Nifty Lift
It’s a nifty lift up the musical ladder when you have
written for Alison Krauss, and first song Lie
Awake on Angel Snow’s album is also the third on Krauss’ last Paper Airplane where it got its initial recorded outing. Alison’s take is
typically ethereal vocally, with dobro, mandolin and pedal steel adding the
other requisite atmospheric parts. Angel’s take is a fuller, deeper vocal and
it is less countrified. But what a fine song for both versions. Alison Krauss’
brother Victor is Snow’s writing partner, having been introduced after Alison
met Angel and liked her music. Well, can you imagine the reciprocity of that encounter!
The second track on Snow’s eponymous debut is a folkblues As You Are and this too is a fine song.
The vocal has genuine depth and range well suited to the strong pulse of this track.
Fourth These Days is mainly acoustic
guitar over which Snow’s voice again has strength and clarity [I know these
become clichés over time and reference: put simply, Snow has a genuinely
beautiful and full vocal] and it is merged to neat effect on some rising
harmonies.
Fifth Windows Open
is quite brooding with its orchestral strings as backdrop to a slow sad song
about saying goodbye and the lies that lead to this leaving. At least I think
that’s what it’s saying. There is plot to the lyrical narratives and these stories
unravel rather than getting simple choric repeats, so they require some
attention. It will take time. Seventh Gasoline
requires a similar concentration. But I get distracted by the purity of the
vocal, as with the plaintive blues of Coals and Water – a gorgeous delivery.
The closing and twelfth track A Place Outside is quite a simplistic melody – a repeated
rise and fall phrase – but again it is Snow’s limpid voice that effortlessly
controls, confirming a real talent for now and the future.
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