Taylor’s recordings from his 2009 album Bad Debt are dark and distant, like a ghost from Robert Johnson’s single microphone Dallas hotel room recording session in 1937. Just a voice and an acoustic guitar—his right strumming hand coming up hard on the offbeat like the snare drum in a country-rock song. Stories of sin and redemption—or, in Taylor’s own words, stories “about my God: That is, whether I have one, and whether there is a place for me in this world.”
Been on a massive HGM kick the past several months (especially Poor Moon). Even though he hasn't updated it in 3 1/2 months, I enjoy his blog, The Old Straight Track. If nothing else, it's worth checking out for the free downloads of Wah Wah Cowboys Vols. I & II.
You are entitled to your opinion, but you are not entitled to your own facts.
- DPM
So happy dude is getting some love around these parts. This guy is the real deal. That Poor Moon album kinda nullifies and makes irrelevant 90% of the dudes trying to do this kinda thing.
i've got a 1/2 assed, 1/2 in the bag theory about how power struggles are the central concept of poor moon. haven't fleshed it out yet....in fact, i think this is as far as it goes.
or is that obvious?
or, by definition and otherwise, is that the central concept of rock and roll?
Poor Moon has yet to click with me (but Bovine says it's a grower, so I'm still trying). Anyway, I thought you guys would be interested in this piece that I saw in today's email from No Depression...
cortez the killer wrote:Poor Moon found its way onto Pitchfork's radar.
I don't get them. The review says 9-10, but the number says 7.8.
Pretty much.
I love the concluding paragraph of the review: It's difficult not to revel in the fortuitous timing of Poor Moon, an album that treats hard times like the only through-line of existence but keeps pressing ahead. At a moment when the international economy seems on the brink of unfathomable faults, when people's rights are being questioned on the basis of religion, and when battles of lesser evils are the only ones seemingly left to be won, Poor Moon offers a steadying sort of balm. Never pedantic or didactic, never extreme or aggressive, Poor Moon is a warm hand on a cold shoulder, a vintage piece of soul music for new times in need.
You are entitled to your opinion, but you are not entitled to your own facts.
- DPM
If they gave it > 8.0 they'd have to include it in their "Best New Music." When's the last time they gave that honor to anything remotely "rootsy"? Gotta protect that hipster cred.
Clams wrote:Poor Moon has yet to click with me (but Bovine says it's a grower, so I'm still trying). Anyway, I thought you guys would be interested in this piece that I saw in today's email from No Depression...
Good read and the more I learn about MC Taylor the more I like his music. Makes me hungry for more.
I dig this...
MC Taylor wrote:HGM has offered me unfettered access to my own emotions because I don’t have to worry about whether things are happening musically. And that, in turn, has taught me that things can happen musically in many ways; it’s less about technique and more about soulful playing, less about pedigree of instrument and more about how you use it. Discussion of technique puts me to sleep; it’s either magical or it’s not. Or you find a path towards the magic."
Duke Silver wrote:If they gave it > 8.0 they'd have to include it in their "Best New Music." When's the last time they gave that honor to anything remotely "rootsy"? Gotta protect that hipster cred.
This doesn't really speak to Pitchfork (which I seldom, if ever, read) but the author of that review, Grayson Currin, is the same one that wrote this article for Durham's Independent Weekly last year. In other words, his interest in music extends beyond what he writes about for Pitchfork.