Artist: Ethan Johns With The Black Eyed Dogs
Album: Silver Liner
Bitrate: 222kbps avg
Quality: EAC Secure Mode / LAME 3.98.4 / -V0 / 44.100Khz
Label: Caroline
Genre: Rock
Size: 74.45 megs
PlayTime: 0h 44min 26sec total
Rip Date: 2015-12-04
Store Date: 2015-11-27
Track List:
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01. Silver Liner (With Gillian 6:11
Welch)
02. The Sun Hardly Rises 4:09
03. I Don't Mind 4:10
04. Juanita (With Gillian Welch And 3:24
Bernie Leadon)
05. It Won't Always Be This Way 3:25
06. Open Your Window 7:37
07. Six And Nine 8:37
08. Dark Fire 3:11
09. I'm Coming Home 3:42
Release Notes:
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Although primarily a producer and engineer, one whose diverse clients have
included Paul McCartney, Tom Jones, Laura Marling and Ryan Adams, British-born
Ethan Johns can also be frequently found on the other side of the desk too,
playing with the likes of John Hiatt, Emmylou Harris and Fish, both in the
studio and on the road. From time to time, he also does his own stuff, too.
Having released his debut album in 2012, following up with the conceptual,
Adams-produced The Reckoning, Silver Liner is now his third, recorded live with
a core band consisting of bassist Nick Pino, drummer (and producer) Jeremy
Stacey and pedal steel legend BJ Cole and put down over the space of just ten
days. All self-penned material, it embraces both homegrown folk and Americana,
the influences often clearly out in the open, case in point being the title
track which (featuring Gillian Welch on backing) even Neil Young might be
persuaded it was one of his own forgotten tracks from the After The Goldrush-era
archives, right down to whiny vocal and trademark fiery guitar solo.
YoungÆs also firmly in evidence on the strummed, loping, desert-parched
eight-and-a-half minute Six And Nine with its memorable ôI set Æem up just to
knock Æem downö refrain, while the spoken passages on the equally lengthy,
noir-tinged, slow-tempo jazzy Open Your Window have a touch of the Lou Reed
about them and, backed by a string section, piano ballad It WonÆt Always Be This
Way strains The EaglesÆ Desperado through a Randy Newman filter.
By contrast, although the cascading chords are almost identical to those on My
Darling ClementineÆs Going Back To Memphis, the chugging, accordion-accompanied
I DonÆt Mind mostly recalls Slim Chance and, from the same era, the doleful,
waltzing The Sun Hardly Rises harks to the British folk-rock of early Richard
Thompson. However, largely down to ColeÆs pedal steel and Johns on mandolin, it
also has the same vein of roots country that runs throughout the album, at its
thickest on the keening Juanita that features both Welch and Bernie Leadon and
suggests John Wesley Harding vintage Dylan holed up in some cantina on the
Tex-Mex border.
Returning to folk notes, the album plays out on the intricate fingerpicked
acoustic guitar of the night sky atmospherics of Dark Fire and the slightly
bluesier IÆm Coming Home, neither of which would be out of place in a Bruce
Cockburn collection.
So, yes, it will remind you of other artists, but JohnsÆ seasoned, engaging
voice and his way with melodies ensure that it isnÆt in their shadows.