There are very few finger pickers out there who can really hit the mark like Leo does. This record changed the way I thought things went when it came to folk music. It's the beautiful timing he has. He's so spot on. Marc Ribot has it. Micah Blue Smaldone has it. Many other I'm sure I can't think of at the moment. This record is produced by none other than John Fahey, but his influence seams minimal at best even though there's a Fahey cover in there.
Leo's voice. I always thought Lou Reed and a young Johnny Cash. Not traditional, not beautiful, but unforgettable.
This record's side one starts with 'Cripple Creek'. It's a 2 minute Kottke interpretation on a traditional folk/blues tune. It barrels right through and you almost don't notice how the groove was set 15 seconds in with the drums and bass. The timing oh the timing. So good. It reminds me of a new day. Great start. Sun shining, riding with the hay in the back of the trailer.
'Eight Miles High' follows. Cool version of this Byrds tune. No one can play it like this. It's really quite a departure from the original. Somehow, Leo's version just makes sense of it for me; explains its' complexity and that it's not just another hippie folk song.'June Bug', oh hello bottle neck sliding stone groove. This song just drives. It's in the pocket from 0:00. The drums sound like someone's beating on cowhide. Incredible sound. 'The Ice Miner': this is a ballad folk song. At just under 2 minutes you can see a vast spread of snowy hills just melting in spring on this tune. Getting up at 5:30am to see the sun hit it all.
'Bumblebee'. Theres not much to this song, lyrically. It's plain that it's about sex. The feel of the song is a lothario passing through town seducing any woman he can and sneaking out before she wakes up. Good song. Not my favorite. 'Stealing' is a beautiful minute and a half finger-picking traditional sounding folk original by Leo. Nothing spectacular, but, again, the timing is wonderful. 'Monkey Lust'..funky, little tune. Bottle neck sliding on a national. Set over the music is the poetry and high pitched squeelings of Kim Fowley a.k.a the Juke Box Phantom. Sounds like Beefheart on cocaine to me. I don't know much about Fowley, but he had to have run the same circles as Beefheart, Zappa, early punk etc.
On side two, Leo kicks it off with Fahey's 'Poor Boy'. Nothing quite matches the way Fahey used to play this song, but this is an entirely different thing. This whole record is chocked full with grooves brought to you by Capital session players Paul Lagos (drums) and Wayne Moss (bass). They really helped to make this record such a great major label introduction for Kottke. While it's not Fahey's version, it's very enjoyable and Kottke held his own and made listening to it a new experience. 'Lullaby' is a wonderful jam with beautiful lyrics. I have no idea what they're about, but they are nice words set to the music. Lady Margaret was royalty is all I know.
'Machine #2': This song is a powerhouse. The guitar work is incredible. It's all over the 12 string neck with percussion popping in an out. The song is also featured on one of his earlier solo records. 'Hear The Wind Howl' is Leo's version of a 60s rock/folk song. It's a trucker though. It moves. 'Bourree'. Bach. He can do it...in one take with one guitar. That's always impressive to me. With 'Bourree' and the following song, 'Room 8', Leo steps away from the tone of the record for a moment; possibly at the recommendation of Fahey. That would be guess anyways. 'Room 8' is pretty unique unto itself. Can't really place its' classical leanings. I usually listen to it more than once when I listen to this record though. Wrapping it all up with 'Standing In My Shoes' was a good way to go out. Bitter about love and still in love. Can't let go. I'll always love you, but you'll get yours someday.
