Thursday, September 27, 2012

Countrywood Review by Georg Ryttman

www.countrywood.se/NewsFrameSet.htm
This is not a great review. A four beer rating, which is acceptable.
(Georg compares Patrick to a young Bob Dylan and Neil Young and says the focus is on the lyrics, which is true)- then he calls the record a sleeping pill. New York-bon (Brooklyn) Patrick Crowson lirar americana åt folkmusikhållet och bjuder på såväl slidegitarr och fingerspel som bluesharmonier på munspelet. Med sig på skivan har han som gästartist J. Allen, som också har producerat albumet och med vilken han varit ute och delat scen under turnénamnet "Brooklyn Dark Folk & Bedroom Epic". Sångerna på A Mile Past The Dead End hanterar ämnen om både förluster och hopp. Det är mestadels en lågmäld skiva, där texterna är det centrala. Patrick Crowsons röstläge ligger i linje med en yngre Bob Dylan och låtarna får en stundtals att tänka på både Dylan och Neil Young, men Patrick Crowson behåller i det stora hela sin särprägel. Ibland låter Patricks röst lite smått gnällig när han sjunger, som på ”High stakes”. Omslaget till skivan är väldigt fattig på information och inte ens låtarnas titlar står. Det gör de heller inte på själva skivan. De elva spåren håller dock på i en dryg timme sammanlagt. Musiken går aldrig riktigt igång och man tappar emellanåt koncentrationen.En del låtar är rejält sega, men det finns också partier i låtarna som känns mer relevanta. Sångerna på A Mile Past The Dead End förmår inte att greppa tag om lyssnaren, utan de avlöser varandra i bakgrunden en efter en. Visst hittar man några små detaljer som gör att man rätar på sig för att höra om det kan vara något, men det mesta blir ett sömnpiller. Georg Ryttman

Saturday, September 22, 2012

ROOTS REVIVAL CD OF THE WEEK 9/9

2012 week 1/2 to 1/8 : The Five And Dimers(Quarter Of A Tank) week 1/9 to 1/15 : Calico Moon(When Love Comes Around) week 1/16 to 1/22 : Rosanne Drucker(Red Charger) week 1/23 to 1/29 :James Scott Bullard(The Rise and Fall) week 1/30 to 2/5 : Cirijaye(Red Flowers) week 2/6 to 2/12 : Carolann Ames(Laurel Canyon Road) week 2/13 to 2/19 : Billy Don Burns(Nights When I'm Sober) week 2/20 to 2/26 : The Minor Planets(Shadow In The Water) week 2/27 to 3/4 : Randy Thompson(Collected) week 3/5 to 3/11 : Bob Woodruff(The Lost Kerosene Tapes 1999) week 3/12 to 3/18 : Milkwood Dreamers(Hellfire & Bone) week 3/19 to 3/25 : Scotty Alan(Wreck And The Mess) week 3/26 to 4/1 : Walter Rose(Cast Your Stone) week 4/2 to 4/8 : Tom Kell(This Desert City) week 4/9 to 4/15 : Kate Campbell(1000 Pound Machine) week 4/16 to 4/22 : Dean Owens(New York Hummingbird) week 4/23 to 4/29 : Miss Quincy(Like The Devil Does) week 4/30 to 5/6 : Greg Schroeder(Greg Schroeder) week 5/7 to 5/13 : Six Mile Grove(Secret Life In a Quiet Town) week 5/14 to 5/20 : Katy Boyd & Marty Atkinson(Blue Cactus Choir) week 5/21 to 5/27 : Greg Schroeder(Songs For A Bluebird) week 5/28 to 6/3 : Hellcat Susie(Off The Wagon) week 6/4 to 6/10 : The Deep Dark Woods(The Place I Left Behind) week 6/11 to 6/17 : Jeff Larson(The World Over) week 6/18 to 6/24 : CS Nielsen(Man Of The Fall) week 6/ 25 to 7/1 : Waz E James(Noisy Trucks) and on playlist this week! http://rootsrevival.webklik.nl/page/cd-of-the-week
week 7/2 to 7/8 : Susan Cattaneo(Little Big Sky) week 7/9 to 7/15 : Al Rose(Sad Go Lucky) week 7:16 to 7/22 : Arthur Alligood(One Silver Needle) week 7/23 to 7/29 : Rob Baird(I Swear It's The Truth) week 7/30 to 8/4 : Walt Wilkins(Plenty) week 9/2 to 9/8 : Anna Coogan and Daniele Fiaschi(The Nowhere Rome Session) week 9/9 to 9/15 : Patrick Crowson(A Mile Past The Dead End) week 9/16 to 9/22 : Cris Cuddy(The Boy From Beaumont) week 9/23 to 9/29 : Whispering Pines(Whispering Pines) week 9/30 to 10/6 : Jimmi Lafave(Depending On The Distance)

Wednesday, September 19, 2012

Three Chords and the Truth UK Review by David Hughes

threechordsandthetruthuk.blogspot.com/2012/09/patrick-crowson-mile-past-deadend-hop Wednesday, 19 September 2012 Patrick Crowson - A Mile Past The Deadend Hop Hollow Music Patrick Crowson certainly doesn’t do things in small measures and shows no fear in going intensely down his chosen route. The eleven tracks on his latest album release A MILE PAST THE DEADEND take around an energy sapping 70 minutes to evolve and while there are glimpses of merit in the soft dry melancholic sound from his guitar, you are left waiting for that stand out track to make true connection. There are elements of the album where you get mesmerised by the hook of the relaxing soothing sound but the intensity turns the listen into a demanding experience. A large dose of patience, stamina and a desire to uncover the next Dylan may be required to fully grasp the concept of this record. Originating from Illinois USA, the limited online presence of Crowson seems to be the domain of Swedish based backers Hemifran who have some very fine under rated US artists in their posse. There are ambitious references to Dylan, Kristofferson, Van Zandt and Newbury in his press and maybe Crowson is destined to follow the path of the latter two with a patient wait for recognition, although he hopes it won’t be post-humus. If there’s a hidden gem in this body of work, the depth is probably a little too buried for a casual listener, many of whom have drifted away by the time the third track finishes, 30 minutes into the album! On a positive note, you can envisage the live presence of Crowson, with his stripped down acoustic sound in an intimate setting, being an altogether different experience where you can get to know the artist and further grasp the intricacies of his passionate desire to interpret roots-influenced acoustic music. Also on track nine on the album, ‘Mark the Drifter’, there are significant gear changes in his vocal delivery that do give some welcome relief and a glimpse to what else he may have to offer. So while it is difficult to recommend this record on the basis of a couple of lengthy listens, you just never know that maybe one day we are returning to this body of work to uncover the roots of a genius, Just like we do with Townes Van Zandt and Mickey Newbury.

Monday, September 17, 2012

Laxmag Review and pictures by Rebecca Black

Monday, 17 September 2012 at 08:00 clock Under the heading Brooklyn Darkfolk & Bedroom Epics there were J. Allen, along his Brooklyn Sangeskollege Patrick Crowson and the Munich songwriter Fabio Russo and beschertem the audience an evening of the finest folk. In keeping with the title of the event, the venue was held: dark and dim. Sparse lighting with candles standing on the floor - you know the of Nirvana's Unplugged - and a series of small light-emitting elements, which together with a colorful medley of art covered the walls, this provided the bedroom romance. Amidst this shadowy arrangements played successively the three folk musicians. The term Darkfolk fit the evening most likely to occur at the beginning Patrick Crowson. He used the classical attributes of good folk music, guitar and voice. The latter is especially significant for Crowsons rather uneingängige title, because while they are sometimes almost unobtrusively class it alongside the guitar, then the singing wildly screwed up elsewhere, broke and scratched here and there, narrowly passing tones. So stretching was a wonderfully bizarre disharmony that resembled Weird folk greats like Bonnie 'Price' Billy. Less discord, albeit a little less crankiness and thus more conformism, was heard at the Munich Sangeskollegen Fabio Russo. Significantly more dreamy and melodic, it went to in his plays. A clear voice he played catchy folk-pop, which he partly vortug unreinforced and close to the audience. Although the saying "The Bucket List" and is also often worn not simply inaccurate, it aptly describes the music but evening. Because in the end was J. Allen. Wonderfully twisted and strangely fascinating presented itself to the musicians. To choppy, yes, almost quirky movements he managed most beautiful and atmospheric folk. It quickly became clear that Allen has a gift that many, if not most musicians going on: credibility. Feelings, whether despair, sadness or love landed unceremoniously at Publlikum which was released after nearly three hours in the night. Rebecca Black

Monday, September 10, 2012

Harksheide Posting and Review

A review and posting for our upcoming show at the Music Star Venue in Norderstedt Germany, Friday 9/21. Looks like it was written by Wolfgang Sedlatschek
PATRICK CROWSON (New York City) + Special Guest: J. ALLEN Originally from Missouri, manages the New York singer-songwriter Patrick Crowson its roots to wear a special way to the big city - for an inscrutable mixture of size, country traditions and urban retreat in silence surrounded his thrifty-instrumented and reduced Folk Pearls . In the verses, it smells pleasantly of whiskey and prairie - between the lines by inertia stabs a bitter aftertaste to the fast pace, and a chorus you look sometimes in vain - there are intricate poetry and laconic confessions, accompanied by finger picking, blues harp and bottle-neck guitars. Maybe that is the reason why traditionalists and fans of established story dishes like Townes Van Zandt, Bob Dylan and Leonard Cohen could just get into a trance, like lovers of contemporary indie-folk and unconventional alt-country a la Bonnie 'Prince' Billy, Bill Callahan and Richard Buckner. The online magazine Americana UK was already in the 2009 album 'Finito La Comedia' safe in his judgment: "Dark American folk, a voice hidden deep in the shadows (...) Midnight music, whatever time midnight is for you." His new album 'A Mile Past The Dead End' appears in mid-September in the self-distribution and is available for download at CD quality: http://patrickcrowson.bandcamp.com He is accompanied by his congenial friend, producer and fellow sufferers J. Allen, also from Brooklyn (www.jallenmusic.com) - the urban swirl on his solo debut 'Wonderland City' eyes, from home studio in his bedroom, to life outside the directed - and the sounds of New York has held in its atmospheric heartbreaking, epic folk songs about loss and hope. Brooklyn Dark Folk & Bedroom Epic Songwriters - PATRICK CROWSON (New York City) + Special Guest: J. ALLEN Ursprünglich aus Missouri, schafft es der New Yorker Singer-Songwriter Patrick Crowson seine Wurzeln auf besondere Weise in die Großstadt zu tragen - denn ein undurchschaubares Gemisch aus Weite, Country-Traditionen und urbanem Rückzug im Stillen umkreist seine sparsam-instrumentierten und reduzierten Folk-Perlen. In den Strophen riecht es wohlig nach Whiskey und Prärie – zwischen den Zeilen sticht durch Trägheit ein bitterer Beigeschmack der Schnelllebigkeit, und einen Refrain sucht man manchmal vergebens - dafür gibt es verworrene Poesie und lakonische Geständnisse, begleitet von Fingerpicking, Blues Harp und Bottle-Neck-Gitarren. Vielleicht ist das der Grund, warum Traditionalisten und Fans von etablierten Storytellern wie Townes Van Zandt, Bob Dylan oder Leonard Cohen genauso in Trance geraten könnten, wie Liebhaber von zeitgenössischem Indie-Folk und unkonventionellem Alt-Country à la Bonnie 'Prince' Billy, Bill Callahan oder Richard Buckner. Das Online-Magazin Americana UK war bereits beim 2009er Album 'Finito La Comedia' sicher in seinem Urteil: "Dark American folk, a voice hidden deep in the shadows (...) Midnight music, whatever time midnight is for you." Sein neues Album 'A Mile Past The Dead End' erscheint ab Mitte September im Eigenvertrieb und ist als Download in CD-Qualität verfügbar: http://patrickcrowson.bandcamp.com Begleitet wird er von seinem kongenialen Freund, Produzenten und Leidensgenossen J. Allen, ebenfalls aus Brooklyn (www.jallenmusic.com) – der auf seinem Solodebüt 'Wonder City' den Blick, vom Heimstudio in seinem Schlafzimmer aus, auf das Leben außerhalb des Großstadtstrudels richtet – und dabei die Geräusche New Yorks atmosphärisch in seinen herzzereißenden, epischen Folksongs über den Verlust und die Hoffnung festgehalten hat. Google English Translation: Brooklyn Dark Folk & Bedroom Epic Songwriters - PATRICK CROWSON (New York City) + Special Guest: J. ALLEN Originally from Missouri, manages the New York singer-songwriter Patrick Crowson its roots to wear a special way to the big city - for an inscrutable mixture of size, country traditions and urban retreat in silence surrounded his thrifty-instrumented and reduced Folk Pearls . In the verses, it smells pleasantly of whiskey and prairie - between the lines by inertia stabs a bitter aftertaste to the fast pace, and a chorus you look sometimes in vain - there are intricate poetry and laconic confessions, accompanied by finger picking, blues harp and bottle-neck guitars. Maybe that is the reason why traditionalists and fans of established story dishes like Townes Van Zandt, Bob Dylan and Leonard Cohen could just get into a trance, like lovers of contemporary indie-folk and unconventional alt-country a la Bonnie 'Prince' Billy, Bill Callahan and Richard Buckner. The online magazine Americana UK was already in the 2009 album 'Finito La Comedia' safe in his judgment: "Dark American folk, a voice hidden deep in the shadows (...) Midnight music, whatever time midnight is for you." His new album 'A Mile Past The Dead End' appears in mid-September in the self-distribution and is available for download at CD quality: http://patrickcrowson.bandcamp.com He is accompanied by his congenial friend, producer and fellow sufferers J. Allen, also from Brooklyn (www.jallenmusic.com) - the urban swirl on his solo debut 'Wonderland City' eyes, from home studio in his bedroom, to life outside the directed - and the sounds of New York has held in its atmospheric heartbreaking, epic folk songs about loss and hope.

Wednesday, September 5, 2012

DC Rock Live - Review by David Hintz

PATRICK CROWSON "A MILE PAST THE DEAD END" Eleven songs of loner folk music here. Normally it is called 'loner stoner' folk music, but there seems to be more of a sober clarity here. Only the artist knows for sure, but at any rate, there certainly is plaintive lonesome singing atop guitars, distant harmonicas, and bottleneck chords sliding off deep into the desert horizon. The vocal work is different, but I get the same general vibe that I get when I hear Baltimore's Red Sammy. The moody world created here stays in a hazy focus throughout the eleven songs. My only issue may be the steadiness of it all. It's like a long drawn out passage in a Sergio Leone film, that while may be ten times as long as comparable scenes, but lacks the uptempo change of pace at the scene's end. But I still find lots of colorful moments in this album.The album has a bit of a collage puzzle where I believe the song names are present. So I will skip the individual songs but recommend a listen for loner folk fans. August 2012 Reviews