This artfully crafted solo acoustic guitar with storytelling capabilities than belie the lack of lyrics, Won’t You Cross over to That Other Shore · Daniel Bachman For Fans of Jack Rose, William Tyler, John Fahey
Guitar savant Daniel Bachman’s seventh album, River, is a rippling suite of the tradition-spanning solo picking he’s honed since his teens. Inspired by the Rappahannock River in his native state of Virginia, it was recorded and mixed last year by Brian Haran (Vetiver, Hiss Golden Messenger, Megafaun) at Pinebox Recording in Bachman’s current home of Durham, North Carolina. “We did everything first take, pretty much,” he says in a warm, southern accent. “I was fresh off the road, so all that stuff was tight anyway.” Alongside his intricate, meditative combination of folk, psychedelia and blues are re-toolings of “Levee” by his hero Jack Rose and William Moore’s nearly 90-year-old “Old Country Rock.” The first proper studio experience for the frequent collaborator of Ryley Walker sounds like the satisfying results of 10 years of exhaustive practicing and year-round touring for half a decade. To replenish his powers for tension and release, Bachman has disappeared into the wild landscape that informs his work.
He Says: “I own three [guitars] currently. I got a mid-Eighties Guild, an early Seventies Martin and a no-name lap guitar I bought in Nashville a couple years ago. I play electric every once in a while for fun. I’m not a total gearhead. I have what I have, and they serve their purpose. I’ve totally honed it in at this point — even down to the fingerpicks I use. It’s like finding that perfect pair of shoes and then you keep buying them forever. . . . I’ve got a setup in my house where I can sit down with a mic and run it into the computer, but when I do that by myself I get really frustrated. I’ll hate it. I’m not an aggressive person, but I’ll get super aggressive, throw my guitar and scream and stuff. [Working in a studio], you can’t act like a baby around other people. So you kinda gotta just go in and knock it out. Having someone else push the button, that’s the biggest difference.”
The 14-minute “Won’t You Cross Over to That Other Shore” provides plenty of drama through dynamic shifts, willful speed and the right alternate tuning.