My Musical Showcase of the "Beautiful and Forgotten" continues, with another strong collectible piece, filtered "thoughtfully" during the little time I have available...
In a hypothetical competition to determine the most "Genuine" Musician, this Beloved of mine could position himself strongly due to his many sincere passions not only musical, and his active political, humanitarian, and environmental commitment, on the podium of the first-place winners, ideally dedicated to those who do not aim for success at all costs, but often occupied by those who live by compromises.
A nice beginning, just to get pictorially to the essence of this "Great," here so little considered by us, who, in light of his human and musical events, deserves from us a rightful reevaluation, as a Genuine Artist and never predictable, as well as shy and free from easy classifications, considered one of the most interesting and prepared songwriters and acoustic guitarists of the '70s-'80s.
Few but important qualities make him a decent person, endowed with deep spirituality and beautiful humanity, dedicated to pleasantly reviving his ideals and feelings in his songs, as well as in his commitment not only to music.
Legendary Canadian Singer-Songwriter, born 73 years ago, Bruce Cockburn descends and inherits from a simple and kind family a profound ethical and religious sense, which reflects in his militant commitment to his ideals, and also in his inspired lyrics and harmonious melodies, where you also find the quiet serenity of his land, made of silent landscapes, large lakes, and green mountains.
Since his beautiful beginnings six years earlier, he stands out for the completeness and authenticity of his musical proposal, always expressed in the best way, as he clarified in a recent interview: "the main problem is having something to say. Mine is a long-term discourse, and I'm not interested in climbing the charts and selling millions of records."
With six successful trials to his credit, full of delicate intimate and romantic soundscapes, in which the Albums "Night Vision" from 1973 and "Salt, Sun & Time" from 1974 excel, without resting on creative laurels, in 1976 he publishes this daring "In The Falling Dark," profound, varied, and never disappointing, which still stands the test of time and includes some of the most evocative songs ever, where the same, moving away from the initial fingerpicking, shifts towards more electro-acoustic dimensions, full of exciting blues and jazz influences.
In a renewed musical season, supported by a small successful jazz ensemble, with this formidable Record this Great adds, I would say, the final piece to his artistic maturity, proposing a mature Author's Folk-Jazz-Progressive, which bridges the acoustic works of the early '70s and the more elaborate later ones, in which he alternates sparkling electric tracks with simple and melodic acoustic ballads, which will be well appreciated both by critics and the public, but without reaching international fame, especially here unfortunately alas.
Misaligned with the most renowned singer-songwriter schools of the time, in this work he implements with vigor a renewed songwriting full of perfect musical harmonies, which induce positive feelings such as joy, enthusiasm, and positivity, far from the cerebral semi-melancholic naturalism of the early records.
If we want to discuss them in detail, the tracks are all equally beautiful, both the elaborate instrumental constructions and the quiet acoustic ballads, among which stand out for harmonious beauty in case of a "first" listen: the initial "Lord Of The Starfields", which proceeds radiant and engaging, "Vagabondage", cheerful and sunny, like a joyful walk in the green, "Silver Wheels", unstoppable like a road song, "Giftbearer", enchanting and rich with virtuosic arpeggios, "Little Sea Horse", delightful and sunny, "Water Into Wine", an unsurpassable "solo" gem for guitar, and finally "Gavin's Woodpile", delicate and meditative for voice and guitar.
Hi Bruce, my Friend in 1,000 formidable listens, thank you!!!