through the melodies, and the thoughtfulness of her delivery are all impressive. She isn’t polished from twenty years of roadwork, but instead seems to have been fully delivered as an artist from birth. Even more incredible is how her sure-footedness invites response from the assembled players. Young and old alike respond with terrific ideas, including Bela Fleck’s vamping and banjo solo on “Come Around,” Stuart Duncan’s duet, counterpoint and violin leads on “Floating in the Balance,” and the progressive instrumental jam “Old Smitty.” Her trio singing with the Punch Brothers (and Gabe Witcher’s superb violin) both breaks down and intesifies the mood of Radiohead’s “The Tourist.”

The emotional quality of Jarosz’s singing magnifies the open-ended meaning of her lyrics. The opening “Run Away” extends an invitation that may be one of innocence or sexuality, and the following “Come Around” strains to maintain faith in someone who may be either mortal or godly. Jarosz seeks connection in “Here nor There,” but it’s not clear whether the kinship is with another person or with her musical gift; the latter is explicitly serenaded in “My Muse,” and her adaptation of Edgar Allan Poe’s “Annabell Lee” provides a lyrical story of unconsummated love. It’s often said that you have eighteen or twenty years to write your first album, and only one year to write the follow-up, but with this sophomore outing, Jarosz shows she has both gas in the tank and a long road ahead. [©2011 hyperbolium dot com]

Sarah Jarosz’s Home Page

Matraca Berg: The Dreaming Fields

Tuesday, May 17th, 2011

A hit songwriter’s return to performing

It’s been fourteen years – entirely too long – since songwriter Matraca Berg recorded her last commercially released album, 1997’s Sunday Morning to Saturday Night. Though she’s never found the chart-topping success as a singer that she’s scored as a writer (having penned “Wrong Side of Memphis” for Trisha Yearwood, “Wild Angels” for Martina McBride, “You Can Feel Bad” for Patty Loveless and “Strawberry Wine” for Deana Carter, among dozens of other hit singles and album tracks), critics and fans have treasured her original performances. Unfortunately, when her former label (Rising Tide) closed shop in 1998, her last album found critical accolades that went unmatched by sales, and she returned to writing (including songs for the theatrical production Good Ol’ Girls), live performance and background singing.

Berg’s latest set shows off her talent for writing deeply personal songs that touch intimate, individual memories in each listener. Her songwriting craft and soulful performances suggest a modern-day Carole King, but one flowering at a time when music discovery has become highly balkanized. The funnel of country radio has narrowed further in the last decade, and the channels of indie promotion have simultaneously multiplied and fragmented. Berg’s songs have always been thoughtful, but her lyrics have become more allusive and her performances more subtle and introspective, necessitating longer exposure than a ten-second Pandora needle-drop or snippets woven into an NPR review. Whether her new album gets the hearing it deserves will depend in large part on word-of-mouth from her fans.

Writing in mid-life, the youthful optimism and wistful nostalgia of her earlier songs have taken a backseat to more realistic endings. The album’s title track is a somber elegy for her grandfather’s farm, one in which the golden hues of yesterday share space with the overgrowth and rust of today. The Hollywood dreams of a small town girl in “Silver and Glass” reveal themselves as fading illusions as age presents its inevitable transformations in the mirror. Even Berg’s beloved cherubs, which served as guardians in 1995’s “Wild Angels” (a chart-topper for Martina McBride), have matured into escorts for a bittersweet final journey in “Racing the Angels.” Only 2002’s “Oh Cumberland” (originally recorded with Emmylou Harris for the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken, Vol. 3, revels unabashedly in the warmth of memories.

Berg contemplates the attraction of dangerous liaisons in “You and Tequila” (co-written with Deana Carter, and recently released as a single by Kenny Chesney and Grace Potter), but when vulnerability turns into deceit, a serial cheater’s dalliances catch up to him in the foreboding “Ode to Billy Joe” styled “Your Husband’s Cheating on Us.” Berg’s a deft author of characters, including a battered woman taking a stand and a mother coping with the inexplicable loss of a soldier son; but her best character is often herself. She closes with the ballad “A Cold, Rainy Morning in London in June,” evoking her longing for home and her comfort in having a home to long for. It’s a contemplative, yet passionate finish to an album woven from multiple strands of deep emotion and strong expression. [©2011 hyperbolium dot com]

Matraca Berg’s Home Page

Where in the world is Richard Buckner’s next record?

Sunday, May 8th, 2011

It’s been five years since Richard Buckner release his last album, Meadow. Five years filled with crushed opportunities, murderous accusations, larceny and equipment failure. Finally, on August 2nd, Our Blood, hits the shelves in both digital and analog form. Here’s the press release:

Since 2006’s Meadow, fans of Richard Buckner have been clamoring for new material and wondering what was keeping their hero from releasing the new songs he would perform on the road. Well, it’s a long story!

First, there was the score to a film that never happened. Then there was a brief brush with the law over a headless corpse in a burned-out car that had all eyes in Buckner’s small hometown in upstate New York turned toward him and his long-suffering truck. Shortly after a move to a safer, less popular corpse dumping ground, the death of his tape machine led to yet another reboot. After Richard called in pedal steel and percussion players and put new mixes on his laptop, his new “safer” place was burglarized. Goodbye, laptop.

Buckner says: “Eventually, the recording machine was resuscitated and some of the material was recovered. Cracks were patched. Parts were redundantly re-invented. Commas were moved. Insinuations were re-insinuated until the last percussive breaths of those final OCD utterances were expelled like the final heaves of bile, wept-out long after the climactic drama had faded to a somber, blurry moment of truth and voilà!, the record was done, or, let us be clear, abandoned like the charred shell of a car with a nice stereo.”

And so finally, we present Our Blood, to be released on CD and LP on August 2, 2011. This is the first Richard Buckner album to be released on vinyl!

Check out this track from the upcoming album.

MP3 | Traitor
Richard Buckner’s Home Page