Search - Davy Graham :: Folk, Blues And Beyond

This album can only be appreciated - there are no other choi

Nomad | Dallas, TX,. USA | 09/17/2006

(5 out of 5 stars)

"I am fortunate to have the original Mono(LK 4649) 33RPM UK 1964 DECCA release of this album (just 16 tracks, but they are all here - plus four additional tracks and, praise the Lord, Anji is one of them!) Ray Horricks, himself an historical mastermind at DECCA, produced the record and wrote the sleevenotes for the album, and likened Davy Graham to Ulysses - a fitting comparison within the music world. Davy Graham may not have received the commercial success of his contemporaries or have enjoyed widespread musical recognition, but artistically and creatively he established himself as a foundation for generations of musicians, and this album captures all of those elements for which Graham is so well-known and followed. I put away the 33RPM LP player some while ago, and have since invested in other Graham recordings on CD's, but this for me is without doubt the best; the re-release of this album is a musical event! Don't miss it."

The holy grail of the British folk guitar revival. Essentia

Elliot Knapp | Seattle, Washington United States | 10/19/2007

(5 out of 5 stars)

"A look at the track listing of Folk, Blues and Beyond wouldn't really surprise, entice, or impress the average folk aficionado: it's full of classic and contemporary standards, from the oft-covered "Cocaine," "Seven Gypsies" (aka the slightly different "Blackjack/Gypsy Davey"), to Bob Dylan's "Don't Think Twice, It's Alright." What this standard selection of songs belies is one of the most eclectic, exciting, and impressive acoustic guitarists Britain had ever seen, or, indeed, would ever see. The perfectly-titled Folk, Blues and Beyond is the quintessential Davy Graham album, and blows his debut, The Guitar Player, straight out of the water in terms of variety and sheer ingenuity. After a couple close listens, you'll realize why British guitar greats like Bert Jansch and Roy Harper often cite Graham as a prime influence.



The ghostly, Eastern sounds of the opener, "Leaving Blues," set a standard for the entire album. Graham combines his own deft arrangements of standard folk tunes with guitar styles that run the gamut of folk, blues, jazz, Indian string music, Moroccan music, and many others. The song quickly gives way to Graham's fluid riffing. This is another hallmark of his breathtaking style--when he jumps straight into a gnarly acoustic solo about 1:20 into the song, then back into the main riff, he doesn't miss a beat. Whether he's taking center stage as a soloist, playing a rhythmic lead, or fingerpicking a backing part and a melody at the same time (as on "Cocaine"), Graham seamlessly displays his virtuosity and eclectic tastes in a unique guitar voice that is endlessly listenable and appealing.



Unlike on his debut, on which he was only accompanied by drums, here Graham is often backed by both drums and acoustic bass. Additionally, he sings on nearly all of the songs. Some people are critical of his singing voice--thin, colorless, bland, I've heard people call it--my expectations weren't high on the first listen, and needless to say they were far exceeded. Graham is more than a passable singer, and I don't know why people harsh his voice so much--perhaps it's because they (understandably) just want to hear his wicked guitar chops. His singing is straight-ahead, but he always hits the notes. In fact, his low-key approach is reminiscent to me of some jazz singers, and his inflection often verges on playful and lilting. So, I find the singing adds to the mix, though it definitely doesn't detract from the guitar playing (the most important part!).



It's really quite astounding how much ground Davy Graham covers here, from the gentle strumming of "Sally Free and Easy," to the punchy lead between the moody lyrics of "Black is the Color of My True Love's Hair," to the stinging blues of "Rock Me Baby," to the sprightly and jaw-dropping fingerstyle on "Seven Gypsies." "Moanin'" is another my favorites, with the grooving guitar riff that is really enhanced when Graham starts doubling the melody with his voice. "Skillet (Good n' Greasy)," a classic folk tune, is given Latin treatment, of all things, and it really works. "I Can't Keep From Crying Sometimes" has some classic fingerpicked rhythm guitar and some sweet melodic breaks that remind of John Fahey, but a bit jauntier and less dark. A couple of the best tunes, unsurprisingly, are the "play out" instrumentals, "Maajan" and "Better Git in Your Soul." On the first, the guitarist channels all the ethnic street cred of any Moroccan band (but on guitar), and on the latter, he takes Mingus' tune to fantastic gospel heights. The bonus tracks only sweeten the deal, culled from a live EP, with "She Moved Through the Fair" (aka "Blue Raga") and "Angi," (Graham's most famous writing credit, covered by the likes of Bert Jansch and Paul Simon, among many many others) highlighting his inimitable technique.



I can't help but firmly recommend this album to any acoustic guitar lover, any folk fan, and most fans of blues, jazz with vocals, and fans of great instrumental playing. Despite Graham's virtuosity, it's a remarkably accessible record that never settles too long on any ideas or becomes self-indulgently off-putting. Because of its somewhat limited availability in the US (STILL!), this album remains a holy grail in quality as well as get-ability. Amazon is a good place to get a copy, and once you've listened to it, you'll probably think it was worth tracking down."

The roots of British folk.

. | Chicago, IL USA | 08/19/2006

(5 out of 5 stars)

"Many greats of modern folk such as Bert Jansch, (and Paul Simon, though the influence doesn't show much lately), credit Graham as their major guitar influence, and admit to still be amazed at his ability. One can go a step further into Graham's roots, Steve Benbow, but Benbow's rootsy stylings don't have Davey's virtuosity. In other words, Graham is -the man-."