Ever since I heard the lo-fi goodness of a song called "Such Great Heights" I've been a fan of Iron and Wine. Sam Beam's breathy vocal arrangements coupled with the multi-layered, bedroom-ambience guitar tracks of his early demos struck a chord with me right away.
I downloaded a load of demo tracks and found a well honed style of accoustic guitar based love songs and fables that reminded me of Simon and Garfunkle, only mixed with messy slide guitar.
To best describe the bulk of the work, if a movie was made of my life, Iron and Wine would be the lovely drifting off to sleep moments and dream sequences. It is a difficult thing to describe, but listening to Iron and Wine makes me feel like that moment you wake up too early and realise you are going to have a lie in. And relax.
As well as having many fine happy numbers there are darker songs, which have the effect of making me visualise autumn evenings, just like the the time of year we are enjoying at the moment. These songs make me want to crawl back into bed and get snuggled up under the covers and hibernate.
The Shepard's Dog has just such numbers back to back. My favorites on the album in fact, tracks 3-5 which run into each other a range of emotions and mental imagery. "Lovesong of the Buzzard" kicks of this trio with an upbeat and seemingly joyful collection of thoughts with his trademark slide guitar, some organ, accordian and plenty of percussion. The magic for me is when the song ends and merges into "Carousel".
There is a constant major chord and hawian sounding, far away, dreamy slide guitar. This sets the scene in my head of a lovely summers evening. Added are some sharp accordian stings sounding very jolly, like a circus performer. This is where something starts to change, something is wrong. Tones being played backwards as if everything was slowing down creep in, then the major chord turns minor, changing everything to that winter, uncertain sound. Gentle feedback swells, then clean electric guitar with piano, the chords are still minor and uncertain, but at the end of the progression reassuring and safe sounding, then back again.
The sound simplifies down to guitar and piano most of the way through, as Beam's vocal warbles over the top, with some xylophone and organ, which sounds reminiscent of "Riders on the Storm" by the Doors.
As "Carousel" ends, we hear the same tones being played backwards as at the start, as if they signified the end of a flashback or revelation. "House by the Sea" begins with vibraphone, percussion and harmonica. Out of nowhere comes acoustic guitar and electric guitar which sounds edgy with slight distortion and crybaby. These instruments drive the track, giving an intense energy.
Beam always sounds like he is smiling as he sings. Maybe the guy just loves his job, he certainly makes great music, I guess I'd be smiling if i were him.
The entrie album "The Shepards Dog" is a mix of moods and styles, some of which are new ground for him. One review I read said that Sam Beam's music was as impressive as his beard. I've enclosed a picture below, so you can at least see how impressive his beard is. Now you must get the album to see if the second half of that statement is true.
