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┌────────┐
────┤ Info ├─────────────────────────────────────────────────────────────────
└────────┘
Artist | David Rawlings
Title | Poor David's Almanack
Genre | Country Format | Album
Source | CDDA Time | 38:13
Label | Acony Records Store | 2017
Catalog | ACNY-1713 Rip | 2017
Bitrate | 238 kbps Size | 68.29 MB
Freq | 44.1 kHz Encoder | Lame 3.98.4
┌────────┐
────┤ Tracks ├─────────────────────────────────────────────────────────────────
└────────┘
01. Midnight Train 3:18
02. Money Is The Meat In The Coconut 2:23
03. Cumberland Gap 2:56
04. Airplane 4:44
05. Lindsey Button 5:03
06. Come On Over My House 3:42
07. Guitar Man 3:30
08. Yup 4:33
09. Good God A Woman 3:31
10. Put 'Em Up Solid 4:33
┌────────┐
────┤ Notes ├─────────────────────────────────────────────────────────────────
└────────┘
David Rawlings is a guitarist, songwriter, producer, and singer - mostly in
that order - who plies his trade on a 1935 Epiphone Olympic, for which he's
gained a devoted following for getting more action out of the small arch
top guitar than most guitarists get out of modern electrics. Rawlings first
came to prominence in 1996 with the release of musical partner Gillian
Welch's debut album, "Revival". He and Welch met while studying together at
the prestigious Berklee College of Music in Boston. Together they crafted
an old-timey blend of country, folk, and blues, built around Rawlings'
exceptional guitar picking and Welch's haunting vocals. In 1998, Rawlings
and Welch teamed up again on "Hell Among The Yearlings" which, like their
first effort, was produced by T-Bone Burnett.
"Poor David's Almanack" marks Rawlings' fourth headline date, and he leaves
his Machines out of the studio. That said, his singing and songwriting
partner Gillian Welch is here as always on harmony vocals and percussion.
She also co-wrote five of these ten songs. It's difficult to discern how
the pair divide the creative labor and its accreditation, but it must make
sense to them. Produced by Rawlings and engineered by Ken Scott (David
Bowie) and Matt Andrews, these tunes are arranged to reflect not only
Rawlings considerable gifts as a guitarist, but the fleshed-out sound of a
full band that easily balances American folk music and roots rock (the DRM
will be playing these songs on the road).
Other contributors include fiddler Brittany Haas, Willie Watson, Old Crow
Medicine Show, Dawes, and Punch Brothers' bassist Paul Kowert. Opener
"Midnight Train" hovers between country gospel and country blues. It's the
first instance we hear the gorgeous entwining of Welch's and Watson's
voices in harmony supporting Rawlings' slippery drawl. Haas' fiddle and
Rawlings' lead guitar share breakdown space in front of Watson's banjo in
the hokum blues "Money Is The Meat In The Coconut", a seemingly simple
allegory that barely disguises the lusty overtones in its lyrics.
"Cumberland Gap" is framed in stark, minor-key folk-rock with a popping
bassline, and wound-out electric guitars and drums; it owes a deep debt to
Neil Young. The highlight here is "Airplane", a tender yet passionate
country-soul tune that employs a string section framing the lovely harmony
singing and Haas' solo. It features the most passionate lead vocal Rawlings
has ever delivered. "Guitar Man" is another rocker; it could have come
right from the Band's fakebook and briefly references "The Weight." At five
minutes, "Lindsay Button," sung with the refrain placed after every line,
is the set's longest track and it feels like it.
"Yup" and "Good God A Woman", come from the same humorous terrain that
"Money Is The Meat In The Coconut" does, and like it, they offer something
lyrically darker underneath all that sprightly playing and singing. "Put Em
Up Solid" is a tender meld of country-gospel and folk. The harmonies frame
Rawlings' vocal in a basket of sweetness and light as sweeping fiddle,
strummed guitars, and banjo cover the backdrop. It's very difficult to
argue with what Rawlings and company have assembled here. Aside from one
misstep (that, to be fair, others might find less wearying), it's every bit
as good as "Nashville Obsolete".
┌────────┐
────┤ Group ├─────────────────────────────────────────────────────────────────
└────────┘