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| Track by Track Review
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Hundred Mile Man
Folk music, Americana and some country all mix together on this number. There is a lot of energy and a real classic vibe to the piece. It's quite effective and a strong opener. The violin really adds a lot to the piece. |
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This Minstrel Life
I really love this song. It is such a slice of life kind of tune. The folk stylings are classic. This feels like something that would have been at home in the 1970s for certain. |
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The Last Seder
A much mellower cut, this is so pretty. It's an intimate number that works exceptionally well. Interestingly enough, Rosenthal has recently released a book with the same title. |
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Now I Believe There's a Devil
More playful, this has a lot of old school country in the mix. This cut has some accordion in the mix. I'm not a fan of that instrument, but it works pretty well here. Part of the lyrics on this one are in Spanish, and there is a bit of a Tejano music feeling to this. The number fits well within the politically conscious, protest wing of folk music. |
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Wiregrass
This is so strong. It's not a huge change from the first couple tunes. It just has a killer mood and texture. The violin is a real game-changer on this piece, too. It brings some serious magic. |
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The Immigrant Revisited
The Latin stylings on this are on the mellower end of the spectrum. This is another political cut. It has some entertaining guitar work, too. |
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Live:
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Mama Tried
Recorded in 2015 with The Sap Brothers, this has an old school country folk sound. It's a fun tune. |
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Little Poetry Girl
This live recording is from 2014. It's recorded with Manguss. This is a bit jazzy. It's energized and strong. I think I like this one better than the last tune. Part of that is the recording seems a bit cleaner. The guitar solo is so tasty, too. |
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There Is No Perfect Love
An energized folk styled tune, this is another strong piece. It was recorded in 2012 with Charlie Chamberlain. Chamberlain provides some killer soloing on mandolin. |
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Love Won Out
Recorded in 2015 with Kieran O'Malley, this studio version of this was the title track of Rosenthal's second album. The spoken story-based intro on this is funny, but also quite telling about the political climate in America. An old-time, down home bluesy meets country vibe drives this cut. This is a fun number and a great way to end the set. |
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