Jim Moray...In Modern History(2010)[FLAC]

https://images-na.ssl-images-amazon.com/images/I/41WO81tUgKL._SL500_AA300_.jpg In Modern History [2010]NIAG / NIBL010 [img]http://i128.photobucket.com/albums/p180/SonAfterDark/tracklistlatest.png[/img] 1 Bristol Harbour 2 Jenny of the Moor 3 Hard 4 William Taylor 5 Spencer the Writer 6 The Lowlands of Holland 7 Silver Dagger 8 Cold Stone 9 Long Lankin 10 Home Upon the Hill Moray handles drums, bass, guitar and keyboards (piano, synths, mellotron and organ) duties himself, plus occasional dabbling with mandolin, banjo, bouzouki, hurdy gurdy and cittern, and selectively enlists guests to add those layers of paint he feels not qualified to or are simply physically impossible for one man to deal with, such as occasional Female voices or orchestral arrangements; although I have to admire Moray multi-instrumentalist skills, the quality of the playing and even his fair dose of good taste, this approach necessarily harms the interpretations’ spontaneity. The material apparently mostly consists of either traditional songs (and stories) or songs penned by Moran atop traditional structures; there are no obvious weak tracks and you’d be instantly transported by the step-by-step built up rhythmic and aural tapestry of the opening “Bristol Harbour”, the muted guitar, the strummed pattern, the marimbas, the bass and the drums that successively enter and the ethereal melodeon lines that on and off float above it; but then it’s also impossible to ignore a certain Dave Mathews vibe which transmutes into a grunge or Foo-Fighters like one on the heavy Rocking refrain; then on the beautiful melodies of “Jenny of the Moor”, Moray and Hannah Peel alternatively sing the verses in a obvious attempt to evoke the Trees or Fairport, but the song drags on with too few diversions to genuinely be entitled to so high comparisons, and eventually feels more like some of those monotonous songs which Mostly Autumn occasionally deliver. Things do much more authentically approach Fairport levels of intensity on “William Taylor”, yet its orchestral arrangements do preferentially lead it into Led Zeppelin Kashmir’s like territory; it’s an epical grandeur which may also be found on “Cold Stone” for which a viola and a couple of melodeons sufficed to reach the aural impact of the orchestra employed on previous piece. With its wistful mood and restrained use of the drums and bass, “Long Lankin” almost qualifies as a Folk-Rock classic, but “Hard” for instance is too Poppy (Coldplay?) for that, in spite of the banjo and mandolin and “The Lowlands of Holland” with its trivial violin orchestration is a too mainstream ballad to even fall in the Folk category IMHO. It’s an album which deserves to be listened but it’s also the proof that it does not suffice to work on songs that have been covered by the likes of Steeleye Span, Sandy Denny, Dolly Parton or Joan Baez to instantly be rewarded with a place on the pantheon of the great ambassadors of the Folk tradition. cd ripped by EAC please seed http://dickthespic.org/2011/05/29/jim-moray/

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