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▐▓▌▐█▌ Artist : G. Love ▐█▌▐▓▌
▐▀▄██ Album : Fixin' To Die ██▄▀▌
▄███▌ Label : Brushfire Records ▐███▄
▀███▌ Genre : Folk ▐███▀
▐▄▀██ Street date : 2011-02-22 ██▀▄▌
▐▓▌▐█▌ Quality : 188 kbps / 44.1kHz / Joint Stereo ▐█▌▐▓▌
▓█▄▀▀ Encoder : Lame 3.97 -V2 --vbr-new ▀▀▄█▓
▓███ Size : 67.59 MB ███▓
▀ ▀█▌ Time : 47:52 min ▐█▀ ▀
▓▄███ Url : http://www.amazon.com/Fixin-Die-G-Love/dp/B004I9A ███▄▓
▐▓████▌ R66/ ▐████▓▌
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█▓▌ 1. Fixin' To Die 3:28 ▐▓█
█▓▌ 2. The Road 2:44 ▐▓█
█▓▌ 3. Katie Miss 2:22 ▐▓█
█▓▌ 4. Milk And Sugar 3:18 ▐▓█
█▓▌ 5. Ways To Leave Your Lover 4:21 ▐▓█
█▓▌ 6. You've Got To Die 3:37 ▐▓█
█▓▌ 7. Walk On 3:42 ▐▓█
█▓▌ 8. Just Fine 4:32 ▐▓█
█▓▌ 9. Ma Mere 3:54 ▐▓█
█▓▌ 10. Get Goin' 3:09 ▐▓█
█▓▌ 11. Heaven 2:57 ▐▓█
█▓▌ 12. Home 3:40 ▐▓█
█▓▌ 13. Pale Blue Eyes 6:08 ▐▓█
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▐▓▌▐█▌ Like a classic novel it all starts at a chance meeting one ▐█▌▐▓▌
▐▓▌▐█▌ rainy, fall night in Boston, when fellow torchbearers of new ▐█▌▐▓▌
▐▓▌▐█▌ roots Americana, Seth and Scott Avett of The Avett Brothers ▐█▌▐▓▌
▐▓▌▐█▌ invite Garret Dutton aka G. Love onto their tour bus after a ▐█▌▐▓▌
▐▓▌▐█▌ gig to share their love of back road blues. This mutual ▐█▌▐▓▌
▐▓▌▐█▌ affinity leads to G. Love sharing the stage with The Avett ▐█▌▐▓▌
▐▓▌▐█▌ Brothers at a summer music festival both are playing. The ▐█▌▐▓▌
▐▓▌▐█▌ collaboration, sounding so natural and right, deepens, so ▐█▌▐▓▌
▐▓▌▐█▌ much so, eventually G. Love asks Scott and Seth Avett to not ▐█▌▐▓▌
▐▓▌▐█▌ only play on his new record, he asks them to produce it as ▐█▌▐▓▌
▐▓▌▐█▌ well. ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ Inspired by this shared musical heritage, the result is ▐█▌▐▓▌
▐▓▌▐█▌ Fixin' To Die, a collection of rearranged traditionals, a ▐█▌▐▓▌
▐▓▌▐█▌ classic cover, and a slew of G. Love originals, many ▐█▌▐▓▌
▐▓▌▐█▌ simmering for over a decade, all sharing a common goal: to ▐█▌▐▓▌
▐▓▌▐█▌ strip away all pretense and capture the original spirit and ▐█▌▐▓▌
▐▓▌▐█▌ sound G. Love has cultivated over his entire career but never ▐█▌▐▓▌
▐▓▌▐█▌ fully embraced until now. ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ It takes a lot of hard work to speak the truth. And, in an ▐█▌▐▓▌
▐▓▌▐█▌ age where most music has been regulated to countless ones and ▐█▌▐▓▌
▐▓▌▐█▌ zeros it's even harder to make honest music without all the ▐█▌▐▓▌
▐▓▌▐█▌ usual trappings. On his fourth Brushfire release, G. Love has ▐█▌▐▓▌
▐▓▌▐█▌ left the hip-hop blues, a genre he has helped define, if for ▐█▌▐▓▌
▐▓▌▐█▌ only a moment to make arguably his most sincere and candid ▐█▌▐▓▌
▐▓▌▐█▌ record to date. ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ As Scott Avett says, "There's a little bit of this record on ▐█▌▐▓▌
▐▓▌▐█▌ all the previous G. Love records, you just had to look for ▐█▌▐▓▌
▐▓▌▐█▌ it. This is the record we all knew he should make and he ▐█▌▐▓▌
▐▓▌▐█▌ could make, but again, he had to open himself to the core to ▐█▌▐▓▌
▐▓▌▐█▌ make it. That's the difference. Ultimately the songs tell us ▐█▌▐▓▌
▐▓▌▐█▌ what needs to happen; it's just our job to be prepared and ▐█▌▐▓▌
▐▓▌▐█▌ identify that. Let's just get in there and see what the room ▐█▌▐▓▌
▐▓▌▐█▌ evokes, and it was just go, go, go, which is the way we like ▐█▌▐▓▌
▐▓▌▐█▌ it. I mean the whole session was cut in just over a week." ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ As G. Love confesses, ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ "It was an emotional recording session and I was truly blown ▐█▌▐▓▌
▐▓▌▐█▌ away by the level of focus, care and passion Scott & Seth ▐█▌▐▓▌
▐▓▌▐█▌ brought to it. We felt connected the entire time - it was ▐█▌▐▓▌
▐▓▌▐█▌ instantaneous. It always feels like crunch time in the studio ▐█▌▐▓▌
▐▓▌▐█▌ but it never felt like that with these guys. It was a team ▐█▌▐▓▌
▐▓▌▐█▌ thing, no drama, no agenda. It was a tremendously positive ▐█▌▐▓▌
▐▓▌▐█▌ and encouraging experience. This is the most inspired I've ▐█▌▐▓▌
▐▓▌▐█▌ ever felt making a record - let's just put it that way. I'm ▐█▌▐▓▌
▐▓▌▐█▌ still buzzing about it." ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ It's easy to hear why. Produced and engineered in the ▐█▌▐▓▌
▐▓▌▐█▌ inspiring sanctuary of Echo Mountain Studios in Asheville, ▐█▌▐▓▌
▐▓▌▐█▌ North Carolina, the sessions underlying pulse is unabashedly, ▐█▌▐▓▌
▐▓▌▐█▌ 100% pure and genuine country blues. From the ragged jangle ▐█▌▐▓▌
▐▓▌▐█▌ of its opener "Milk & Sugar" and floorboard stomp of Bukka ▐█▌▐▓▌
▐▓▌▐█▌ White's "Fixin' To Die," over the loping lilt of "Home" and ▐█▌▐▓▌
▐▓▌▐█▌ longing for "Katie Miss," through the greasy fried "Get ▐█▌▐▓▌
▐▓▌▐█▌ Goin'" and moonshine reverb of "Heaven," to the hip shake ▐█▌▐▓▌
▐▓▌▐█▌ hootenanny in Paul Simon's infamous kiss off "50 Ways to ▐█▌▐▓▌
▐▓▌▐█▌ Leave Your Lover," G. Love and The Averts deliver a life ▐█▌▐▓▌
▐▓▌▐█▌ lesson in how to find a song's sweet spot. ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ Best of all Fixin' to Die is a true divergence from G. Love's ▐█▌▐▓▌
▐▓▌▐█▌ previous records and the function and preparedness of a ▐█▌▐▓▌
▐▓▌▐█▌ dogged work ethic by some of music's hardest working artists ▐█▌▐▓▌
▐▓▌▐█▌ who earned their stripes the old-fashion way, veracious ▐█▌▐▓▌
▐▓▌▐█▌ songs, road weary odometers, and sweat stained live shows. ▐█▌▐▓▌
▐▓▌▐█▌ Yet, with G. Love and The Avetts, it's more than just stamina ▐█▌▐▓▌
▐▓▌▐█▌ and gumption to sound authentic and profound. It's the ▐█▌▐▓▌
▐▓▌▐█▌ ability to distill the sepia toned essence of the time ▐█▌▐▓▌
▐▓▌▐█▌ honored past and use it to take the risks needed to forge the ▐█▌▐▓▌
▐▓▌▐█▌ future. ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ Scott Avett remarks, "For me, at a time when I was really ▐█▌▐▓▌
▐▓▌▐█▌ into heavy music and leaning that way further and further, G. ▐█▌▐▓▌
▐▓▌▐█▌ Love really opened a door that let me see another side of ▐█▌▐▓▌
▐▓▌▐█▌ music that was really clever, good vibe, great melodically, ▐█▌▐▓▌
▐▓▌▐█▌ great lyrically, and not always about the fight of typical ▐█▌▐▓▌
▐▓▌▐█▌ hard core stuff. It baffles Seth and I that the roots world ▐█▌▐▓▌
▐▓▌▐█▌ has not just taken G. Love and catapulted him into the sky; ▐█▌▐▓▌
▐▓▌▐█▌ he's a king of that world and they don't even know it. If ▐█▌▐▓▌
▐▓▌▐█▌ John Hammond is, he is; if Bob Dylan is, he is too." ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ As an insatiable musical omnivore, G. Love somehow manages to ▐█▌▐▓▌
▐▓▌▐█▌ synthesize his iconic influences by shedding their layers to ▐█▌▐▓▌
▐▓▌▐█▌ find that harmonic convergence where song and listener bare ▐█▌▐▓▌
▐▓▌▐█▌ their souls to each other speaking nothing the raw boned ▐█▌▐▓▌
▐▓▌▐█▌ truth. On Fixin' to Die G. Love has done just that; he has ▐█▌▐▓▌
▐▓▌▐█▌ mined the sonic ore of his heroes only to emerge with a fresh ▐█▌▐▓▌
▐▓▌▐█▌ lode of precious stones. Yet remarkably, what makes this ▐█▌▐▓▌
▐▓▌▐█▌ session such a rarity in today's music world is the lack of ▐█▌▐▓▌
▐▓▌▐█▌ polish that makes these songs truly shine. By allowing the ▐█▌▐▓▌
▐▓▌▐█▌ infectious simplicity of these songs to stand in all their ▐█▌▐▓▌
▐▓▌▐█▌ ragged glory, G. Love has paid the greatest respect to his ▐█▌▐▓▌
▐▓▌▐█▌ muses and the collaborative spirit. ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ "It's a nod back and a step forward. It's a return to the ▐█▌▐▓▌
▐▓▌▐█▌ roots of what made me G. Love in the first place. The music I ▐█▌▐▓▌
▐▓▌▐█▌ fell in love with and learned as a teenager, which is such a ▐█▌▐▓▌
▐▓▌▐█▌ developmental time in one's life, but especially pivotal in ▐█▌▐▓▌
▐▓▌▐█▌ your music life. That when you decide you wanna play guitar ▐█▌▐▓▌
▐▓▌▐█▌ right? I was 16 when I discovered folk music, the blues, and ▐█▌▐▓▌
▐▓▌▐█▌ Bob Dylan and that was simply the backbone for everything ▐█▌▐▓▌
▐▓▌▐█▌ that followed for me musically. I mean this is my second ▐█▌▐▓▌
▐▓▌▐█▌ decade as a recording and touring musician. I'm looking into ▐█▌▐▓▌
▐▓▌▐█▌ the next phase of my career, and although at heart I've ▐█▌▐▓▌
▐▓▌▐█▌ always been a roots musician I want to emphasis it more now. ▐█▌▐▓▌
▐▓▌▐█▌ I want to carry on the tradition not in a nostalgic way, but ▐█▌▐▓▌
▐▓▌▐█▌ by keeping it fresh, real and unexpected, and we did it with ▐█▌▐▓▌
▐▓▌▐█▌ this session." ▐█▌▐▓▌
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