We “knew“ he had to play the standard” setlist tonight, but he took us by surprise yet again. This might mean that a new standard setlist is busy being born. Only two changes from the Stavern show; Watching the River Flow opens (Most Likely You Go.. opened @ Stavern) and Tweedle Dee & Tweedle Dum replaced “Blind Willie McTell” at #11.
It was a wonderful evening @ Bendiksbukta, great area, not too much people & good festival logistics. All these things were bad at Stavernfestivalen. But most important off course; the show was in a different league. Almost every song performance was better than last shows performances, even the brilliant Stavern-version of “Girl From The North Country” was slightly better @ Bendiksbukta.
The Bootleg Series Vol. 10: Another Self Portrait (1969–1971) is an album of unreleased recordings, demo recordings, alternative takes mostly from Bob Dylan’s 1970 albums Self Portrait and New Morning, and a couple of live tracks from the Isle of Wight Festival (1969), released on August 27, 2013. It is the latest addition in the series of official “bootleg” recordings issued by Columbia Records.
Pretty Saro (official video)
The cover is new artwork by Bob Dylan. The liner notes have been written by Greil Marcus, who wrote the original Self Portrait review for Rolling Stone that infamously asked, “What is this shit?”. Also included is an extensive essay from journalist Michael Simmons. The set also contains rare photographs of that era from John Cohen and Al Clayton.
Johannasvisions: What would you say is the biggest difference from the previous album? Alexander Pettersen: I guess you could call it “the evil twin”…
The follow-up to The South’s 2013 album “The Further Inside You Go…” is a more demanding affair, but also an even more rewarding one. It opens with the 11 minute song, No Escape/Don’t Let Go, a track that is quite a departure for the band.
We’re no longer in the southern parts of the USA (well, not all the time anyway) it sounds like an Alan Parsons produced english band from around 1973. It swirls and changes its course as we listen, and this is something that we will encounter on the following songs as well. It starts off with gentle guitar and vocal, the sound is very delicate. The vocals are repeated and doubled, we get a subtle choir. The mood gets darker, but at about 2:40 into the song the drums and electric guitar lifts us up. The Keyboard echoes the melody. The pedal steel comes in, but it has no country-twang, it is airy and elegant. What a great start!
JV: The country-sound is all but gone, is this a conscious choice or did it “just happen”? AP: It is not something we decided, it is a natural progression for us, I think.
I write the songs I do, the only decision-making concerns choosing songs for the record, and the way we put them together to form a complete album.
This time I wanted to do something new, something else than before. And we did, we managed to pull off something special, something “more” than we’ve done before. I think we have succeeded in this, especially on the tracks, 1,2/3,5 and 6.
Desert Sounds takes us into more familiar territory, to the breezy Californian coast line. It starts off with a strumming acoustic guitar and then a beautiful melody hovers over the acoustic. The guitar is doubled and the keyboard fills in. It is a very finely arranged intro to the track, Glimpse of what we had. The South is in no hurry, they take their time and it builds up wonderfully. I see it as one song.
The second part of the track has a more up-beat melody, but the lyrics are filled with longing for past times and are bittersweet in tone. The electric guitar in the song is an Allman Brothers/Grateful Dead mix, but new and fresh and not retro in feel at all. The bass is subtly restrained and incredibly well played.
Glimpse of what we had (Spotify):
Now, The South takes us for a ride into, well, “The South” as in the musical landscape of the Southern US. They give us a superb Muscle Shoals sounding song, We Got Lucky. A lover reassure his girlfriend that all will be all right and we believe him. The track has some very fine horn arrangements (by Bendik Brænne) and both The Band and Little Feat would have been proud to include it in their catalogue.
Then we’re back on the road, we get a rousing boogie/Texas shuffle in the raw, Psb6u-blues. A steady “motor rhythm” of an accord on el-guitar lays the foundation, and we get a playful guitar that’s just “all over the place” above the steady beat. And then more guitar and keyboard. It reminds me of driving or taking the train, traveling. The vocal starts at 3:35(!) and it is no sweet blues, it is aggressive and insisting. It ends in a wild crescendo and I long to see it in a live setting. It is just fabulous, so far this is my favorite song on the record along with the last track, …The Further Out You Get.
…And I looked, and behold a pale horse: and his name that sat on him was Death, and Hell followed with him.
This is Hell!
…actually Hell is the new album from Yuma Sun and it is a giant step forward from their promising debut, Romanza. A great way to start the new year.
Gothic Americana, Gospel Rock and Roll, Southern Gothic, Dark Roots, this bastard son of country and blues has many names. Its popularity has increased a lot the last ten years and it is now what we call “a scene”. This does not mean that it is new, there have always been dark country- and blues music. To get an even more precise description I think we should add a fair bit of Appalachian Folk as well.
“Yuma Sun is fast becoming the band to look out for in Norway, and after a year of extensive touring they really gave us a good and tight show. What’s even more promising is that the new songs are better than those off the debut album, Romanza. We’re looking forward to see them in the future, and we are looking forward to their new album (hopefully this fall).
…this is my own writing from last summer, after seeing a very good concert with Yuma Sun
Now they’re back with the follow-up to their debut, Romanza, the aptly titled: Hell.
It is time for a little history lesson:
“Gothic Americana is a style of country music that is mixed with alternative rock, neotraditional country, progressive country, outlaw country, country rock, punk rock,rockabilly, psychobilly, punkabilly, gothabilly, deathcountry, folk punk, folk rock, blues, rhythm and blues, rock and roll, alternative country and traditional music, along with many other country genres and gothic genres.”
Well, that should cover it.
I’ve listened a lot to the new album lately, and I’m convinced that this is gonna be their big break (at least here in Norway). The production is great, they play well and they are incredibly inventive.
…and they are much more “dark country” than on their debut, it fits them very well! Continue reading Yuma Sun raise Hell→