Her Bright Smile Haunts Me Still has been a fave song of mine for a long time, ever since hearing Cordelia’s Dad’s storming version (from their self titled 1990 album, well worth checking out imo), my version sounds nothing like that one though, but I enjoyed learning it a lot.
Performed by Small Farm Towns aka me.
To celebrate the arrival of my first Peter Mayer CD (Million Year Mind) in the mail earlier today,
here’s a live version of his song Awake (not on that CD). It’s a fine, lovely and thoughtful song with some mighty fine guitar work.
Out of the batch of new CD’s I bought recently, none has enchanted my quite as much as Joan Shelley’s 2014 album Electric Ursa. Being previously unbeknownst to me, a favourable review of her new album Over And Even attracted my attention to her, a quick listen of Electric Ursa on iTunes quickly made me realise I might be in for something very good. Which Electric Ursa indeed did turn out to be.
Joan Shelley hails from Louisville, KY. I am as yet not too informed on her musical background, but some tracks, especially the utterly fabulous album opener Something Small make me suspect she’s rather from an Independent Rock/Post-Rock background than from a straight Folk or Country one as wouldn’t be totally surprising given where she’s from. Although Folk clearly is the style most prominent in her work, even more so on her new album than on here. Something Small also is the highlight for me on Electric Ursa, it’s full of tension, and the hypnotic, mantra-like chorus of ‘It’s all layed out in front for you to take it’ is just magic. It’s the melodic phrasing and some of the guitar work on many tracks making her work stand out from many of her Folk contemporaries. I don’t even know if she herself would put herself in that musical corner, but the review mentioned above made me believe that.
River Low is turning up the tempo a little bit on here and is a VERY lovely and straightforward piece of acoustic Folk magic – just as I like it.
Moss and Marrow and First Of August both slow things down considerably and are dominated by the hushed sounds of gently strummed acoustic guitars, only sparsely augmented by instruments such as keyboards (Moss And Marrow) and lead guitar (First of August). They also, like many of her songs (on Over And Even as well), remind me a bit of a not-quite-so-dark Low, coupled with some prime Cowboy Junkies. Another comparison coming to mind (mine at least, I’m probably one of only few people still remembering them) mid-90’s alt country band Tarnation, mainly due to the reverb-drenched lead guitar on First Of August.
The short Remedios is a gorgeous instrumental (featuring her choir voice, but no words) and starting off with a lone and lonesome banjo to be accompanied by violin and dreamy keyboard sounds later in the song, giving it a hymnal, pastoral lullaby feeling. Dreamy being the appropriate word anyway to describe her music, all of her songs I so far know (on here and on her new album) possess that late night, sleepy atmosphere I am very much drawn to.
A short album (only about 33 minutes) but one sure to linger in my mind for a very long time.
Magic in its simplicity this is probably my favorite version of Van Zandt’s classic Pancho & Lefty
Most everybody knows Hard Times, and in case you don’t, here’s the skinny. It was written by Stephen (Collins) Foster and published in 1854. The first audio recording of it was released in 1905 (if Wikipedia is right). There have been dozens (probably more like hundreds) of recordings done since by the likes of Bob Dylan, Johnny Cash, Emmylou Harris and Nanci Griffith ( I would love to hear Iron & Wine’s, undoubtedly fine, version too, but couldn’t find it anywhere). Of course I don’t know all of them, but I simply cannot imagine there’s one better and more beautiful one than Gillian Welch’s. And Dave Rawlings’, I should add. I always thought it a shame they are referred to simply as Gillian Welch, as his contributions, mainly on the guitar, are crucial to what is making most of their songs so wonderful and good. Hard Times is no exception to this. The typically reduced simple banjo and acoustic guitar arrangement is absolutely befitting a song like Hard Times, not to mention Welch’s unmistakable voice. It’s taken from 2011’s The Harrow & The Harvest. Dave Rawlings Machine’s new album Nashville Obsolete is out on September 18th and most probably one of 2015’s outstanding releases. Rejoice (I certainly am).
Typically for me, I hadn’t heard about Jackie Greene before I watched his Acoustic Guitar Magazine session. Apparently he’s been around since the early 2000’s. Haven’t had the chance to get to know more of his work, but this certainly is a fine starting point.
Once again I discovered this artist through (and with thanks to) Mr. Tex Art Hobart from Ashland, Virginia. Ha.
Richard Buckner is a songwriter I am not listening to enough nowadays, but that wasn’t always the case (see my review of his album Bloomed here). So I am lucky I found this fine, intimate acoustic rendition of Townes Van Zandt’s Still Looking For You.
Ex-Uncle Tupelo and now Wilco singer/songwriter and guitar player Jeff Tweedy just as I like him best. Solo, acoustic and heartfelt (actually, the same can be said about most artists).