Showing posts with label David Rawlings. Show all posts
Showing posts with label David Rawlings. Show all posts

Tuesday, July 23, 2013

Lauren Sheehan – The Light Still Burns



LAUREN SHEEHAN
The Light Still Burns
Wilson River Records 
laurensheehanmusic.com

“Only a Gibson is good enough” was a banner slogan that adorned about 10,000 guitars produced by the Gibson Guitar Company of Kalamazoo, Michigan during the Second World War. With almost all the male workforce off to the War, the Gibson factory – like so many others at that time – employed mostly women. While the slogan itself was questionable (I’m more of a Martin-fancier myself), there is no denying that these “Banner” Gibsons were very good, sometimes great, instruments. A new book, Kalamazoo Gals: A Story of Extraordinary Women & Gibson’s “Banner” Guitars of WWII by John Thomas, was published this year.

The Light Still Burns by Lauren Sheehan is a companion CD to the book (author Thomas is a
co-producer of the album) on which she plays a different Banner Gibson built between 1942 and 1944 on each of the dozen tracks. With one exception – “Hard Times” by Gillian Welch and David Rawlings – these are all songs and tunes that could have been played on these guitars when they were brand new. In the CD booklet, Lauren notes these were songs that came to mind as she read the stories in the book and they range from jazzy blues like “I Wish I Could Shimmy Like My Sister Kate,” to “Home on the Range,” probably the most famous of all cowboy songs, as well as folk songs, parlor songs, gospel pieces and some intricate instrumentals (although I’ve heard many versions of “Soldier’s Joy” over the years, I didn’t know what soldier’s joy actually was until I read Lauren’s notes).


Given the circumstances of when these guitars were made, and who made them, the most poignant track is the medley of “When Johnny Comes Marching Home,” which dates from the American Civil War, and the traditional Irish song, “Johnny I Hardly Knew Ya.”

As I noted in my review of her earlier album, Rose City Ramble, Lauren is a lovely singer who knows how to use her voice to great effect and is an accomplished guitarist who crafts excellent arrangements for each of the songs she chooses. Most of the tracks are solo performances but she’s joined by guitarist John Schwab – also playing a Gibson Banner guitar – on “Soldier’s Joy” and by her daughter, Zoë Carpenter, who sings harmony on “Home on the Range” and a medley of “In the Sweet Bye and Bye/Keep on the Sunnyside.”

Each of Lauren’s previous albums has been a treat to hear and The Light Still Burns is no exception. The album title, by the way, comes from a Gibson magazine ad from 1943 – a reference to keeping the light burning while the boys were away at the war.

Find me on Twitter. twitter.com/@mikeregenstreif

And on Facebook. facebook.com/mikeregenstreif

--Mike Regenstreif

Wednesday, December 14, 2011

Top 10 for 2011

Here are my picks for the Top 10 folk-rooted or folk-branched albums of 2011 (including reissues). I started with the list of more than 400 albums that landed on my desk over the past year and narrowed it down to a short list of about 35. I’ve been over the short list a bunch of times and came up with several similar – not identical – Top 10 lists. Today’s list is the final one. The order might have been slightly different, and there are several other worthy albums that might have been included, had one of the other lists represented the final choice.

1. Tom Russell Mesabi (Shout! Factory). There are a couple of distinct, but somehow linked, song-cycles on this album. The first explores the nature of the pursuit of art, the nature of legend, and the rewards and the cruelty of fame. The second is about the back-and-forth exchanges and borderland inter-dependencies of the area around El Paso, Texas and Juarez, Mexico. Mesabi is another in Tom Russell’s long series of masterpiece albums – all of them different from each other, all of them layered to reveal more with each hearing.


2. Kate & Anna McGarrigle – Tell My Sister (Nonesuch). An essential 3-CD set that reissues the first two highly acclaimed Kate & Anna McGarrigle albums – Kate & Anna McGarrigle and Dancer With Bruised Knees – along with 21 previously unreleased demos – many of them Kate solo – recorded between 1971 and 1974. The third CD of previously unreleased demos is absolutely wonderful. While most of the songs would end up being recorded on later Kate & Anna albums, there are six songs that have never been released before.


3. Gillian Welch – The Harrow & the Harvest (Acony). It’s been eight years since Gillian Welch’s last album and the wait was rewarded with a superb set of new songs steeped in folk music tradition. The only musicians are Gillian and David Rawlings, her co-writer and long-time partner. The arrangements seem simple but are as deeply complex as the layered songwriting.

4. Stan Rogers – The Very Best of Stan Rogers and Fogarty’s Cove (Fogarty’s Cove/Borealis). The project to remaster and reissue the catalogue of Stan Rogers, arguably Canada’s greatest folk-rooted singer-songwriter, began with The Very Best of Stan Roger, a 16-song overture, and continued with Fogarty’s Cove, his first album. No contemporary songwriter has captured Maritime life as genuinely as Stan did on Fogarty’s Cove.



5. Bruce Cockburn – Small Source of Comfort (True North). Small Source of Comfort is Bruce Cockburn at his most intimate, his most musical, and his most incisive. It quickly assumed its place among my favourites of Bruce’s many albums.

Click here for my full-length review of Small Source of Comfort.

6. Diana Jones – High Atmosphere (Proper American). The third in a series of superb albums that Diana Jones has released since 2006 in which she creates seemingly simple and plainspoken (plain sung, really) songs which draw on the traditions of southern folk music. While the songs and performances may be seemingly simple, they are, in fact, skillfully drawn pieces that weave together timeless melodies with lyrics that are poetic and oblique on some songs and which tell stories and present fully fleshed out characters on others. 


7. The Klezmatics – Live at Town Hall (Klezmatics Disc). The Klezmatics, one of the most creative and influential of contemporary klezmer bands, celebrate their 25th anniversary this year with this two-CD set recorded at their 20th anniversary concert in 2006 where the band was joined by a stellar bunch of 26 other guest singers and musicians to play some of the best music from their nine previous albums in what really was a once-in-a-lifetime extravaganza.


8. Bruce Murdoch – Sometimes I Wonder Why the World (Bruce Murdoch). These intimate and intense songs seem to flow like 13 movements in a suite. Mature love and human courage are the dominant themes. New songs from Bruce Murdoch are always to be treasured.


9. Ry Cooder – Pull Up Some Dust and Sit Down (Nonesuch). Drawing on traditional folk, blues, Mexican and rock motifs, and the influence of Woody Guthrie, Ry Cooder shows how vital contemporary topical songwriting can still be. While the anti-Bush pieces may already seem dated in the Obama era, even they speak to enduring themes of war, peace, honesty and accountability.

10. Carrie Elkin- Call It My Garden (Red House). A mature artist who has obviously developed her song-craft and performance styles, Carrie Elkin’s songs are layered in meaning and seem to reveal more each time I’ve listened to this compelling album.



---Mike Regenstreif

Tuesday, October 19, 2010

Peter Rowan Bluegrass Band -- Legacy

PETER ROWAN BLUEGRASS BAND
Legacy
Compass Records
peter-rowan.com

Peter Rowan left Massachusetts in 1964 to play guitar and sing with Bill Monroe and his Bluegrass Boys – the legacy band in bluegrass music. After serving his three-year apprenticeship with the father of bluegrass music, he’s gone on to make all kinds of music from Tex-Mex to folk, from reggae to rock ‘n’ roll, with frequent returns to make some of the best bluegrass albums north of Kentucky.

Legacy, featuring an all-star set of musicians is surely the finest album of traditional, by-the-rules bluegrass music I’ve heard this year. Peter’s songwriting is first-rate, his singing has remained virtually unparalleled over many decades, and he’s surrounded himself with a dream band with the great Jody Stecher, one of our finest folk artists, on mandolin, Keith Little on banjos and Paul Knight on bass. All three add superb harmonies and Jody and Keith each take a lead vocal. There’s is also a great Jody Stecher instrumental track that includes Tim O’Brien sitting in on fiddle.

The other guests on the album are Del McCoury and Ricky Skaggs who join Peter for some close gospel harmonies on “God’s Own Child,” and singer Gillian Welch and guitarist David Rawlings who add something special to the quasi-gospel “So Good.”

Among the other highlights are “The Family Demon,” sung from the perspective of a young boy determined to not be defeated by his violently abusive father, “Jailer, Jailer,” a somewhat oblique song that seems to suggest that the psychological bonds one enforces on himself can be stronger than the steel bars of a jail cell, and “Across the Rolling Hills,” which seems to combine Eastern and Western spiritualism. Spiritualism, in some form or another, seems to be the pervasive theme of much of this album.

--Mike Regenstreif