Words Fail Me - That's Why I Play Guitar
Rick Ruskin
(Lion Dog 9708)
Lion Dog Music
1414 21st Avenue
Seattle, WA 98122
(206) 322-1601
liondog@isomedia.com
http://itrstudio.com/rruskin.html
A review written for the Folk and Music Exchange
by Mark O'Donnell (modonn6311@aol.com)
Outside of Charlie Patton, John Fahey is probably recognized as
the founder of the American primitive guitar school which, for
better or worse, has lead to New Age music. It was Fahey (in his
ethnomusicologist guise) who hunted down the obscure recordings
of Patton, Robert Johnson, and others on the backroads of the
deep South, took their licks, and transformed them into something
new. It was Fahey who served as the entrepreneurial prototype for
William Ackerman and Windham Hill by founding Takoma Records back
in 1959. And it was Fahey who discovered and recorded other
talented guitarists such as Robbie Basho, Leo Kottke, and Peter
Lang. We owe him much. One of his discoveries, Rick Ruskin, has
followed the same path Fahey blazed so long ago, quietly plying
his craft while founding his own homegrown label in the
Northwest. Ruskin first recorded for Takoma back in 1972, left
the label, moved north, and has been issuing his own well-crafted
tunes since then. His latest effort is "Words Fail Me" issued on
his Lion Dog label.
Rick Ruskin, like Fahey, Lang, and Kottke, is a skilled acoustic
guitarist who writes his own tunes. The difference, however, is
the application of a singular style and viewpoint developed over
decades. One of the approaches that distinguishes Ruskin from his
colleagues is his defining use of the bass, which, on several of
the tunes contained herein, provides a significant accompaniment
to the treble melody. This bass accompaniment can be found on
"Model Railroad," and "Glass Guitar," as well as on "Hey There,
Baby." Many of these songs evidence a pleasing, jaunty feel with
low-key funky basslines that keep the melodies moving. "Lullaby,"
by contrast, is as the name implies a soft, lilting, hummable
tune perfect to sending a child off to sleep. Ruskin has quite a
nice way with a melody, as is most readily apparent on "Art By
Accident", where the treble lines and accompanying bass
complement each other and provide a memorable balance. "Satchel",
too, is a great, catchy tune which again employs a great funky
bassline, as well as some nicely underplayed
drumming/fingersnapping.
Some of the tunes are almost like old friends---there being
something familiar in the tune; "Gratitude" and "Places To Hide"
come to mind here. Ironically, given the album title, implying an
all-instrumental effort, there are two songs with Ruskin's
heartfelt vocal accompaniment. These also happen to be the only
two tunes with other instrumentation and, frankly, neither works
well. The break in instrumentation only serves to jar the mood
created by the intimate recording of the unaccompanied acoustic
guitar on the other songs. Despite Ruskin's pleasant voice, as in
"Words Fail Me," ultimately, the songs do not work in the overall
context of the album. Still twelve out of fourteen is not bad.
Rick Ruskin is one of those artists with subtlety and skill who
deserve a much wider audience. One can only hope that NPR or the
like will find this recording and give it a national airing.
Ruskin deserves to be heard, as does this well-recorded and
generally quite intimate recording.
Songs: Lullaby; Hey There, Baby; See-Saw; Model Railroad; Long
Walk Home; Places To Hide; Cut To The Chase; Satchel; Heavy
Traffic; Art By Accident; Gratitude; Glass Guitar; & 50 Cents
Gets You A Cup Of Coffee; Words Fail Me.
Time: 44' 20"
Edited by David Schultz
Copyright 1998, Peterborough Folk Music Sciety. This review may
be reprinted with prior permission and attribution.
David N. Pyles | (802) 223-1473
Music Alive! | dnpyles@acousticmusic.com
322 Elm Street | http://www.acousticmusic.com/frames/
Montpelier, VT 05602 | http://www.acousticmusic.com/frames/fame.htm
______________________________________________________________________