"The Roundabout" is a midtempo folk-rock tune built around a single - and yes, circular - guitar vamp. "Sullen Mind" is a more full-bodied articulation of sounds Walker's explored before, and features stellar interplay between electric piano, droning acoustic guitar, and Brian Sulpizio's poignant electric lead lines. "A Choir Apart" offers a shifting dynamic with its ominous tom-toms that bridge modal psychedelic chamber pop and more experimental rock terrain (à la Tortoise). Clarinet, electric piano, and lap steel guitar (all from Bach) wrap themselves around gentle percussion and fingerstyle acoustic guitar. The vibe is breezy, quirky, lithe pop with tight charts offering interlocking grooves in shifting time signatures. Opener "The Halfwit in Me," with its deadpan title and lyrics, underscores the influence of Jim O'Rourke and Gastr del Sol. Most of the remaining cast (also Chicagoans) have worked with Walker before. The set was produced by multi-instrumentalist/arranger Leroy Bach ( Wilco, Liz Phair, Rob Mazurek). He's not showcasing his playing abilities as much here, but readily evokes the Chicago scene of the '90s that gave us Gastr del Sol, the Sea and Cake, and Tortoise. These eight songs offer more proof of Walker's evolution as a writer, and his referential focus has shifted again.
Golden Sings That Have Been Sung offers another change-up. A year later, on Primrose Green, the American primitive notions slipped from the radar, but the Brit folk had been fully integrated, and his love of Tim Buckley, John Martyn, and Terry Callier were woven into more expansively textured songs.
THE ROUNDABOUT BY RYLEY WALKER LYRICS FULL
His musical structures were loose and full of improvisation. When singer, songwriter, and guitarist Ryley Walker released 2014's All Kinds of You, his playing style openly referenced Jack Rose, the "American Primitive" Takoma sound, and British innovators such as Davy Graham and Bert Jansch.
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