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Sid Kingsley

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Started a new feature over at Dust Up Magazine today highlighting the best Richmond Bandcamp release of the week. It’s something I’m really excited about heading up — there is a ton of amazing music that goes up on that medium, most of which goes undiscovered for far too long (The Talkies, Hot Reader, Aerica Lauren, Yotipo, ad infinitum). The best part was I got to start the feature off with a bang, talking about the incredible new album by Sid Kingsley, Good Way Home. Here’s my description of the glorious title track that opens up the record:

Soulful ’70s progressions lead way to folk declarations both honest and bare before a delicate and winding chorus floats in, providing a musical contrast of hope to the solemn tone that dominates much of the song. The peppering of horns later in the song provides a bit of flavor for the music, moving it further away from the weighty resonance and into a realm of joyous exuberance that the conclusion takes full advantage of. An ingenious song, the only thing more eye-opening than listening to it is finding out that it’s the first song Kingsley ever wrote.

The rest of my detailed, late night thoughts can be found over at Dust Up, but I did have some extra notes to pop in that I thought about on my morning commute.

– I literally just picked up Paul Simon on vinyl a two weeks ago at the 2nd And Charles near my house, along with There Goes Rhymin’ Simon. (Shout-out to my lovely, pregnant wife for letting me take up part of our Saturday afternoon going through their new arrivals for what seemed like forever.) I’m still amazed at how Kingsley warped Simon’s folksy tension on “Duncan” into this pulsating rock track. Besides the title track, it’s the song I’ve probably poured over the most from the record.

– Oh, and that title track. I know I described it above, but there is so much more to say about it. I love the ominous opening it has — it’s seems like an overture for a gritty spy thriller, but it perfectly blends into the opening melody that’s equally ominous, yet also curious and soulful. Using those punctuated bells in the chorus is a great touch, as is letting that first chorus hang in the air a bit before the song really kicks in. Little moments I know, but they’re really what make this album so remarkable.

– That slide tone in the bridge of “These Are The Reasons.” Holy shit. Seriously, holy shit. Warm, fuzzy, and electric, I love how it makes your head pop up instantly, but is still a completely organic progression of the song.

– How fun is “Rat On A Wheel?” Not just the impish piano part, but that infectious chorus too. “Ohhh, run you run away.” That bit was stuck in my head when I woke up this morning. Also, I love how the song opens up into this vast sonic view with the horns and blues solo adding character and depth to the flighty melody.

So yeah, I’m a huge fan of this record, as I think anyone who enjoys folk or soul music would be. Take a listen to any of those songs above, or just click play below to hear the RVATRACK version of the title track. Regardless, make sure you pick up a copy on Bandcamp or American Paradox. Warning to vinly lovers — they will go quick.

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