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Danny Barnes
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Danny Barnes's Bio:

What comes after post-modernism? And is it mere nostalgia when you willfully channel the ambience+ if not the intent+ of a music that arguably peaked a generation or two <I>before</I> you were born? The answers may not be readily apparent on this marvelous+ deeply rooted+ yet impossibly free album by the former frontman of Austin"s Bad Livers; that it merely inspires such musings is impressive enough. Barnes" countryfied tack belies an intellect as wryly cutting as Randy Newman"s+ fingers as soulfully nimble as Ry Cooder"s and a sense of history whose fervency rivals T Bone Burnett"s--did we forget to mention Ives and R. Crumb?--yet the sum of the whole is distinctly his own. The product of collaborations with guitarist Bill Frisell+ violinist Darol Anger (who penned the album"s jaunty instrumental "Barnes Away") and others+ filtered through a self-produced sonic sensibility that suggests some lost trove of "40s country 78s+ Barnes"s bluegrass-with-a-bop attitude transcends boundaries of genre and era with an effortlessness that"s as deceptive as it is compelling. Whether skewering modern heartland myths ("Life in the Country") with a banjo twang+ powering the ambitiously goofy stream-of-consciousness of "I Like My Chicken Hot" with pianist Chuck Leavell"s nervous jazz chords or furthering his only occasionally metaphorical food obsessions with the lovely "Popcorn and Wine" and the exuberantly cornpone "Peanut Butter is a Man"s Best Friend+" Barnes sense of joyous adventure is palpable here. Yet solid+ more traditional ballads like "Face to Face" masterfully anchor it to the longing concerns of a near century of country music. His cover choices (the antipodal traditionals "Kitchen Floor Waltz" and "Keep My Skillet Good and Greasy"; a wistful take on the Faces" "Ooh La La"; a freeform jam of Beck"s "Loser") are eclectic yet nigh-perfect+ forceful reminders that traditions are nothing if not continually tweaked and built upon. <I>--Jerry McCulley</I>
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Danny Barnes's Albums
Oft Mended Raiment
Get Myself Together

Danny Barnes Album Editorial:
With Get Myself Together Danny Barnes - Americas irreplaceable alchemist of acoustic razzle-dazzle open-borders ecumenism and downhome chutzpah - gets back to basics. Or so a record of lively blues and old-timey-tinged songs played on banjo and guitar with occasional fiddle and bass guitar accompaniment would seem. Coming on the heels of the widescreen epic Dirt on the Angel and a magic-barrel profusion of experimental-edge side projects Get Myself Together sounds at first like a return to the earlier leaner aesthetic of Bad Livers the Texas avant-hillbilly visionaries whom Barnes steered through seven records from 1994 to 2000. But his fans know to listen more than once. When Barnes is driving there are no entirely straight routes forward or back and nothing slips off the back of the truck. One of the themes that interested me in the writing of this project was the law of cause and effect Danny says. How people basically cause their own misery and happiness. Its always amazed me how people myself included volunteer for misery. Threads of continuity bear out Dannys assertion that Get Myself Together is set up like a modern film various stories get woven into the fabric in disjointed ways little lyrical themes that pop in and out across the selections much like classical music. 13 stark jewels all recorded in a small room (by Garey Shelton/Seattle WA) and unfussily presented. This music breathes between the notes as it maintains an amiable give-and-take with dead masters - the student holding his own neither showboating nor allowing the exchange to flag. Pick up your copy today!
Dirt on the Angel

Danny Barnes Album Editorial:
What comes after post-modernism? And is it mere nostalgia when you willfully channel the ambience if not the intent of a music that arguably peaked a generation or two Ibefore you were born? The answers may not be readily apparent on this marvelous deeply rooted yet impossibly free album by the former frontman of Austins Bad Livers; that it merely inspires such musings is impressive enough. Barnes countryfied tack belies an intellect as wryly cutting as Randy Newmans fingers as soulfully nimble as Ry Cooders and a sense of history whose fervency rivals T Bone Burnetts--did we forget to mention Ives and R. Crumb?--yet the sum of the whole is distinctly his own. The product of collaborations with guitarist Bill Frisell violinist Darol Anger (who penned the albums jaunty instrumental Barnes Away) and others filtered through a self-produced sonic sensibility that suggests some lost trove of 40s country 78s Barness bluegrass-with-a-bop attitude transcends boundaries of genre and era with an effortlessness thats as deceptive as it is compelling. Whether skewering modern heartland myths (Life in the Country) with a banjo twang powering the ambitiously goofy stream-of-consciousness of I Like My Chicken Hot with pianist Chuck Leavells nervous jazz chords or furthering his only occasionally metaphorical food obsessions with the lovely Popcorn and Wine and the exuberantly cornpone Peanut Butter is a Mans Best Friend Barnes sense of joyous adventure is palpable here. Yet solid more traditional ballads like Face to Face masterfully anchor it to the longing concerns of a near century of country music. His cover choices (the antipodal traditionals Kitchen Floor Waltz and Keep My Skillet Good and Greasy; a wistful take on the Faces Ooh La La; a freeform jam of Becks Loser) are eclectic yet nigh-perfect forceful reminders that traditions are nothing if not continually tweaked and built upon. Jerry McCulley
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