FolkWorld #44 03/2011

CD & DVD Reviews

Spike Flynn "It’s Alright"
Own label, 2009

www.spikeflynn.com

A lot of people try to capture that lonely, desolate feeling of exploring the American West. Spike Flynn with his blues-folk stylings here, has captured that feeling. That he is based in Australia makes even more sense as there is even more “old west” territory there than in the USA. Flynn has a good voice and writes songs that flow steadily allowing his voice to quietly make his points along the journey. There is a touch of banjo within a bluegrass-folk hybrid style at times, but this is one of those rare times where I actually prefer the even, steady pace of his folk-blues without a lot of variety. This record has a lot of rootsy, gutsy appeal and should satisfy listeners who enjoy good western singer songwriters who keep it simple.
© David Hintz


Judy Collins "Paradise"
Wildflower, 2010

www.judycollins.com

Let us get the obvious points out of the way first. Judy Collins has proven to have a great voice for parts of six decades now. She is known as a great interpreter more than for her songwriting, although she has done some decent work there. Well at 71 years of age, I can report that she still continues to have the voice and interpretive skills worth listening to. She brings in Joan Baez to sing with her on “Diamonds and Rust” and Stephen Stills to play and sing with her on Tom Paxton’s “Last Thing on my Mind”. Both are nice touches. My favorite here is her take on Tim Buckley’s “Once I Was” which will always soar to great heights with the right singer. Jimmy Webb’s “Gauguin” is a nice surprise, with Webb guesting on piano. Her one original song, “Kingdom Come” is a topical song about the World Trade Center attacks and is a nice personal touch to the excellent cover songs selected. As long as Ms. Collins is as in control of her voice as she is here, it his hard to imagine her making anything less than an enjoyable record. She has full control of its power and beauty on this record. Her fans will be happy she can still bring it.
© David Hintz


Luna Blanca "Provence"
Own label, 2010

www.lunablancamusic.com

Richard Hecks is the classical/flamenco guitarist leader of this band. He is a fine player and assisted by guitar, bass, keyboards and a bit of singing. The music is lush and filled with attractive melodies and harmony. It treads a little bit too closely to new age for my taste, but it should not be considered background music. “Cote d’Azur” is a lovely piece with more of the flamenco feeling present and a feeling of worldliness with the vocal chants and flutes fading in and out. “La Maison Bleue” has a great rhythm to it from the guitars and percussion with a punchy piano giving the song life. Ultimately this is a comforting album with some nicely arranged songs that stand out enough to warrant further listening.
© David Hintz


Bob Corritore and Friends "Harmonica Blues"
Delta Groove, 2010

www.bobcorritore.com

This is yet another blues album with an artist playing with a vast array of guest musicians. In this case, Corritore plays harmonica and a pretty mean harmonica at that. The core of the guests are vocalists, with many strapping on a guitar or playing piano as well. A few names are familiar to me such as Koko Taylor and Honeyboy Edwards. This is a fine effort even if I have seemingly heard a lot of it before. The harmonica, vocals and guitar work comes together with enough bite to warrant giving this some attention. Blues fans will certainly enjoy this effort as the production successfully showcases the talent here.
© David Hintz


Robb Johnson "Man Walks into a Pub"
Irregular Records, 2010

www.robbjohnson.co.uk

German CD Review

This is a clean but simple recording of Robb Johnson playing acoustic guitars and singing. And that is all the better to focus on his quality songwriting. He approaches Robyn Hitchcock with the wit in “A True History of Cous Cous”. His guitar work is also worth hearing as evident by the snappy melodies of the instrumentals “A Bracelet from Paris” and “Thomas Among the Dandelions”. And his cover of the Clash’s “Stay Free” is a fascinating choice. It is performed in the same folk style present on the other songs but it really did jump outward in the same manner of the Clash. Folk music fans always warm to smart and talented singer-songwriters and if you have not already heard of Robb Johnson, I would suggest you seek him out. And anyone that can obtain a quote like “Great song—I wish I’d written it!” out of Tom Robinson has got to be doing something right.
© David Hintz


Dom Duff "Roc’h"
Own label, 2010

www.domduff.com

Dom DufF, as it sometimes written, is a French musician working in folk-rock territory. All songs are his aside from one song co-written with Alan Stivell, which will give long time folk fans an idea of what this sounds like. There is a nice pace to most of the songs and a lot of bite with the bass and violins in addition to Duff’s guitar work. The production is top notch, with delicate acoustic guitar notes sharply coming through the back end of the sound filled with guitar, violin, bass and percussion up front (evident in the title cut). There is plenty of rock in the mix along with some traditional sounding melodies. Fans of Alan Stivell and Grahm Allwright should line up for this release.
© David Hintz


Martyn Joseph "Under Lemonade Skies"
Pipe Records, 2010

www.martynjoseph.com

30 years of making music is a long time. Welshman Martyn Joseph shows both the experience and skillful songwriting on this, his 16th album. It is a classic singer songwriter sound with full clear production with precise guitar work, steady rhythms and some keyboards and string arrangements. Joseph has a warm and thick voice that wraps its arms around the listener and pulls them in listen carefully to these thoughtful songs. The songs mine a territory between Ralph McTell and Dick Gaughan with the combination of quiet thoughts and tough social criticism. I found “So Many Lies” or “On My Way” as moving as much as some of the classics of the folk singer/songwriter genre. This is a class record all the way.
© David Hintz


The Ocean Band "Couch Dictators"
Interrobang Records, 2009

www.myspace.com/oceanband

After a collage of samples introducing the band, a spirited rocker spews forth. I hear some nice powerful brass amidst the usual electric rock instruments. There is a rhythm not unlike Sly and the Family Stone heavily present in the first song and to differing degrees thereafter. A song like “Tie Your Hands” is an interesting mix of classic rock and electronic post punk with a thundering beat. There is a certain mainstream appeal in the manner of Midnight Oil, but always a driving rock beat. I also liked the sitar led hip-hop funk-rock song “Made Up My Mind” with a combination of instruments and sounds that I am not sure I have ever heard. Sometimes the momentum is lost over 22 full-length songs (!), but they have a slick and gutsy approach to their music and there are plenty of songs that reverberate in my head. So they ultimately succeed as perhaps the best band I have heard from Singapore. Yes, that is a short list, but this still is an entertaining listen for rock fans, world-wide.
© David Hintz


Various Artists "Revolution Disco"
Trikont, 2010

www.trikont.com

This sampler has fifteen songs from fifteen bands that will individually and collectively have any dance music fan out of their seats. The music is full of energy and pace and covers a variety of styles from reggae to klezmer to ska to gypsy. There are many moments where I am reminded of Gogol Bordello, the Ukaranians and the English Beat. Zdib Su Zdub from Moldavia is perhaps the most energetic and heaviest of the bunch along with the intense Poymanie Muravyedi from St. Petersburg. There is an amusing cover of the Clash’s “Guns of Brixton” among the other highlights. And I cannot even began to imagine the truth of the liner notes where they claim you would need a truck to hold all the records released by good Polish reggae bands. It is hard to believe that even if you included the bad records, you would need more than a backpack, but perhaps there is a lot more to global cross pollination than I was aware of. If this sampler is any indicator, then there is even more fun to be had then I imagined.
© David Hintz


Gary Wright "Connected"
Larkio; 2010

www.thedreamweaver.com

Well, this takes me back to my high school days of seeing the suddenly hot Gary Wright touring Dreamweaver and his other radio friendly hits, playing that synthesizer with the shoulder strap so he could move around the stage. I actually met him at a record store signing where he was gracious and looked to be in a blissful state while being a practitioner of pyramid power. Lyrically, the title cut closes with his conclusion of being part of the cosmic race after losing his way. The rest of the lyrics are more personal looking for love, finding it, regretting losing it, and so on. He is still capable of bringing life to these lyrics with an expressive voice that was heard over 40 years ago in Spooky Tooth prior to his solo career. He has a couple of backup singers, which add to a bluesy soul feeling. The instrumentation is bright, rhythmic keyboard based work, with a live drummer most of the time. Joe Walsh and Skunk Baxter add some guitar work on a couple of songs and then combine forces with Ringo Starr on the opener, “Satisfied”. Wright toured with Ringo’s All-star tours, which I have heard was fun for the musicians, so it is nice to see them working together here. Still, the final verdict for me is that there is not anything that overly excites me It is listenable, but just a little too close to the uninspired mainstream arena. Gary Wright fans should enjoy it, although the friend I went with in 1976 to see Wright tells me that the previous record (Waiting to Catch the Light) is the superior effort.
© David Hintz


Sorry Gilberto "It Was the Longest Day
and We Didn’t Know How to End it"
Goldrausch Records; 2010

www.myspace.com/sorrygilberto

I instantly detected many of the modern folk moves present on this record. While I welcome many of the modern interpretations in the free folk or freak folk arenas, there is plenty of evidence of overkill as well. Thankfully, this entry from a Berlin duo is one of the better ones and at times, a very good record. Instrumentation is sparse with ukuleles and a melodica often the only thing I hear beyond the male and female vocals carrying the songs. Lyrics are sharp and funny… “I was sitting on the pavement. I was listening to the pavement”. Songs like “Diary of Dirty Dresses” and “Dear Academy” have a quiet intensity to them in the manner of Elly & Rikkert and even Fit & Limo. That is high praise from me as these two duos are two of the finest psychedelic folk duos ever. These two have captured the classic sounds of the late sixties and early seventies yet sound fully contemporary. I have a feeling that if they to open for Joanna Newsom. I would enjoy their set even more.
© David Hintz


Les Ramoneurs de Menhirs "Amzer an-Dispac’h"
Coop Breizh, 2010

www.ramoneursdemenhirs.fr

Gogol Bordello plays gypsy music in a punk style. The Pogues do the same with Irish music. This French band plays punk music with traditional folk flair within. It is all a matter of where the band places the starting point for their takeoff. Here, it is clearly with the loud raucous guitars, bass and drums of a punk band. But they add traditional folk melodies and some traditional instruments into the mix and get this interesting hybrid. But so you don’t forget where you are, there is a cover of Sham 69’s “If the Kids….” Generally, I am interested in this type of crossbred music as long as there is energy and some interesting songs. There are both present, so this one is destined for many future listens in between my Street Dogs and Steeleye Span records.
© David Hintz


Evensong "Evensong"
Rev-Ola Records, 2010

www.poppydisc.com

The first ever CD release of this 1972 is welcomed in this household. I have owned a vinyl copy of this lovely folk record born in my favorite era in folk music, so it may not have been needed for the ten original songs. But the good people at Rev-Ola have unearthed six bonus tracks to add making this an essential part of my collection. The original ten songs remind me of Magna Carta and Simon & Garfunkel at times with the concentration on exquisite harmonies. There is also a nice bit of variety between straight folk, country and psychedelic folk. I always prefer the psyche folk material myself and songs like “Gypsy” and “Borderline” still sound wonderful 38 years later. In addition to the lush vocals and acoustic guitars, there are a variety of arrangements with full orchestra to simple percussion or haunting flute. As for the six additional songs, they are all unique songs, four of which were recorded prior to the album. The remaining two were released as a single the year after the album was released. A couple sound under produced, but most are as slick and strong as the album’s songs.
© David Hintz


Figli di Madre Ignota "Combat Disco Casbah"
Universal; 2010

www.figlidimadreignota.it

We have more of the gypsy music/klezmer sounds that have been made popular by Gogol Bordello and many others. There is some pace and punch within, but it is not quite as crazy punk as Gogol Bordello. Still, they deliver it with heart and intensity and it mostly works I would say with good vocal tradeoffs and strong brass sounds. The mostly instrumental “Exxxotica” delivers exotic eastern sounds with a modern psychedelic undercurrent. This is a fun record and it balances styles well without going too far over the top. This Italian band looks like it tours up and down Europe and I would guess the live show would be a lot of fun based on what I hear on this record.
© David Hintz


Sophie Bancroft "Bird of Paradise"
Lisaleo Records; 2010

www.sophiebancroft.co.uk

This is a “tweener” as it strolls through a few different styles of music. It certainly has a folk-singer/songwriter foundation here, but there are many jazz moves, often with the bass lines. The percussion seems to include various worldly influences as well. This is hardly surprising considering Ms. Bancroft’s brothers are well known jazz musicians. I think she balances the styles well and writes some nice songs here. I enjoy some songs more than others with the playful “Occasional China” being the most interesting. Bancroft’s voice is strong, but she can pull it back a bit to add some depth to her lyrics. The arrangements are strong with a clear production that allows all the instruments to fight for space. Usually it is just guitar, bass, drums and fiddle, and there is room for all. Folk fans will have trouble finding a lovelier song than “When the Geese Fly South” which would easily fit within any folk era in the past several decades. The highlights make this album worth a listen.
© David Hintz


Cowboy Junkies "The Nomad
Series Volume 1: Renmin Park"
Proper, 2010

latentrecordings.com/cowboyjunkies

German CD Review This band has had an excellent reputation over the years and on the basis of this high quality release, they cannot do anything but improve that reputation. To simply put this band in “alt country” (which is about as over-used as acid folk and psychedelic) is engaging in overly simplistic labeling. There is not a whole lot of country here. Some Canadian-styled Americana (talk about struggling for labels!) is present with simple classic folk, rock and blues lines. There is a lot of experimentation with tape loops recorded during a 3-month period by Michael Timmins. The song writing is top notch with not a false note or lazy move anywhere on this album. I can see why so many great bands come from Toronto. They were likely to have been listening to this highly prolific band throughout the past quarter century. The good news for Junkies fans is that this is the first of four parts of their “Nomad series” which they will release over an 18-month period. That is nearly unheard of these days and if each subsequent release is anywhere near this good, these will all be required listening for music lovers everywhere.
© David Hintz


Cowboy Junkies "The Nomad
Series Volume 2: Demons"
Proper; 2011

latentrecordings.com/cowboyjunkies

German CD Review

In the Drive-By Truckers review (see below), I applauded the speed of their releases. But compared to the Cowboy Junkies, they look more like Axl Rose twiddling knobs on “Chinese Democracy”. Well, that long story is one for the ages, so let us simply say the Cowboy Junkies are creating a whole lot of music in the studios these days. This is the second album of a four-album series to be released over 18 months. Not doing original songs will certainly help the task, but that is not something I missed here as they chose to cover one of the finer cult songwriters out there, Vic Chesnutt. Sadly, Vic Chesnutt took his own life in December 2009, but his music and reputation as a great song writer is still out there and will be for some time. This release can only enhance his reputation as the Cowboy Junkies work their magic with satisfying arrangements, stellar vocals and strong interpretation. “Wrong Piano” begins things with a really nice rock workout. The songs then slide into that hypnotic lightly psychedelic landscape that the Junkies create so well. “Ladle” has a great jangly guitar line reminiscent of early REM and even some fuzzy chords in the chorus. Vic Chesnutt was a good performer and had a fine back-up band when I saw him, but the Cowboy Junkies are among the best at playing heartland folk or rock music with a sense of style to bring out the best in a song. This is a great pairing and a great effort to keep Vic Chesnutt’s music being played.
© David Hintz


Kelly Dalton "Everything Must Go"
Halfway Home Records; 2010

www.kellydalton.com

We have a fairly slickly produced record here. Mr. Dalton plays piano, acoustic guitar and sings all the songs. He has a healthy amount of help in the studio to fill out the songs with rich arrangements. The sound is a bit too country for me at first, but it settles into more of a listenable Americana singer/songwriter style. The talent is there, although there I do not really detect anything that stands out beyond the expectations of this type of music. It is perfectly decent music.
© David Hintz


Brian Kramer "Myself and Mine"
Own label; 2010

www.briankramerblues.com

This is pretty much a straight blues record featuring all original songs played on one guitar with one voice. The recording is clean, the playing is accomplished and his voice is solid. That said, this is a blues record that features nothing I have not heard before. Still, I would rate it above average compared to blues records released these days. If you want the blues and this is available, you won’t be disappointed. If you have a chance to see Brian Kramer, I believe you would see a solid and enjoyable set.
© David Hintz


Seth Swirsky "Watercolor Day"
Grimble; 2010

www.seth.com

Eighteen short songs are delivered in 43 minutes on this nice little pop record. The sound is reminiscent of sixties pop music that reminds me of the Zombies. There are lots of horns and strings behind Swirsky’s friendly voice. This is a thoughtful record that engaged me much more than I expected. It is a lot more challenging writing an effective 2 ½ minute pop song than it is to soar off on a 20-minute psychedelic jam (as much as I probably would enjoy that). However he succeeds in that challenge. Swirsky is also a filmmaker and it comes as no surprise that he is working on a documentary on the Beatles. He certainly has invoked the spirit of George Martin with the production on this record, let alone songwriting that is in the pop universe that the Beatles created.
© David Hintz


Ciaran Dorris "Home"
Greentrax, 2010

www.ciarandorris.com

The very name Ciaran Dorris conjures up images of classic Celtic folk songs. Hower, the Belfast-born Dorris worked more in Scotland and has also been a long-time collaborator with a Kentucky-born fiddler. In fact, this album starts with a surprising country/Americana feel to it. Cultures and styles soon mingle together in what ultimately is an agreeable mix of folk-rock. The traditional arrangement of “The Gentle Maiden of Spancil Hill” (actually two songs merged) is an excellent work showcasing fine piano and Dorris’s resonant singing. But he can also write a good song as evidenced by “Riverdale Roads” and “Ghosts on Glasgow Green”. The album drifts into a comfortable sameness, which does not always endear me to it. However, there is enough good material here for those that like smooth, well done singer-songwriter folk with some worldly influences.
© David Hintz


Shiregreen "Peaceful Shades"
Fachwerk; 2010

www.shiregreen.de

This band appears to be a vehicle for the songs, singing and acoustic guitar of Klaus Adamaschek. He is accompanied by a guitarist, bass/keyboardist, and drummer. The band is rock steady and plays in a balanced style that covers most of the major genres that one would find on most singer/songwriter albums. Adamaschek’s songs are contemplative and easy to get involved with. His singing is resonant with that classic road-weary delivery that could easily slide into cliché, if it were not so heartfelt. “Where My Love Goes” is a good example of how his subtle vocal inflections on top of the steady music underneath can unearth deep emotions within the listener. The recording is also effective as evidenced by two distinct ways of recording the vocals on “Queen of Hearts”. There is a country feel to some songs, but it still leans more toward classic folk music. I believe folk fans and those seeking out strong songwriters will enjoy this record as much as I did.
© David Hintz


Ronnie Taheny "Renaissance Point"
Arty Records; 2010

ronnietaheny.myshopify.com

This is a two CD set featuring classic singer-songwriter material that feature a lot of piano with the powerful singing of Ronnie Taheny. Her voice has the proper strength to bite into the strong lyrics present in most every song here. There is a lot of talent in the accompanying musicians as well. Some songs are sparse in the playing while others have the “Outhouse Orchestra” adding plenty of cello and flute with a progressive complexity worthy of classic Jethro Tull (less the Martin Barre electric guitar) crossed with the Eurythmics. In fact, there is sometimes a 70s to 80s mainstream sound here that either can be off putting or welcome depending on one’s mood or musical taste. I think the quality and artistic guts are strong enough to warrant a listen, even if it gets to be a long listen at times. I tend to appreciate artists that aim high.
© David Hintz


Lobi Traore "Rainy Season Blues"
Glitterhouse, 2010

www.mali-music.com

What once was unique has now become routine. How often we have been a part of that in music? In this case, I am talking African blues guitar. The late Ali Farka Toure of Mali has been rightly recognized as a master musician. I have seen his son Vieux play twice live and was thoroughly impressed. Much more African music is getting worldwide attention including this fine new release. Unfortunately, Lobi Traore recently passed away at 49 and this is his final release. He is also a guitarist from Mali and has presented a complete album of just voice and guitar. Just? Voice and guitar is all you need when you can express yourself this well. Traore uses tempo and volume shifts in subtle ways to really deliver his compelling songs. The guitar rings out and the vocals repeat in a chanting manner that is addictive. Fans of the genre will certainly enjoy this. If you have not heard anything from Mali, any blues-rock-folk fan should treat themselves to a listen.
© David Hintz


Yambalaya "Dance of Ambivalence"
Manntau; 2010

www.yambalaya.net

This German band fuses many dance music forms into their overall sound. I would say it is ska based with a few moves into dub and rock mostly along with a hip-hop move or two. The music is slick and well produced. The horns come through nicely and every instrument is crystal clear. The vocals are clean and clear, perhaps a bit too mannered for my liking. If you like clean danceable music, this one will fit the bill. If you want something edgier, I would try elsewhere.
© David Hintz


Wolfgang Kalb "Got Them Old Walkin’ Blues"
Own label; 2010

www.wolfgangkalb.de

Whenever I put on another blues album and hear the many traditional songs that have been written and played by thousands of artists, some before I was born, I never really know what I can say about yet another blues album. Kalb is from Germany and plays a solid blues acoustic guitar and some songs have some great bite and resonance. His slightly accented voice gives an exotic touch. Still, this is blues you can get anywhere for the most part. However, there are a couple of cuts that really stood out for me. The traditional “Weepin Willow” had a feel to it comparable to the British folk-blues guitar pickers from the sixties. A song called “Driftin’ Blues” also sounded from that era and had more of a folk feeling which was a welcome break and kept my attention high. I am sure Kalb would be the first to admit that he is not trying to be revolutionary here, but he has crafted a nice record with enough personal touches to make it a worthy listens for blues fans.
© David Hintz


Michael on Fire "The Artist, the
Dreamer, the Lover, the Fool"
Real Eyes; 2009

www.michaelonfire.com

The worst about Michael on Fire for me is that just seeing has name has me singing it to the tune of Brian Eno’s “Baby on Fire”. Now if only there were any songs here that could stick in my brain half as well as that one. To be fair, that really is not the full intent. This is a singer-songwriter album that varies the instrumental delivery from guitar to piano with more emphasis on guitar. The vocals are earnest, but between the singing and lyrics, I really did not fully get into this as much as I hoped. The talent is there and it is a good listen, but ultimately the lyrics were more a distraction than something to get lost in. This is his 20th album, so there is no doubt some very good material out there. I would look backward to find it.
© David Hintz


Tony Reidy "Hayshed Days"
Own label; 2010

www.myspace.com/tonyreidy

Good Irish folk rock is the daily special for this CD. Tony Reidy provides steady, slightly worn vocals with guitar, mandolin, harmonica and banjo. He is ably assisted by another guitarist/basist/fiddler from Dervish and additional backing vocalists. The stringed instruments nicely weave in and around the melody with very catchy vocal lines, all held up with a steady bass guitar. “November Daisy” is a dreamy song that I drifted away with. It was followed by “No News is Good News” which is a nice snappy number moving in an entirely different direction. When quality writing and playing are present, varied songs such as these work perfectly well together. It works here for fans of quality Irish music and fans of good folk music with just a bit of rock backing.
© David Hintz


Paul Cowlan "Out of the Sun"
Brambus Records, 2010

www.paulcowlan.co.uk

The first song immediately reminds me of Fred Neil’s “That’s the Bag I’m In”. While the second song goes more in a folk direction, subsequent songs such as “Out of the Sun” head back to the intriguing jazz-folk-blues hybrid of Fred Neil. Perhaps it is the resonant voice of this UK singer-songwriter that reminds of the brilliant Fred Neil, but the occasionally interesting arrangements are the real connection. Other songs head towards blues and folk with a very steady and mannered approach. Some are better than others and it is not easy to sustain high quality over 16 songs for all but the best songwriters. I could have done without the calypso song at the end. That would have helped. Still, the highlights are worth a listen and I can recommend some of these songs easily enough.
© David Hintz


The Banditi "Achtung!"
CinicoDisincanto; 2010

www.thebanditi.com

What hath Gogol Bordello wrought? There are now many, many bands crossing punk rock, metal, rock, folk, ethnic music and gypsy sounds together in manners like Gogol Bordello, but (hopefully) with a few twists and style changes. This latest Bordello-like band is from Italy and they thankfully do have some original twists to bring to this popular genre. The vocal work between male and female singers is great and full of the obligatory energy. The music is gypsy style punk-metal with lots of electronics and other instruments moving in and out among the varied songs. I liked that they used electronics to complement their playing rather than dictate it. They play with pace and volume which allows for an interesting listen from beginning to end. Of course, I would imagine the live show to be exciting, but they are able to capture enough of that excitement here to make this album a worthwhile addition for fans of this genre. “Kalinifta” was a lovely song and the all-out blaster to close the album (La me fameja) was brilliant as well.
© David Hintz


Paul Vens & Friends "Words in Time"
Own label; 2010

www.paulvens.nl

Vens has a nice style working on this album with dreamy folk sounds countered with a sharper rhythmic and percussive guitar. The contrast is quite effective and gives him a unique voice in the folk/singer-songwriter arena. At times this lapses into a steadier dreamy folk format, but the contrasts are effective. Vens provides the songs, voice, and guitar and piano with his friends offering flutes, violins and additional vocals and melodica. The arrangements are sparse with the instruments given plenty of space to work with. That does create the mysterious dreamy environment, evident on the amazing “She’s Gone”. His vocal work is a bit breathy at times, but it does suit the songs and ultimately this is an enjoyable album.
© David Hintz



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