Overall, "Sweet Satisfaction" is quite the ride, and a perfect example of one of Chicago's most innovative young artists. Where the album's first single "Primrose Green" is a pastoral folk ballad, this track is much louder and foreboding.
#Ryley walker sweet satisfaction full#
Over the course of the song's six minutes, what starts as a pleasant acoustic guitar riff slowly transforms into a noisy, full band freakout. What chords does Ryley Walker play in Sweet Satisfaction These are the chords that Ryley Walker plays on Sweet Satisfaction: C min, A maj, F min, B sus4. His influences of Americana, blues, jazz, and Celtic folk.
Today, the singer-songwriter shared what's arguably the record's best song in "Sweet Satisfaction."Īn ambling and sprawling number, "Sweet Satisfaction" contains a multitude of musical layers that unfold after each listen. Theres earnestness in Walkers warble, exemplified in Summer Dress and Sweet Satisfaction. This is a true colossus of an album and if it doesn’t make your top ten of 2015 come New Year’s Eve, I have to question your sanity.Though Chicago native Ryley Walker doesn't make the most hip or headline-grabbing music (when was the last time you heard the fingerstyle guitar technique on Top 40?), his improvisational brand of gorgeous folk-rock is more interesting and compelling than anything you'll hear on the radio right now.Ī virtuosic guitar player who takes his cues from John Fahey and Fairport Convention with a commanding voice that channels '60s greats Tim Buckley and Van Morrison, Walker is a complete package, and his forthcoming album "Primrose Green" is an absolute stunner. It’s a vital, vivid, veracious victory that will crush you like a boa constrictor until it releases you from its cheeky grasp and tickles your tummy instead.
You will hear few full length releases this year with as much substance as ‘Primrose Green’. It’s a much needed diversion from an album steeped in raw emotion and as such it stands out as a clear highlight. Indeed, so intense is the first half of the record that it comes as a relief when the cool and carefree whimsy of ‘On The Banks Of The Old Kishwaukee’ freshens the atmosphere with a more conventional West Coast country summer vibe. The second track lifted from the release follows the previously-shared title track, with the album out on 31st March via Dead Oceans. It ought to have anyone that hears it utterly enraptured from the very first moment. Ryley Walker has shared a new single titled ‘Sweet Satisfaction’, from his upcoming album ‘Primrose Green’. The songs here are far from a lazy pastiche of the idols of yesteryear though, for ‘Primrose Green’ is a big, brazen set that cocks its leg and marks its own lamp post with the most pungent of aromas. There’s even a Pentangle-style instrumental in the form of ‘Griffiths Bucks Blues’, one of several tracks which, being a failed guitarist myself, made my fingers hurt just listening to it. Elsewhere, there are flourishes of the Buckley dynasty (more Tim than Jeff though, it should be noted), nods to ‘Astral Weeks’ period Van Morrison and the early solo work of Richard Thompson. Apart from the obvious influence of Martyn, Walker channels a less fey Nick Drake on ‘The High Road’, a composition in which he becomes, perhaps surprisingly, a dead ringer for James Yorkston in his delivery. Album Tracks Love Can Be Cruel, Ryley Walker On the Banks of the Old Kishwaukee, Ryley Walker Sweet Satisfaction, Ryley Walker The High Road. The Chicagoan guitarist’s main reference points are self evident. The power of Chicago singer-songwriter Ryley Walker can be immediately felt when embarking on one of his songs. It’s no great leap of faith, either, to picture Walker, hair cascading in the summer breeze, as a kind of messianic figure up on the main stage at Woodstock as the song builds, lost in the marijuana fog clouds and immersed in the splendour of the remarkable musical sparring team he has built around him. The similarity is uncanny at times, notably on the breathtaking ‘Same Minds’ and the ‘Solid Air’ melancholy of ‘Sweet Satisfaction’, the former of which begins with the kind of sparse, off-kilter bass championed by Tom Waits around his ‘Small Change’ era, and the latter of whom changes tack at the end into a frenetic workout that is as thrilling as it is unexpected. Ryley Walker’s musical persona inhabits the same woozy, smoky 3 am jazz club once patronised by the likes of John Martyn. Primrose Green 1.On The Banks Of The Old Kishwaukee04:58 2.Sweet Satisfaction06:23 3.The High Road04:48 4.All Kinds Of You04:32 5.Hide In The Roses02:41.
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