Tease
The opening title track on this album is a large, dangerous
tease – for the same but also two different reasons: it is so effectively/superbly
similar to early Neil Young [you could name a few songs] that it seems to be
begging for a plagiarism lawsuit; and it is also one of only two songs on the
album to sound like this!
It isn’t that the rest doesn’t match the quality – if echoing
– of the opener, though I think it is quite a different quality,
good as it is. Ethan Jones is better known to those who know [not me] as a
producer of and player with others, and this solo outing, his third, reflects that
supporting flair rather than a unique style. Indeed, the other early tracks on
the album remind variously of Warren Zevron and even more so Tom Petty – both good
influences, and there are others – but unlike Silver Lining as a song, I wouldn’t be hurrying to return to hear.
The other Young-ish track is seventh Six
and Nine with pedal steel and Young-esque harmonies across its eight and a
half minutes. I know: numbers. I’m flagging a little for something to say, but
I should stress the harmonies are sweetly superb, and this song does build its
atmospherics.
Eighth Dark Fire
is a prettily played acoustic folk song, vocal chorus gently in the background:
angelic opposite a slightly brooding other tone. This is a lovely and strong
track. Ninth and closer I’m Coming Home
sustains this sweet-folk, acoustic finger-plucked guitar approach and is again
a fine song – these final three a memorable finish to the album which begins, I will now add, with accompanying vocal by Gillian Welch.
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