Folk blues and beyond

Audio CD

Folk blues and beyond• Phone track report on Folk, Blues and Beyond wouldn't really surprise, lure, o

r impress the typical folk aficionado: it's filled with classic and contemporary standards, in the oft-covered "Cocaine," "Seven Gypsies" (also known as the slightly different "Blackjack/Gypsy Davey"), to Bob Dylan's "Don't Think Hard, It's Okay." What this standard choice of tunes belies is among the most eclectic, exciting, and impressive acoustic guitarists Britain had seen, or, indeed, would ever see. The perfectly-entitled Folk, Blues and Beyond may be the essential Davy Graham album, and blows his debut, Your Guitar Player, straight from the water when it comes to variety and sheer resourcefulness. Following a couple close listens, you'll discover why British guitar best like Bert Jansch and Roy Harper frequently cite Graham like a prime influence.

• The ghostly, Eastern sounds from the opener, "Departing Blues," set a typical for the whole album. Graham combines their own deft plans of normal folk tunes with guitar styles that vary wildly of folk, blues, jazz, Indian string music, Moroccan music, and many more. The song rapidly gives method to Graham's fluid riffing. This really is another hallmark of his breathtaking style--when he jumps directly into a gnarly acoustic solo about 1:20 in to the song, then into the primary lick, he does not miss a beat. Whether he's taking center stage like a soloist, playing a rhythmic lead, or fingerpicking a backing part along with a tune simultaneously (as on "Cocaine"), Graham effortlessly shows his virtuosity and eclectic tastes inside a unique guitar voice that's forever listenable and appealing.

• Unlike on his debut, which he was just supported by drums, here Graham is frequently backed by both drums and acoustic bass. Furthermore, he sings on almost all of the tunes. Many people are critical of his singing voice--thin, without color, bland, I have heard people refer to it as--my anticipation were not high in first listen, and obviously these were far exceeded. Graham is greater than a passable singer, and I'm not sure why people harsh his voice a lot--possibly it is because they (naturally) would like to hear his wicked guitar chops. His singing is straight-ahead, but he always hits the notes. Actually, his low-key approach is reminiscent in my experience of some jazz performers, and the inflection frequently verges on playful and lilting. So, I've found the singing increases the mix, although it certainly does not detract in the playing guitar (the most crucial part!).

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