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▄▓▄ ▀█▓▓▄ devendra banhart -nino rojo ▄▓▓█▀ ▄▓▄
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▄▓▄ ▀█▓▓▄▄▄▀ TRACKLIST ▀▄▄▄▓▓█▀ ▄▓▄
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░ ██▓ 01 this is the way 02:53 ▓██ ░
░ ██▓ 02 a sight to behold 03:02 ▓██ ░
░ ██▓ 03 the body breaks 02:46 ▓██ ░
░ ██▓ 04 poughkeepsie 03:39 ▓██ ░
░ ██▓ 05 dogs they make up the dark 02:39 ▓██ ░
░ ██▓ 06 will is my friend 02:14 ▓██ ░
░ ██▓ 07 this beard is for siobhan 01:37 ▓██ ░
░ ██▓ 08 see saw 02:29 ▓██ ░
░ ██▓ 09 tit smoking in the temple of artesan 02:38 ▓██ ░
░ ██▓ mimicry ▓██ ░
░ ██▓ 10 rejoicing in the hands 03:14 ▓██ ░
░ ██▓ 11 fall 02:25 ▓██ ░
░ ██▓ 12 todo los dolores 02:05 ▓██ ░
░ ██▓ 13 when the sun shone on vetiver 03:06 ▓██ ░
░ ██▓ 14 there was sun 02:45 ▓██ ░
░ ██▓ 15 insect eyes 02:04 ▓██ ░
░ ██▓ 16 autumn's child 05:30 ▓██ ░
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░ ██▓ 45:06 min ▓██ ░
░ ██▓ 62,1 MB ▓██ ░
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░ ██▓ http://www.midheaven.com/bin/search.cgi/datedartist= ░ ██▓
░ ██▓ devendra%20banhart ░ ██▓
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░ ██▓ years ago I first heard the crude home made ░ ██▓
░ ██▓ recordings of Devendra Banhart, We released these ░ ██▓
░ ██▓ recordings on YGR because we'd never heard anything ░ ██▓
░ ██▓ quite like them, ever. His voice - a quivering high ░ ██▓
░ ██▓ -tension wire, sounded like it could have been ░ ██▓
░ ██▓ recorded 70 years ago - these songs could have been ░ ██▓
░ ██▓ sitting in someone's attic, left there since the ░ ██▓
░ ██▓ 1930's. The response was astounding. Devendra soon ░ ██▓
░ ██▓ moved here to NYC (from SF), suddenly riding a tidal ░ ██▓
░ ██▓ wave of press acclaim, 3 or 4 US tours, tours in ░ ██▓
░ ██▓ Europe, a special feature on NPR (for God's sake) - ░ ██▓
░ ██▓ in short, a seismic shift in his fortunes. He's the ░ ██▓
░ ██▓ most genuine, least cynical and calculated artist ░ ██▓
░ ██▓ I've ever known, and he deserves every bit of the ░ ██▓
░ ██▓ good things now coming his way. He's also one of the ░ ██▓
░ ██▓ most innately talented, magical performers I have ░ ██▓
░ ██▓ ever heard. Period. He GIVES. This kind of ░ ██▓
░ ██▓ generosity and breadth of emotion is all too rare ░ ██▓
░ ██▓ these days. Whether the songs are pained, twisted, ░ ██▓
░ ██▓ whimsical, or even sometimes weirdly silly, aside ░ ██▓
░ ██▓ from being fantastically musical and expertly ░ ██▓
░ ██▓ played, they are also utterly sincere, and devoid of ░ ██▓
░ ██▓ a single drop of post modern irony. In short, he's ░ ██▓
░ ██▓ the real thing. ░ ██▓
░ ██▓ ░ ██▓
░ ██▓ When it came time to record new music we were of ░ ██▓
░ ██▓ course faced with the quandary of how to go about it ░ ██▓
░ ██▓ - does he continue making hiss-saturated home ░ ██▓
░ ██▓ recordings, or do we go into a "professional" ░ ██▓
░ ██▓ studio? We mutually decided that it was best to move ░ ██▓
░ ██▓ on - why should he be ghetto-ized as a possible low ░ ██▓
░ ██▓ -fi crank/eccentric? Besides, his songwriting and ░ ██▓
░ ██▓ his guitar playing (in my opinion) have taken such ░ ██▓
░ ██▓ leaps and bounds forward, that we were compelled to ░ ██▓
░ ██▓ record them in a way that made it possible to really ░ ██▓
░ ██▓ hear the performances clearly. Out of nowhere, the ░ ██▓
░ ██▓ perfect situation arose. Lynn Bridges, who works ░ ██▓
░ ██▓ with Jimmy Johnson (of Mussel Shoals fame - Bob ░ ██▓
░ ██▓ Dylan, The Band etc etc...) contacted us and invited ░ ██▓
░ ██▓ us down to his house on the Alabama/Georgia border, ░ ██▓
░ ██▓ where we recorded 32 songs (culled from something ░ ██▓
░ ██▓ like 57 Devendra had initially submitted!) in his ░ ██▓
░ ██▓ living room, using the best possible vintage gear. ░ ██▓
░ ██▓ Ideal. Devendra sat on his stool in that living room ░ ██▓
░ ██▓ for 10 days, 12 hours a day, and played, constantly. ░ ██▓
░ ██▓ We set up a mic for his voice, a few on his guitar, ░ ██▓
░ ██▓ and one or two in the room (an old, Georgia-style ░ ██▓
░ ██▓ southern house with tall ceilings, wood floors ░ ██▓
░ ██▓ etc.), and that's what you hear, for the most part, ░ ██▓
░ ██▓ on these recordings (along with the occasional ░ ██▓
░ ██▓ chorus of cicadas, when we happened to be recording ░ ██▓
░ ██▓ at night, with the windows open). Then, we took ░ ██▓
░ ██▓ these recordings to NYC and added a few overdubs ░ ██▓
░ ██▓ here and there, played by a host of musicians (The ░ ██▓
░ ██▓ song Rejoicing in the Hands features a tender duet ░ ██▓
░ ██▓ with the legendary 60's English Pop Singer gamin ░ ██▓
░ ██▓ (and one of Devendra's idols) Vashti Bunyan)... ░ ██▓
░ ██▓ Deciding on the final arrangements was ridiculously ░ ██▓
░ ██▓ easy - the songs were so good in their raw state ░ ██▓
░ ██▓ that there was no need to bolster them with sonic ░ ██▓
░ ██▓ fluff or cheap impact. So, there's a few sounds ░ ██▓
░ ██▓ entering and leaving at will here and there, but ░ ██▓
░ ██▓ hopefully they simply set a context. The important ░ ██▓
░ ██▓ thing is always Devendra's performance, and his ░ ██▓
░ ██▓ uncanny ability to transport us, through ░ ██▓
░ ██▓ story/words, and some pretty amazing finger-pickin' ░ ██▓
░ ██▓ (!), just using his acoustic guitar and voice. I ░ ██▓
░ ██▓ consider him to be an antidote, maybe even a sort of ░ ██▓
░ ██▓ narcotic - that rare case where you feel like you're ░ ██▓
░ ██▓ coming home when you listen to a piece of music... ░ ██▓
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updated 07/08/04