Flyinshoes Review

Welcome to FSR our Roots Music Reviewers & Pod/broadcasters Community

Here are some of the artists we are helping "Look for America"

A full integrated conventional and digital media promotion service for the independently minded musician.

Become a Patron!

Ed Romanoff could be a character in one of his own songs. A chronicler of American experience whose voice recalls the grit of Kris Kristofferson and the wit of Guy Clark, the New York singer-songwriter pens wise, big-hearted, occasionally whimsical, usually melancholic tunes about lonely souls and romantic dreamers, lost lovers and coy ghosts, a bank robber and even the Elephant Man himself. Not only does Romanoff sympathize with the crew of outsiders and outlaws on his new album The Orphan King, (release Feb 23)but he also belongs among their ranks: an artist who has spent a lifetime drifting from job to job, steadfastly refining his craft for years on a 75 dollar Yamaha guitar, following his own compass, and solving his own mysteries.

Romanoff admits he started late. “My father was tone deaf,” he says, “so I always thought I was, too.”  Instead of music, he tended bar in Virginia and branded cattle in Wyoming before eventually founding PineRock, a production firm in New York City. When he finally decided to pursue music in his forties, he became a diligent student, writing constantly and performing wherever and whenever he could. He spent time in Nashville taking songwriting classes and attending workshops with Darrell Scott, Beth Nielson Chapman, and Mary Gauthier, who later invited him to go on the road. Before he even had an album with his name on the spine, Romanoff was touring the world. 

Romanoff’s unconventional journey gave him a different perspective from other songwriters, a different set of rules and a different voice. His 2012 self-titled debut, produced by Crit Harmon (Lori McKenna, Martin Sexton), won the Nashville Songwriters Song of the Year and later that year Romanoff joined Steve Earle and James McMurtry as a winner of the Kerrville New Folk Competition. Since then, Romanoff has been working on a follow-up, amassing a stockpile of gracefully observed and eloquently sturdy songs. He didn’t have to stray far from his home in Woodstock to record them; instead, he worked with Simone Felice at the producer’s barn studio in Palenville, New York, just a few miles down the road.

The pair corralled an impressive roster of locals to flesh out the songs, including Romanoff’s longtime friend and touring mate Rachael Yamagata, Kenneth Pattengale of the Milk Carton Kids, guitarist Cindy Cashdollar (Dylan’s Time Out of Mind), The E Street Band’s Cindy Mizelle, and multi-instrumentalist Larry Campbell, along with Larry’s wife and duo partner, Teresa Williams. Together, they forged rootsy and eccentric arrangements for Romanoff’s songs, heightening the wee-hours longing of “The Night Is a Woman” and supernatural  melancholy of “Miss Worby’s Ghost.” Campbell, whom Romanoff credits with providing “the backbone of the album,” lends a fierce guitar solo to “The Ballad of Willie Sutton,” turning the coda into a gothic car chase across some mythic American plain.

The Orphan King reveals an artist alive to the serendipity of songwriting: those flashes of insight and inspiration, often accidental, that convey ideas and feelings unique to this medium. He co-wrote the title track, which sounds as lonely as a graveside eulogy after everyone has left for the reception, about his close relationship with his father. Imagine his surprise when, several years later, a DNA test sent him reeling: “I had spent my life idolizing my dad, and believing I was Russian, but the test said I was Irish. My father wasn’t my father.”

The revelation sent him into a depression so deep that he barely left his apartment for months. When he returned to “The Orphan King,” written before he know his own story, he found the song’s sense of loss even more acute and the sense of connection even stronger, the words of the refrain resonating like a personal mantra: “I still believe in love.”

Not every song on The Orphan King is quite so autobiographical. In fact, the album shows Romanoff as a writer with an eye for the telling historical detail and an imagination attuned to the whimsical. His fascination with Joseph Merrick inspired “The Elephant Man,” a humanizing portrait of a man known for his deformities but, in Romanoff’s hands, is granted a rare dignity to explore his intense yearning for life and finds love in the form of a very tall carnival worker. “I felt if I could have him meet somebody who was just as much an outsider as he was, then they could be together.” The song became an act of compassion and empathy, as Romanoff imagines a happy ending for the unusual couple: “I’m gonna build a car with Ferris wheel tires, leave extra headroom to reach the stars. World’s largest truck, well, it will be ours as we go rolling into history.”

Songs like “Without You” and “Leavin’ With Someone Else” can break your heart, but Romanoff has a knack for the well-earned happy ending. He obviously loves his characters, and he listens to what they tell him. He turns his songs into receptacles for their dearest dreams, investing them with generosity and humanity. Romanoff’s first draft of the novelistic “Golden Crown,” about a boxer in Ireland, culminated in a grisly finale. “But I felt like this guy was saying, I don’t want to die in a river with a ring in my pocket. So I wrote what he wanted me to write. A lot of these songs ended up being about things I could identify in my own life, but I had to let these people tell their own stories.”

There’s something radical about the happy endings on The Orphan King, perhaps because there are so few happy endings in the late 2010s. “I almost canceled the rest of the sessions just after the election,” he admits. “I didn’t feel like l could sing. I was too anxious”. As Leonard Cohen had just died, Ed was thinking about Cohen’s song “First We Take Manhattan” and sat down to write “Coronation Blues,” the final song on the record. It was, he admits, a rant written from the perspective of a mad king. It’s a damning bit of political commentary of recent political events as well as a reminder that making music is a radical act.

“For all these songs,  I think if I got anything right, it was allowing each character to have their own voice . I was trying to find out what their truth was.”

Quietly ambitious yet undeniably accomplished, The Orphan King seeks to square up heartbreak with hope, alienation with acceptance, tribulation with an unkillable belief in love. “I wanted to make something beautiful out of something that just felt awful. I want nothing more than to make people smile and feel like they’re not alone. That’s what music has always done for me.,

www.edromanoff.com

Views: 23

Add a Comment

You need to be a member of Flyinshoes Review to add comments!

Join Flyinshoes Review

About

Keep the wheels on the hub

Become a Patron!

Would like to contribute to FSR and the House Concert Hub? Please help keep the wheels on the hub, this site is run on House Concert Principles and relies on your donation. Thank You for keeping this in mind

 Twitter



Youtube



https://open.spotify.com/embed/user/medicinemusic/playlist/6tI6eMaE5D7b5QZ0eCjmLb

Face Book

The Medicine Show is the home of the House Concert here is our rolling news

 

This site is the sister site to The House Concert Hub community and has been inherited in the main by kind donation of Shaun Belcher and Trailer Star.

It is the sum total of over ten years of tending a tender love of music by Shaun, a life time with Trailer Star and five or so years of an association with Rob Ellen from Medicine Music.

The House Concert Hub community will use it for the purpose of providing a online, all singing all dancing, review and preview area for the music of the community, and the music community at large. Have a look around tell your friends use the share button, tell the world.

We need reviewers, the idea is we have a correspondents in every area of the musical global village, it will be edited and co-ordinated by Rob Ellen of Medicine Music publicist promoter and presenter, if you wish to subscribe as a correspondent, join up here and drop Rob a line, he will send you cd's and send you to shows, display and publicise your content.

Here starts an other adventure.

  Visit The House Concert European Hub (& Acoustic Music Club Network)

 

 


www.euroamericanachart.eu

April 2018

1
Courtney Marie Andrews
100 pts.
May Your Kindness Remain
Loose Music
PK,CVL,DHO,JB,LK
2
Mary Gauthier
59 pts.
Rifles And Rosary Beads
In the Black Records
 
3
Caleb Caudle
49 pts.
Crushed Coins
Cornelius Chapel Records
TJ,TK,MP
4
Western Centuries
48 pts.
Songs From The Deluge
Free Dirt Records
DD,GS,FS,HM
5
Vivian Leva
44 pts.
Time is Everything
Free Dirt Records
 
6
Ed Romanoff
42 pts.
The Orphan King
Pinerock Records
 
7
Grant Peeples
41 pts.
Settling Scores vol. 2
Continental
AN
8
Joan Baez
32 pts.
Whistle Down The Wind
Proper Records
 
9
Jeb Barry and the Pawn Shop Saints
29 pts.
Texas, etc...
DollyRocker
MF,HDB
 
Sam Morrow
29 pts.
Concrete and Mud
Forty Below Records
JV
11
Chris Smither
27 pts.
Call Me Lucky
Signature Sounds
JSM,JD
12
Michael McDermott
26 pts.
Out From Under
Continental Song City
CRS
13
John Prine
24 pts.
The Tree of Forgiveness
Oh Boy Records
SP
14
Mary Chapin Carpenter
23 pts.
Sometimes Just The Sky
Lambent Light Records
 
15
Dean Owens
22 pts.
Southern Wind
At The Helm
PJ
16
6 String Drag
21 pts.
Top of The World
Schoolkids Records
FCE,JS
 
Haley Heynderickx
21 pts.
I Need To Start A Garden
Mama Bird Recordings
 
 
Nathaniel Rateliff & The Night Sweats
21 pts.
Tearing At The Seams
Stax Records
RM
19
Abe Partridge
20 pts.
Cotton Fields And Blood For Days
Skate Mountain
MVP,RK
 
Adam James Sorensen
20 pts.
Dust Cloud Refrain
Continental Song City
BM
 
Ben Reel
20 pts.
Land Of Escape
B REEL Records
 
 
Chip Taylor
20 pts.
Fix Your Words
Train Wreck Records
LM
 
Kesia Nagata
20 pts.
Looking For Horses
Caramal Productions
GC,EZ
 
Sheesham & Lotus & 'Son
20 pts.
Clear The Table
SepiaPhone Records
SZ,PG
25
3hattrio
18 pts.
Lord of the Desert
Okehdokee Records
 
 
Marlon Williams
18 pts.
Make Way for Love
Dead Oceans

© 2018   Created by The Medicine Show.   Powered by

Badges  |  Report an Issue  |  Terms of Service

Site Meter