and his band have just released the first indie music multichannel SACD
(Super Audio CD) recorded in DSD (Direct Stream Digital). Now, that
isn't the most important fact about this hybrid CD, even tho those who
own a multichannel SACD can get the most of this, since I'm convinced
that the quality of the songwriting, performing and feeling must always
The American singer ain't an endorser of Sony or Philips, yet at the
same time we must appreciate the fact that he's trying to render all
the detail and ambience he and his band recorded at its best, and remember
not many musicians care for that.
The only thing worrying me is that SACD's and HDCD's will just remain
a niche market that will probably disappear as it occurred way back
when it was the dispute between a Betamax and VHS. I hope I'm mistaken,
albeit I know the herd too well and I don't see any improvements in
Whatever, as for the music, David has surrounded himself with some 6
session members appearing in turn in every song, depending on the needs
of their own instruments.
"Freedom on the Feeway" is a fairly cheerful ballad
played by an acoustic guitar, a mouthorgan and sung, all of them by
David, sustained only by an upright bass, while the long and melancholic
"Summer Wind" includes accordion interventions and
a hinted electric guitar. Watch out, this is relaxing music but never
boring, and that's another point in favor of him, as evinced from "Go
down Easy", where he surmounts Bob Dylan and other similar
musicians I've always disliked; David's been able to make me appreciate
this kind of music, and I myself am half surprised! Moreover, let me
add that great and well-guessed are the dobro and accordion paintings,
whereas the harmonica plays an important part here too.
I love the mandolin notes of "The Old King" and the
character's sad story, which - I must admit - I didn't expect from Mr.Elias'
songbook, but hey, it's nice when a musician keeps your attention high
by surprise, innit?
After the minimal and simple "Something about You",
we meet "Half an Hour away", showing the minstrel's
expressive voice and Matt Flinner with his bouzouki (an instrument native
of Turkey, later spread in Greece and Irish music).
A love song about an unreceptive girl, ruled by whispered vocals, soft
deep bass lines is "Her Name Is A."; definitely a remarkable
pattern for newcoming song singer-writers. The only instrumental is
"Transcendental Deprivation Part III", a joyful bucolic
intermezzo with an acoustic funky riff inserted in an arpeggio, preceding
the lively country "Season of the Fall"; easy and excellent
contemporarily, it's for sure the hardest track of all, thanks to Marc
Rallo's wire brushes percussions.
After a one-minute intro we arrive at the title-track, creating a desert-like
atmosphere, where sweaty and lazy characters stand before a window watching
the timeless days pass by. The duty of the closure is entrusted with
the 100% Yankeeish slow ballad "A Picture of Nothing",
which would be perfect as a score for a likely "Starsky and
If you wish to find some relax and don't wanna risk a sec of boredom,
you better give "The Window" a chance. Had he come
out 15 years ago, he'd've still had the opportunity of climbing the
US charts; nowadays only soulless comet-singles make profit for a month,
so David is destined to be relegated to an indie cult, but if I were
him I wouldn't be too disappointed. Music won't be a living (and that's
a shame, I know, David, you're in good company!), but he'll be remembered
as one of the last poets on north-American soil to release high-quality
music under every aspect. Undoubtely being conscious of having written
immortal songs is worth more than a truckful of bucks in the long run
when your financial situation already sails on calm seas.
MARKUS GANZHERRLICH - 12/6/04
Don't hesitate to make contact with the kind David: