Let's Leave This Town Review

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Let's Leave This Town ReviewHe's a songwriter who's still better known for his '60s classics ("Wild Thing" "Angel of the Morning") than the fine country-folk material he's written and recorded in subsequent years. She's a 23-year-old fiddle player (and Berklee School of Music graduate) whose Austin upbringing has steeped her in Texas twang since childhood. A chance meeting at last year's South By Southwest music conference turned into an opportunity for the latter to play and sing support on domestic shows with the former. This turned into a deeper partnership on a European tour, with Rodriguez finding her voice (at Taylor's urging) and graduating to singing partner. The culmination is this album of duets, mostly written by Taylor specifically for the project.
For her part, Rodriguez is a fine fiddle player, with a singing voice that takes in the plaintive Southern side of Lucinda Williams and Kimmie Rhodes, but with a bit of the blue-yodel edge shown by the Dixie Chicks' Natalie Maines. Taylor's always had the sort of rough-hewn voice that Kris Kristofferson and John Prine have used to such great affect. The difference in their tone, also reflecting the difference in their ages, is what makes their duet singing so appealing to the ears.
The music sticks almost entirely to the acoustic, with stellar guitar and mandolin playing from John McGann and upright bass from Jim Whitney. The tunes ranges from old-timey influenced folk country to Texas swing and acoustic jazz. Taylor's new songs are accompanied by a pair of traditional covers ("Say Little Darlin'" and the instrumental "Midnight on the Water"), and a reprise of his own "Storybook Children" (a 1968 hit for Judy Clay and co-writer Billy Vera), the song that sparked this duo's act on stage.
With SXSW having become something of a meat market at which artists display their wares to labels, it's pleasing to find something grow organically from the chance meeting of musicians, unbrokered by A&R flacks.Let's Leave This Town Overview

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