Fugitives
Moriarty
Emneord
Minder om
Classic African American songsters : from Smithsonian Folkways
Down in Washington Square : the Smithsonian Folkways collection
David Van Ronk
The return of the stuff that dreams are made of
Lion rampant
Wilson & Swarbrick
If wishes were horses
Kris Drever
The Danish Folk, Blues & Ragtime Guitar Festival
Folk singer, vol. 1
Willie Watson
Transatlantic sessions 5 volume one
Fantasizing about being black
Otis Taylor
Anmeldelser (3)
Uncut
d. 27. sep. 2017
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Rob Hughes
d. 27. sep. 2017
"David Rawlings affiliate on highly persuasive form ... they're joined from time to time by Nashville veterans The Fairfield Four, a woodwind ensemble, Punch Brothers bassist Paul Kowert, OCMS man Morgan Jahnig and, making a low-key appearance on drums, Rawlings' partner Gillian Welch. Not that it feels remotely crowded. The guest contributions manage to be both telling and subdued, adding discreet shades of colour to Watson's nimble picking style and the warm, conversational lilt of his voice".
The observer
d. 10. sep. 2017
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Neil Spencer
d. 10. sep. 2017
"The canon of blues, country and gospel that fired up the 60s folk boom is currently inspiring a host of Americana acts, though none make the old songs sound fresher than Willie Watson. His second solo outing since quitting the Old Crow Medicine Show brings vivacity to some well-worn standards - The Cuckoo Bird, When My Baby Left Me, John Henry - thanks to a voice that's young but weathered, strong but eerie, and comes backed by intricate banjo and guitar picking. Producer David Rawlings gives the session an unforced, analogue sound and adds some luscious gospel crooning from the Fairfield Four. A forceful evocation of a mythic, half-forgotten America".
fRoots
2017 December
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Steve Hunt
2017 December
"That high lonesome voice retains its hair-raising power, but it's more controlled than in days of yore. There's no less passion in the performances, but maturity has added a layer of authority to Watson's singing ... The full colour cover and opening track sequence of songs familiar from recordings by The Grateful Dead and Led Zeppelin suggest that this is the album to pitch Willie Watson to a wider audience than its predecessor. It richly deserves to succeed".