Author: Edd Hurt
Record Review from web archive December 7, 2008
Linda Perhacs
From northern California, Linda Perhacs recorded one album for the Kapp label and promptly vanished into obscurity. This was perhaps inevitable, given the proliferation of singer-songwriters in 1970, when Parallelograms appeared. Perhacs was an inspired amateur: she was a dental hygienist who met the record’s producer, Leonard Rosenman, through her work. A television and movie [...]
Record Review from web archive November 22, 2008
Jim White
Good old southern pantheism has rarely been as catchy, drowsy and tuneful as the best moments on Jim White’s 2007 disc Transnormal Skiperoo. If “Blindly We Go” slouched and seduced in the manner of fellow southern obsessives Lambchop, the song seemed more a triumph of texture than a statement of intent. Still, White has a [...]
Record Review from web archive November 17, 2008
Nimrod Workman
Nimrod Workman’s astounding autobiographical song “42 Years” details a life spent in the coal mines of West Virginia and as a union activist, and stands as the most compelling performance on I Want To Go Where Things Are Beautiful. The first release from the Louisville, Kentucky, label Twos & Fews, I Want To Go was [...]
Record Review from web archive October 15, 2008
Joseph Arthur & The Lonely Astronauts
Temporary People takes loss as its subject, and anyone who’s ever fallen passionately in love will recognize its mixture of ecstasy, terror, uncertainty and detachment in the face of big, unfashionable emotions. Joseph Arthur renders these dozen songs subtly, but the album’s achievement rests in the Brooklyn songwriter’s inspired use of the same old rock [...]
Record Review from web archive October 2, 2008
Charlie Louvin
Charlie Louvin’s phlegmy, tobacco-stained voice threatened to fade away amid the recording of his self-titled album of last year, but producer Mark Nevers found a calm, folkish context for the great country singer’s poker-faced demeanor and old man’s croak. Even with the likes of Marty Stuart and Elvis Costello pitching in, that album didn’t play [...]
Town and Country - Shorter Artist Feature from Issue #75 May-June 2008
Carolina Chocolate Drops – Digging back, driving forward
Since the late 1950s, folkies have looked to the past for inspiration, and made connections between the popular rhythms of their day and the ancient excursions of their hip — and often unheralded — forebears. It probably doesn’t matter that this recovery process only got cooking around the time rock ‘n’ roll began to register [...]
Waxed - Record Review from Issue #75 May-June 2008
Donnie Fritts – One Foot In The Groove
Starting off with a groove that lays N.C. Thurman’s Hammond B-3 licks over Mike Dillon’s drums and David Hood’s bass, Donnie Fritts’ One Foot In The Groove plays fine as a humane, southern-specific rehab record. So when the Alabama-born singer and songwriter declares, “Feelin’ low and flyin’ high/I didn’t know what to do,” or reaches [...]
Waxed - Record Review from Issue #74 March-April 2008
Tim O’Brien – Chameleon
Chameleon finds former Hot Rize hotshot Tim O’Brien puttering around co-producer Gary Paczosa’s garage with a “hillbilly apparatus” that includes guitar, mandolin and bouzouki. O’Brien plays the hell out of them, swinging minor-key blues on “Where’s Love Come From” and making something nicely obsessive of his fiddle accompaniment on “Phantom Phone Call”. He sings in [...]
Waxed - Record Review from Issue #74 March-April 2008
Karen Parks – Nobody Knows: Songs Of Harry T. Burleigh
Born in Pennsylvania just after the end of the Civil War, Henry Thacker Burleigh studied at the National Conservatory of Music, conducted African-American operas such as George Walker and Bert Williams’ 1898 The Senegambian Carnival, and gained fame for his baritone singing voice. As arranger, Burleigh recast African-American spirituals as art songs; his “O Southland” [...]
Not Fade Away - Reissue Review from Issue #74 March-April 2008
Karen Dalton – Cotton Eyed Joe: The Loop Tapes — Live In Boulder 1962
Karen Dalton sang in a resigned, motionless, foggy voice, and her twelve-string guitar playing combined folkie imprecision with blues feeling. Since her 1993 death, Dalton has been taken up as stylistic forebear by musicians such as Devendra Banhart and Joanna Newsom. The performances here were captured on reel-to-reel by Joe Loop, who owned the Attic, [...]
