Iain Matthews Appreciation Thread--solo, album by album + track by track (pg. 18)*

track 1) Ethiopia
(Joni Mitchell)

An absolutely wonderful cover an opening track by Iain and Co.

 

track 2) The Hands Of Time
(Ian Matthews)

Love the harmonies form the start...a great kind of gospel bluesy slow rocker.

 

track 3) Feed It
(Jan Kleeves / Ian Matthews)

Sorry...I left this one out. Now we have it...A great one!
A bit of old country balladry to start it off...love it.

 

track 4) Patty's Poetry
(B.J. Baartmans)

A nice atmospheric opening and a great bluesy gentle jive rock beat...really love this one!
Great lyrics and song by Baartmans.

 

track 5) Working In The New Mine
(Ed Snodderly)

A nice snappy opening and a great tune and lyrics.
Love the guitar work, and the great beat.

 

track 6) Starvation Box
(Iain Matthews)

Love the lyrics...great imagery...."see that guitar on his knee, that's his starvation box".
Really fine backing musicians.

 

track 7) C'mon Amigo
(Eric Devries / Ian Matthews)

A slow swaying tune...fine lyrics.
"C'mon Amigo..."

 

track 8) The Hole
(Ian Matthews / Bart De Win)

A nice blues vibe...a timeless message, the kind that has always moved me.
"The hole"...growing in the sky.

 

track 9) A Secret Is Gone
(B.J. Baartmans / Ian Matthews)

"I saw you slipping into a theatre...". Lyrics with a darkness, a kind of film noir theme... and a tune with an uneasy beat and changing time signatures.
Just so fine as it builds to the climax.

 

track 10) The Sacrificial Cow
(B.J. Baartmans / Ian Matthews)

"Anxious blues..."

 

track 11) Inbetween
Eric Devries / Ian Matthews

Moving into a fine funky rocker. Toe tapper...

 

track 12) In My Next Life
(B.J. Baartmans / Ian Matthews)

Hard pressed to think of a single Iain Matthews LP where he fails to choose a fine closer.
This is no exception.
"In the next life..."

Many thanks Iain and Co...for the music. Forever grateful.

 

If I am at a loss for words....others say it better:

The New Mine, 2020...



It is five decades since singer/songwriter Iain Matthews, former lead vocalist with Fairport Convention, founded the band and hit number one in the UK with his million-selling version of Joni Mitchell’s ‘Woodstock.’ This latest collection shows that Matthews Southern Comfort continues to successfully master the ground between British folk-rock and Americana.

The twelve tracks on this new album include a poignant, understated version of Joni Mitchell’s 1985 song ‘Ethiopia’, bringing a synergy to the cycle of Matthews’ music. In ‘The New Mine’ Matthews’ trademark reflectiveness and lyrical sharpness are perfectly complemented by the accomplished musicians who worked with him on the acclaimed ‘Like a Radio’ - Bart de Win on keyboard, Eric de Vries on acoustic guitar and vocals and Bart Jan Baartmans on guitars, mandolin, sitar, bouzouki, banjo and backing vocals.

From the country vibe of ‘The Hands of Time’ and ‘C’mon Amigo’ to the lyrical warning about global warming in ‘The Hole’, ‘The New Mine’ abounds with strong, imaginative songs and rich instrumental virtuosity, backed by a polished production. This all adds up to an enjoyable, melodic album marking the latest stage in Matthews Southern Comfort’s distinctive sound.

http://www.pennyblackmusic.co.uk/MagSitePages/Review/11467/R/Matthews-Southern-Comfort-CD-The-New-MIne

 

An interview with Iain on the new Matthews Southern Comfort:

Bluegrass Beyond Borders – Iain Matthews revisits Matthews Southern Comfort
Posted on July 12, 2018 By Lee Zimmerman

Bluegrass Beyond Borders - Iain Matthews revisits Matthews Southern Comfort - Bluegrass Today

Iain Matthews may have been born in Britain, but for much of his career, he’s pursued a solidly American folk/grassicana template. Although he first came to fame via a stint in the band that pioneered the folk rock form in the U.K., that being the remarkably underrated Fairport Convention, he left that band early on and subsequently formed Matthews Southern Comfort, a group best known in the U.S. for their own hit version of Joni Mitchell/CSNY’s Woodstock, and then, after that, the on again/off again outfit Plainsong, all while pursuing a prolific solo career after and in-between.

Earlier this year, Matthews returned to his roots by reforming Matthews Southern Comfort and releasing Like a Radio, the band’s first new effort in some 40+ years. The music is as supple as ever, and along with its smooth, seductive delivery, he delves into a stirring grassicana delivery that comes to the fore on such songs as Bits and Pieces, Jive Pajamas, Crystals on the Glass, and To Love. In addition, a gentle take on the classic tune Darcy Farrow finds him tapping tradition in ways that recall his seminal work with the Fairports.

We recently had the opportunity to connect with Matthews and ask him about his ongoing fascination with American music, if the origins really define it as American music to begin with, and the route he took in his return to Matthews Southern Comfort.

BLUEGRASS TODAY: For starters, what initially inspired your interest in acoustic American music?

Iain Matthews: I began listening to songwriters a few months before I joined Fairport. I became aware of a clique of American songwriters via the Byrds. Dylan led to Leonard Cohen, which led to Tim Harden, Tim Buckley, and on and on. From there, it just kind of exploded on me, and of course, joining Fairport accelerated that.

You lived in Austin,TX for awhile. Did that residency bring you closer to that Americana/grassicana sound, and if so, how so?

By the time I arrived in Austin, acoustic music was already my go-to choice. That’s not to discount other genres. I would basically listen to anything I considered good.

What inspired you to reconvene Matthews Southern Comfort after all these decades?

It’s a long story. I was never happy with the sound of the band. Pedal steel guitar quickly became a bone of contention for me. It’s well documented. Plus, I wanted to see where the band might have gone if I’d made changes rather than leaving. So in 2005, I formed a new version of the band and experimented. The new record is the outcome of that experimentation. The new version of the band leans more towards the original sound but without the steel guitar.

What is the status of Plainsong? You revived it over the years and kept the brand going until recently. Did you insert your early echoes of Americana/grassicana music in their efforts?

Plainsong is over. That’s not to say that Andy (Roberts, his chief foil in the band) and I won’t work together again. But the concept of Plainsong is done. The music of Plainsong was based solely on an acoustic sound. Of course there are echoes. Plainsong was an extension of me and my tastes.

How do you feel British traditional music connects, and even overlaps, with traditional American music of the folk and bluegrass variety, especially as regards the latter?

How do I feel?! I accept it. If you were to follow the paper trail, American and bluegrass music began in Europe. Probably in Ireland, Now, it’s simply swapped back and forth. All genres overlap.

To expound on that notion then, how do you account for Americana and bluegrass in particular being so popular far from America’s shores?

As I said, this is where it began, not in the USA. If you trace it back, it’s indigenous to Europe, same as the blues. The blues came from Africa. I’m not sure there really is a genre of music that actually began in the USA. Maybe jazz, but even that is debatable.

Who are you listening to these days that you’re especially keen on?

I mostly listen to jazz, but as far as bluegrass, it would be Ed Snodderly. I like his work, I’ve been playing quite a lot of Greg Brown and Chip Taylor lately as well. There’s a new album called Fear Not by Cameron Blake that I like a lot too.

 

I think before I move on to additional newer material from collaborations by Iain
and friends, I will explore one of his many great live compilations:

Nights In Manhattan (And Points West)
From my very very good friend...if any of you have a copy of this wonderful live CD
you will know who I am talking about...

I've followed the [Iain Matthews] thread pretty closely, and it's really been excellent throughout. Congrats on a fine job there. I need to go back through and check it page by page again, just to be even more impressed by your work in total on this. I'll check for my most recent contact info for Iain; it's been a while, but hopefully, what I have is still valid. Even if not, I'm sure I can find a way to make this available to him, and I'm also sure that he will very much enjoy and appreciate it.

I just realized that I've meant to ask if you covered my own Iain project, "Nights in Manhattan (And Points West") (my title, I might add) from my DCC days [as A&R man] (actually, that was the initial means with which I became friendly with him through our regular contact about the project). I know I've told you that he selected and provided the bonus tracks from the McCabe's show that made the release more than just the original import only version of the CD.

-signed RW

By the way...Steve Hoffman was also at DCC the same time as my friend and Steve mastered this fine CD.

 

AllMusic Review by Brett Hartenbach

Originally released in the late '80s as a mail-order-only cassette entitled Ian Matthews Live (he changed the spelling of his first name shortly thereafter), Nights in Manhattan (recorded in New York City in May of 1988) was reissued in 1997 with four added tracks that were recorded live two and a half years later in [McCabe's] California (hence the "And Points West").

Matthews, along with Mark Hallman (acoustic guitar, vocals), Craig Negoescu (keyboards, vocals), and David Hayes (acoustic bass), though concentrating on material from Walking a Changing Line, touches on various points in his extensive career -- including his days with Fairport Convention ("Meet on the Ledge"), Matthews' Southern Comfort ("Woodstock"), and Plainsong ("Even the Guiding Light"), as well as a smattering of tunes from his solo years.

The performances here are engaging, and Matthews' excellent voice is strong and clear throughout... A few of the highlights include a stirring, a cappella version of "Woodstock," the Youngbloods' classic "Darkness, Darkness," and a beautiful reading of Jules Shear's "This Fabrication."

 

Nights In Manhattan (and Points West)

1 On Squirrel Hill-Songwriter – Jules Shear 3:31
2 Keep On Sailing-Songwriter – Iain Matthews 4:45
3 Man In A Station-Songwriter – John Martyn 4:48
4 Alive Alone-Songwriter – Jules Shear 4:14
5 Seven Bridges Road-Songwriter – Steve Young (2) 4:24
6 Except For A Tear-Songwriter – Jules Shear 5:35
7 Reno Nevada-Songwriter – Richard Farina 4:36
8 Woodstock-Songwriter – Joni Mitchell 3:16
9 Shadows Break-Songwriter – Jules Shear 5:00
10 Following Every Finger-Songwriter – Jules Shear 4:22
11 Meet On The Ledge-Songwriter – Richard Thompson 3:39
12 Standing Still-Songwriter – Jules Shear 6:10
13 Sights In Manhattan-Songwriter – Iain Matthews 3:46
14 Even The Guiding Light-Songwriter – Iain Matthews 3:44
15 Darkness Darkness-Songwriter – Jesse Colin Young 4:28
16 This Fabrication-Songwriter – Jules Shear 3:52

Credits
Mastered By – Steve Hoffman

Notes
Tracks 1-12 are listed as recorded at the Bottom Line, New York City.
Tracks 13-16 are listed as bonus tracks recorded at McCabe's Santa Monica.

 

track 1) On Squirrel Hill
(Jules Shear)

Live. Oh yeah. As stunning as the original on Iain's stunning Windham Hill LP.

 

track 2) Keep On Sailin'
(Iain Matthews)

Love the original from the classic "Valley Hi"... and this live reading is damn pretty fine!

 

track 3) Man In A Station
(John Martyn)

As per usual, another great cover choice by Iain, of a wonderful song by John Martyn, wonderfully covered!
Unable to find the live track form the LP but this is a wonderful live video that gives you the idea of how great this new live
re-interpretation just is. (The original is cover is on "Stealin' Home")

 

track 5) Alive Alone
(Jules Shear)

Love this one - may be my favorite cover by Iain of a Jules Shear song. Chills.
(with that great lyric that echoes again on Iain's Pure and Crooked album a few years later)

 

track 6) Seven Bridges Road
(Steve Young)

This is easily as good as Iain's original album take....so damn good.
It blows the Eagles later cover out of the water! So heartfelt and stunning.

https://www.youtubecom/watch?v=Q7xwymkWV4M

 

track 7) Except For A Tear
(Jules Shear)

No words. Love it..well I guess a couple words.

 

track 8) Reno Nevada
(Richard Farina)

A good as the original Fairport cover...so fine. This live version rocks!

 

track 8) Woodstock

A completely different reading by Iain, so different from his hit version. Love it.
A deeply thoughtful and deeply touching rendition.