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Steve Dawson - Rattlesnake Cage [2014][EAC FLAC]

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Music : Country : Lossless
 


Steve Dawson - Rattlesnake Cage
[2014][EAC/FLAC]

 


FLAC / Lossless / Log (100%) / Cue
Label/Cat#: Black Hen Music / BHCD-0072
Country: USA
Year: 
February 18, 2014
Genre: Americana,Folk
Format:CD


 


	

01. Blind Thomas At The Crime Scene
02.
Flophouse Oratory
03. The Medecine Show Comes To Avalon
04. Rattlesnake Cage
05. Lighthouse Avenue
06. Butterfly Stunt - listen
07. While The West Was Won, The Earth Didn't Know It
08. J.R. Lockley's
Dilemna
09. The Flagpole Skater Laughs From Above
10. Chunky - listen
11. The Altar At Center Raven





Sometimes it’s best to just put up a microphone in a room, sit down and
play your guitar…

This is the record that Steve Dawson’s growing number of fans have been
waiting for.

‘Rattlesnake Cage’ finally gives them the opportunity to hear Steve interact with
his guitar in a way that has never been captured on record before. Until now, hearing the sweet melodies and deep soul
of Steve playing solo guitar has been a treat reserved for live audiences in intimate settings.  These new simple and
unadorned recordings hearken back to the ‘American Primitive’ sound that John Fahey and other artists such
as Peter Lang and Leo Kottke recorded on Fahey’s iconic Takoma record label in the sixties – instrumental
music informed by the deep traditions of blues, ragtime, jazz and even Hawaiian music, but taking those influences in
unexpected directions.  The opening track, ‘Blind Thomas at the Crime Scene’ which takes its title from
Fahey’s earliest nom de plume is the recording that most clearly communicates Dawson’s respect for the
American Primitive aesthetic, and gives the listener the clearest indication of what’s to come.

Recorded with a single vintage tube microphone that had recently been rescued from decades of hanging from the ceiling
rafters of an old theatre in Detroit, you can hear every detail and nuance of each note. The effect of hearing a
recording this open and pure is quite astounding.

After countless successes in the industry both as a
performer and producer in his native Canada (including 7 Juno Awards as an artist and producer), Steve has relocated to
Nashville, Tennessee to begin a new chapter in his career. ‘Rattlesnake Cage’ reflects all of the places
Dawson has been and everything he’s heard, resulting in some of the loveliest melodies of his career as a
recording artist.  As much as these songs can be unobtrusive and listened to in the background at low volume, if a solo
instrument is going to hold its own like this in the spotlight, the music being played on it has to have very good
bones, and be able to stand up to some pretty intense scrutiny. For all their simplicity and deceptive moments of
tranquility, the closer you listen to songs like ‘Lighthouse Avenue’ or ‘The Flagpole Skater Laughs
From Above’, the sooner you’ll realize that this is music with fire in its belly.  Fans of Reverend Gary
Davis will recognize the musical references in ‘Altar at the Center Raven’ that evokes an imaginary scene
at the pulpit where he preached.  In the same way, ‘The Medicine Show comes to Avalon’ bounces along a
razor’s edge between antique and future sounds with its heartfelt homage to the music of Mississippi John Hurt.
Yet, for all of the influences Dawson tips his hat to, the sound that emerges on these recordings reflects a confluence
of a lifetime’s listening to and collecting vintage songs that fuses with Dawson’s contemporary
sensibilities and mastery of modern recording techniques.

In the same way you can recognize that it’s
Bert Jansch, Ry Cooder, or Mississippi John Hurt playing guitar after hearing just a few notes, Steve Dawson has
established a voice for his instrument that is as distinct as any of theirs to become one of the most identifiable
sounds in modern roots music. The 11 songs on ‘Rattlesnake Cage’ represent our first chance on record to
hear Dawson explore the infinite possibilities offered by his pallet of acoustic guitars – both 6 and 12-string
acoustics, a National tricone guitar, and a Weissenborn Hawaiian guitar - without any effects, or even a human voice to
separate him from his audience.  It’s rare to experience such direct communication in any kind of music these
days, but the songs on the record remind us that the sound of a single instrument creating patterns out of the silence
is as old as music itself.

The fluidity of Steve’s playing makes what he does sound so effortless that
it’s easy to forget that it takes years of disciplined practice to achieve such an apparent simplicity. There are
lots of guitar virtuosos out there who can reel off a dizzying array of notes at lightning speed, and Dawson can
certainly do that, but at a certain point, great players like him realize that sometimes less is more. Nothing on this
record is superfluous.  This is music that doesn’t show off or needlessly strut its stuff.  Like a perfectly aged
single malt, these compositions come to us fully seasoned and mature.

                                                              

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