Revolt of the ILX Brigade: New Post-Fahey Folk For PPL that post in the Takoma & Tompkin's Square Threads

ah shit i wasn't gonna go to record store day :(

I need it too...

Wow, yeah, this William Tyler is great. Only into the first track actually but I really dig it. Excited to see him- interested to see how he does this live- acoustic or electric, will he have accompaniment at all, etc

I'm very excited to pick up that record, too.

Actually, I'm kinda zoning out a bit to this, and maybe not in a good way? Some of the extra flourishes strike me as a bit cheesy, maybe that's just me. Finding it hard to latch on to anything. Maybe it's getting a little too new agey feeling for me. I dunno, I'll still give it a chance.

Oooh but track 4 is tasty. Really scratching an itch for me.

Some of the extra flourishes strike me as a bit cheesy
that's my main complaint, there are times when it seems just a little ... overripe? but it's still great for the most part, I'd say stick with it, there's some less ornate stuff on there too.

and thx for the tip on that comp, ian, ordered it.

i actually made a playlist on spotify without "cadillac desert" i think it's a vastly better album that way, for some reason that song irks me in some way and reflects poorly on the others

That's the song I just didn't care for, good to know it's an outlier?

Lol @ "overripe"

haha, well, we're dealing w/ a genre that's generally solo acoustic guitar... add some overdubs and everything starts sounding kinda decadent.

how do you guys like six organs, esp for octavio paz? that had a lot of overdubs iirc

octavio paz is awesome! i was mainly kidding about the decadent thing, i don't mind overdubs. as long as it sounds cool.

i'm not against overdubs necessarily or production, but i do think the tyler thing is walking a pretty fine line IMO, and mostly staying on the good side of just being pretty indie rock instrumentals vs. being this type of shit

even fahey def approached stuff as records and production compared to his contemporaries, all his tape cut up stuff and found sound collages....or the backwards stuff on the great san bernadino excursion....or just his use of echo and reverb in general

i was never entirely won over by six organs but that is probably my favourite. i say that as a curmudgeon who remains unmoved by a lot of the things ppl charmingly enthuse about in this thread.

fair enough!
let me charmingly enthuse about this: http://delta-slider.blogspot.com/2013/03/john-fahey-live-at-stoneybrook-1972.html

I think Fahey was really onto something with the delicate additions of reverb, esp. on Days Have Gone By, (i.e. Impressions of Susan), when your instrumentation is so sparse the addition of production effects carries a lot more weight imo, it's easy to go too far (see: Cadillac Desert or w/e)

yeah, the crossfade from a crisp studio mic to a mic in an echoey corridor outside trick deployed on John Henry on Blind Joe Death is so simple & so great

Also, that Stoneybrook boot slays, he does some real cool variation stuff on Fare Forward Voyagers I haven't heard anywhere else. Far superior to the Louisville 77 release that also came out as part of this latest Fahey week- he sounds pretty sauced on that one and some of the tracks are downright sloppy...

Speaking of Record Store Day
http://www.tompkinssquare.com/wordpress/wp-content/uploads/2013/03/TSQ-Brick-Feb-8-131.jpg

Tompkins Square Label releases 4 titles for Record Store Day, April 20th, 2013. These limited items will be available exclusively at independent record stores in the US and overseas.

IMAGINATIONAL ANTHEM VOL. 6 : ORIGINS OF AMERICAN PRIMITIVE GUITAR
Gatefold Vinyl : TSQ 2868 out April 20th (Record Store Day) Ltd 1500
CD : TSQ 2851 out April 30th

If American Primitive Guitar begins with John Fahey and the Takoma School, then the actual origins of this sound is found within this collection of fourteen classic solo guitar performances. Recorded between 1923 to 1930, this set is the “Rosetta Stone” of style and repertoire tapped into deeply by Fahey, Basho & Rose, among many others. Sam McGee, Riley Puckett, Bayless Rose, Sylvester Weaver, Lemuel Turner, Frank Hutchison and Davey Miller are the rural artists included in this anthology. Each one of these showcases a particular technique and sensitivity sourced from the earlier 19th century parlor guitar tradition. Several of these sides are reissued for their first time including Sylvester Weaver’s “Guitar Blues” which is the first solo finger picked guitar solo ever recorded. Stunningly remastered and annotated by Christopher King.

CHARLIE POOLE & THE HIGHLANDERS : THE COMPLETE PARAMOUNT & BRUNSWICK RECORDINGS, 1929
Vinyl w/ Poster inside : TSQ 2882 out April 20th (Record Store Day) Ltd 1500
CD : TSQ 2875 Out April 30th

From 1926 to 1930 one of the most popular rural string bands on record was Charlie Poole & The North Carolina Ramblers. Through their 78 RPM discs and their various performances, Charlie Poole was second only to Gid Tanner and His Skillet Lickers. Poole’s uniquely syncopated three finger banjo picking style coupled with his Piedmont vocal inflections eventually colored and defined much of what we consider “old-time” music. The classic configuration of banjo, fiddle and guitar with vocals was encouraged by the main label that promoted Poole but he also wanted to record instrumentals featuring twin-fiddle and piano. As renaming his group The Highlanders, Poole was able to actualize this musical vision. This collection contains all of the sides that Poole made with Roy Harvey, Lucy Terry, and twin-fiddlers Lonnie Austin & Odell Smith. Remastered in beautiful sound by Christopher King and with notes written by old-time musician and scholar Kinney Rorrer.

JOE BUSSARD: “Guitar Rag / Screwdriver Slide” 78 RPM VINYL TSQ 71136 LTD. 700 Units. Out April 20th (Record Store Day)

Famed Fonotone label pioneer and 78 collector Joe Bussard plays two tunes with a screwdriver.

FOR THE FAITHFUL: An 18-track Tompkins Square Label CD sampler featuring recent and forthcoming tracks. Available FREE from participating indie stores on April 20th (Record Store Day).

Ask you friendly indie retailer if they will be stocking these items for Record Store Day. If there is any surplus stock on the IA6 & Poole LP’s, we will make them available on our site on April 30th along with the CDs. Thanks !

Will definitely get the Imaginational Anthem comp!

new glenn jones track - https://soundcloud.com/thrilljockey/glenn-jones-bergen-county-farewell/s-kIM9z

Oh yeah, just got the press release:
Glenn Jones - My Garden State:
01. Chimes
02. Across the Tappan Zee
03. Going Back to East Montgomery
04. Blues for Tom Carter
05. The Vernal Pool
06. Alcouer Gardens
07. My Garden State
08. Like a Sick Eagle Looking at the Sky
09. Bergen County Farewell
10. Chimes II

Glenn Jones is a unique voice working in the decades-long tradition of American Primitivism. What sets him apart from the many devotees to this style is the combination of expressive playing and technical skill, most significantly his inventive use of alternate tunings and partial capos. As anyone knows who has seen him perform, Glenn is a remarkable storyteller, and his songs reflect that talent. The songs on Glenn’s latest, My Garden State, are evocative and redolent, and serve as a testament to Glenn’s talent for conveying a wide array of emotions, many times in one song, without saying a word.

My Garden State was written in the New Jersey home where Glenn's family moved in 1966, while he was caring for his mother who suffers from Alzheimer’s. The songs and sounds on the album are reflective, but never dour or sad. My Garden State was recorded by Laura Baird in Allentown, NJ. Laura joins Glenn on the first proper song, “Across the Tappan Zee” on banjo, interweaving her plaintive melodies with Glenn’s gentle picking. Laura’s sister Meg, who was a founding member of Espers and plays with Laura as The Baird Sisters, also joins in on the final minutes of “Going Back to East Montgomery,” an eight minute long composition that showcases Glenn’s ability to craft a long form piece that is at once expansive and immediate.

The two tracks that form the centerpiece of the album, “The Vernal Pool” and “Alcoeur Gardens” were composed spontaneously in the studio, a technique Glenn developed on tour with Damo Suzuki with his former band Cul de Sac. Where “The Vernal Pool” is exuberant, “Alcouer Gardens” is sparse and quiet, with field recordings of rain and thunder providing a bed for Glenn’s guitar, emphasizing the space between the notes as much as the notes themselves. The songs on My Garden State could have been written by no one except Glenn Jones, brimming with joy, sorrow, and the complex in-between that makes life worth living.

Glenn will be touring throughout the Spring, as well as finishing an album with drummer Chris Corsano and monologist David Greenberger of The Duplex Planet.

I added the bold, hope it's not too much.

corsano...damn!...monologist...um....

haha, yeah. Greenberger's Duplex Planet stuff is pretty cool though.
I approve of Jones' Tappan Zee Bridge reference.

Not all those other monologists--I'd like to check this album of his, based on xgau's recent description:
David Greenberger/Paul Cebar Tomorrow Sound: They Like Me Around Here (Pel Pel)
I do wonder how reliably I can judge these records, in which Greenberger transforms serious seniors' generally touching, often loopy, and sometimes inspirational musings and recollections into dramatic readings with musical accompaniment. They're pretty numerous by now‑-I sure haven't heard them all‑-and risk getting repetitive too. Nevertheless, they do vary, in part because Greenberger shuffles arrangers. Yet though this is billed as a "follow-up" to the 2009 Cebar collaboration Cherry Picking Apple Blossom Time, it's very different structurally. There 34 of 38 tracks run under 2:13, where here only three of 19 do, and in part because these have more heft, fewer of them skew toward pathos or damage. The steady good humor of the voice the 58-year-old Greenberger has developed to enact his interviewees always imparts dignity, smoothing over hesitations and infirmities. But here the words have extra force, with Cebar's instrumentation fuller too. The proud "She Voted," the prouder "Thank You, Reuben," the skydiving "The Thrill," and the title track "Nemo and Harmony" all inspire mightily.

next album features garrison keillor & the ghost of spaulding gray

new glenn jones sounds great and the album cover of cuet 4-leaf clover playing banjo is great

btw, i'm probably just late pass on this but peter lang told me that "american primitive" wasn't named that because of "primitive" folk music but after "french primitive" art/film

haha, i didn't know that either.
the album might fall a little outside of the purview of this thread (it's a full band kinda deal), but the forthcoming steve gunn record is sounding awesome.

just came across this Jones interview w music from '11; hopefully they'll do a sequel:
http://www.npr.org/2011/10/01/140935915/a-singular-guitarist-emerges-from-john-faheys-shadow

xpost

lang also said something like "john hated the term folk music, he thought that was little german children singing songs in leiderhosen" or something like that lol

glenn jones is a gentleman & I love his playing. I was pretty sure fahey said he used primitive in the sense of primitive painters i.e. untaught.

just listening on spotify but the william tyler record is wearing very well, i like it more each time

can't wait to snag the vinyl

My Garden State was written in the New Jersey home where Glenn's family moved in 1966, while he was caring for his mother who suffers from Alzheimer’s.

something in wrong in this sentence, dude can't be THAT much older than me.

Yeah, it's the syntax - sentence seems to be saying that, in 1966, Glenn's family moved to Jersey so he could take care of his mother, who was suffering from Alzheimers. I think it should read:

My Garden State was written while Glenn was caring for his mother (who suffers from Alzheimer's) in the New Jersey home his family moved into in 1966.

Or something like that. It's early. But yeah, that sentence is problematic. I've met Glenn, he seems to be in his mid-to-late forties? I could be wrong.

i might put his age up into his mid-fifties, but i'm really not sure.but yeah, he definitely wasn't writing material for his new album in 1966.

rounded up a couple recent, rare-ish daniel bachman things over here: http://doomandgloomfromthetomb.tumblr.com/post/46939156294/daniel-bachman-12-22-12-12-28-12-grab-a

https://www.youtube.com/watch?v=S3L-acWwioE

Just stumbled on this. Looks like it was shot in the same kind of area as my childhood home, given his new album is about NJ. Reminds me that hanging out by quiet railroads in the summer is a favorite for me.

Could anyone throw a little top ten list at me on the laid back front-porch side of the genre rather than the dramatic, more James Blackshaw kind of sound? Want to gather some for summer relaxation countryside purposes, and I'm a little overwhelmed by the amount of artists. I already have all my Fahey and 30s era blues, Cast King records ready. Thanks in advance!

you dug into jack rose at all? some of his stuff leans a bit more in the direction I think you're looking for.

i'd recommend nathan salsburg's recent record "affirmed" as well.
you want instrumental stuff, right? there is a whole world of great songwriters in the ssw/folk/country tradition, though often with less emphasis on chops.

one side of the harry taussig lp 'fate is only once' is very much in this style.

the new harry taussig (fate is only twice) is good too esp considering the 50 year gap between albums

Jack rose yes! But I keep forgetting to pick up a record or look for one at the shop. Instrumental or otherwise, anything is great. Chops don't matter as much to me, more about aesthetic overall. Never listened to Taussig, thank you!

The Jack Rose & The Black Twig Pickers LP on Klang Industries/VHF is the best of that "porch" style (I catch your meaning...) I also highly recommend WIllie Lane - he used to play around with Matt Valentine/Erika Elder and has self-released a couple LPs that are very overlooked IMO. Here's a little clip of him:

http://youtu.be/mKztbs3zWlU

Marc Orleans is one of my favorite guys in this style but he has no solo recordings. He had a duo group with Tom Carter called Eleven Twenty-Nine for a bit released one album. A bit outside the purview, maybe, but could slot in. Samples here:

http://northernspy.11spot.com/eleven-twenty-nine-s-t.html

D. Charles Speer is Dave Shuford. The last Jack Rose recordings were with Shuford/Speer and his group The Helix (released as Ragged & Right on Thrill Jockey). The D. Charles Speer stuff is a bit more eastern-tinged (which I quite dig) but could also find a home on this thread. In this clip he plays bouzouki:

http://vimeo.com/19039190

Very cool, thank you so much. I saw D. Charles Speer open for Come a year or so ago and it was fun country rock stuff but I couldn't get interested enough in the records. Earlier ones by him are more intimate I guess? That Willie Lane clip is great so far, moving on to the others next.

Been out of the loop as I have been on vacation for 2 weeks, got some stuff to catch up on. A friend of mine is putting out a Daniel Bachman tape, dated/titled something similar to what tyler posted on his blog above, so not sure if it is some of the same recordings put on tape instead of CDR or if it is different recordings made around the same time, but here is a link to a nice duet with the banjo player mentioned in the Doom & Gloom write-up:

https://www.youtube.com/watch?v=Tb5nlh22z9g&feature=youtu.be

Evan, this is probably similar to what you are looking for, pretty "porchy" to me.