Ryley Walker - Primrose Green - 2015 Indie Folk Rock LP
Ryley Walker - Primrose Green
Label: Dead Oceans DOC101
Format: Vinyl, LP, Album
Style: Folk Rock
Released with printed inner sleeve and MP3 download code.
A1 Primrose Green
A2 Summer Dress
A3 Same Minds
A4 Griffiths Bucks Blues
A5 Love Can Be Cruel
B1 On The Banks Of The Old Kishwaukee
B2 Sweet Satisfaction
B3 The High Road
B4 All Kinds Of You
B5 Hide In The Roses
Phonographic Copyright (p) Dead Oceans, Inc.
Copyright (c) Dead Oceans, Inc.
Recorded At Minbal
Mastered At Peerless Mastering
Acoustic Guitar, Vocals, Written-By Ryley Walker
Cello Fred Lonberg-Holm*
Design Miles Johnson
Double Bass, Electric Bass Anton Hatwich
Drums, Percussion Frank Rosaly
Electric Guitar Brian Sulpizio
Engineer [Assistant Mastering Engineer] Maria Rice
Keyboards Ben Boye
Liner Notes Bill Meyer (2)
Mastered By Jeff Lipton
Mixed By Brian Sulpizio
Photography By Dusdin Condren
Recorded By Cooper Crain
Vibraphone [Vibes] Jason Adasiewicz
Viola, Vocals [Background Vocals] Whitney Johnson
I'm reminded of Nick Drake, of Traffic, of The Mark/Almond Band, of John Fahey, of Richard Thompson...reminded and yet...not...he is in that family but it's new...in a welcoming way.
His songs are poetry and his writing is flawless.
Primrose Green" starts with gusto on the exuberant title track with its clear 60s vibe. Behind Walker are a set of seasoned Chicago jazz musicians who colour in all the relevant shades across the this album not least the wonders of double bassist Anton Hatwich. Nowhere is this more evident than on the standout "Summer Dress" which harks back to the fusion of folk, blues and jazz that owes a debt to Tim Buckley's "Starsailor". The rolling guitar motif of "Same minds" is well executed while "Griffiths Buck's Blues" will have any technical guitarists scratching their heads in wonder. There are echoes of Nick Drake on the jazzy ballad "Love can be cruel" while another standout "On the banks of the old Kishwaukee" introduces summer sunshine into proceedings. Walker also lets rip on electric guitar on the powerful "Sweet Satisfaction" a song, which could point the way ahead for a new direction in for his music, although it does echo John Martyn's "I'd rather be the devil". Finally the acoustic strum of "Hide in the Roses" brings gentle closure to proceedings with Walkers expressive vocals sounding almost British in origin.