"...Bet On Stewball And You Might Win..."
In the 8-page booklet to the CD "Folk
Singer - Vol.1" - there's a black and white photo of WILLIE WATSON sat on
a chair by his lonesome - tuning an acoustic guitar in front of a trio of top
quality microphones in a large white empty studio space. Also on his chair is a
bottle of water to sooth his throat – and little else.
This beautifully produced and crafted solo
album is like that - most tracks with just the acoustic guitar or his chosen
instrument of poison - the banjo. His voice sails out your speakers like the
son of Hank Williams reborn - like Bob Dylan mated with Emmylou Harris and
produced a bawler. Willie Watson's voice is fabulous - full of Americana - full
of that Mickey Newbury, Tim Buckley, Tim Rose wanderlust ache.
Formerly with Nashville's OLD CROW MEDICINE
SHOW – a very Country outfit who mixed the Grand Ole Opry tradition with 00's
Americana - for his debut solo album Willie Watson's 10-song choice of the
known and unknown is thrilling. There's no embellishment of any kind on the
tracks - just him and the guitar or the banjo - and of course how he arranges the
melodies (we get the luxury of a harmonica on "James Alley Blues").
1. Midnight Special
2. Long John Dream
3. Stewball
4. Mother Earth
5. Mexican Cowboy
6. James Alley Blues
7. Rock, Salt And Nails
8. Bring It With You When You Come
9. Kitty Puss
10. Keep It Clean
"Folk Singer - Vol.1" by WILLIE
WATSON was US released May 2014 on Acony ANCY-1411 (Barcode 805147141124).
Produced by David Rawlings (Gillian Welch is
Associate producer) and mastered by Stephen Marcussen who did the 2009 Rolling
Stones Remasters of their catalogue from "Sticky Fingers" onwards) -
this CD sounds glorious - warm - full of presence and life - but never ever
overdone. Stripped down - the music is peaceful on your head and enriching for
your soul and as close to Audio perfection as I’ve ever heard.
Proceedings open with a cover of the
Traditional "Midnight Special" - a song that's been done by everyone
from Big Joe Turner on Atlantic Records in the 50s to Creedence Clearwater
Revival on Fantasy in the 60ts. Other highlights include a superb swinging
version of Leadbelly’s "Stewball" - a song about an 18th century
Irish racehorse who ran in England with an alarming knack of winning. I love
the Jo Ann Kelly lonesome vibe of "Mother Earth" - a Memphis Slim
cover done on Guitar as Watson sounds like Dylan circa '69 ("...when it
all ends up...you got to go back to mother earth...").
Written by Richard 'Rabbit' Brown - "James
Alley Blues" feels like Watson has discovered his inner Bruce Springsteen
and especially the bare bones "Nebraska". Thinking he's a sappy
country fool - he moans of woman's ways as "...she wants to hitch me to a
wagon and drive me like a mule..." just before he delivers a harmonica
solo that would make the new Nobel Prize Winner for Literature flinch with envy
(go Bob). I first heard the gorgeous ache of "Rock, Salt & Nails"
through John Martyn who does a stunning version of it on his "No Little
Boy" CD compilation of 1993 on Permanent Records (a duet with Levon Helm
of The Band on vocals). Here Watson strips the song right down to just his
voice and an acoustic guitar giving a beautiful and lonesome result that makes
you concentrate on the 'high bushy' lyrics.
Gus Cannon penned "Bring It With You When
You Come" with his Jug Stompers way back in 1930 - a freight train song
that’s been subsequently covered by luminaries like David Bromberg and The
Siegal-Schwall Band. "Kitty Puss" is a kid's song by the obscure and
forgotten Land Norris - a banjo-player from Georgia who made records in the
early 1920s. The album ends on a Charley Jordan Blues cover - "Keep It
Clean" - which could be saucy - or just a ditty about Coca-Cola.
Simple - sweet - good for you - and apart from
the rather naff-looking artwork and simplistic title - I love it to bits.
Investigate right soon...
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