Gasmac Gilmore "Dead Donkey"
Monkey/Rough Trade; 2012
The continuing popularity of gypsy punk continues on and on and on. What havoc hast thou created, Gogol Bordello? Even before that, Boiled in Lead, 3 Mustaphas 3, and the Pogues did their utmost to combine youthful energy with traditional forms. Gasmac Gilmore is Vienna based band that combines electric guitars, acoustic guitars and accordions and keys atop a quick rhythm section and puts out a classic gypsy punk stew of music. Passionate vocals and the electric side’s metal crunch gives this plenty of strength and make it a bit heavier than some of the others. It is fun and hard to not like this music, although I do hear a lot of it and it is hard to find distinguishing factors for much of it. The better songs here do have an experimental feel to them such as the psyche metal moves in “Sunkist”. This is probably one of the better records in this genre and I would certainly see this act live if possible.
© David Hintz
Mike Tyler "Erection"
Own label; 2012
I never hoped more that the saying ‘you can’t judge a book by its cover’ were truer after seeing this cover. It’s definitely one for those amusing web lists where there are an amazing array of bad cover choices. Mike Tyler claims to be a poet, but why such a prosaic cover then? Ok, enough on the cover. The music is interesting outsider art with a pretty good musical touch at times. It is obvious he’s a fan of Lou Reed, but there is some Perry Leopald in here, too. It is in the folk idiom, but the jarring yet smooth garage guitar of “I’m Not Doing It” is quite a brilliant move. Vocally, aside from the dreary Lou Reed persona, he has a similar spoken word (barely sung) intensity that Jeff Olener had with the Nuns. Ultimately this one is for fans of Daniel Johnston or even ½ Japanese, but I am still not entirely sure how this fits in there either.
© David Hintz
Janne Westerlund "Oran"
9pm Records; 2012
The title of the opening cut, “A Prayer for Judee Sill” has me interested in this Finnish singer songwriter. Even better, the payoff was larger than the expectations as he brings a deep, dark slightly psychedelic feel to a delicate but biting folk song. The organ in the background is perfectly mixed to enhance the deep atmosphere of his breathy intense voice and striking guitar. Westerlund also adds some banjo and percussion as he handles all parts of this recording. It stays strong through the course of its ten contemplative songs. The mood is steady, edgy, and it held my interest through every note. This is a fine album for fans of David Eugene Edwards and Woven Hand (of which I am a charter member). Although this is his first album, he has played with many bands, so his professionalism shows.
© David Hintz
Ben Glover "Do We Burn the Boats?"
Own label; 2012
Ben Glover is from Northern Ireland, although that may be difficult to detect as he sings an Americana based folk-rock. He recorded this fourth album in Nashville, so it certainly has a slick, professional sound. I find it refreshing that he keeps the arrangements clean with a variety of intensity where instruments fade to the front and background seamlessly and allow focus to follow the natural rhythms of his music. It has a general, universal feeling which could be a problem if it slipped into bland but decent songwriting. But there is enough of a spark to keep interest throughout. He reminds me a bit of Josh Ritter and should easily attract a large audience with songs like these.
© David Hintz
Jerry Douglas "Traveler"
Membran; 2012
What starts off as a rather straight bluesy affair quickly moves into many fun variations. You could certainly attribute that to the guest spots by a few names you may be familiar with: Eric Clapton, Alison Krauss, Keb’ Mo’, Dr. John, and Mumford & Sons with Paul Simon. But Douglas has plenty of creativity shown best in “So Here We Are”. I am not sure how I would classify this mysterious little rocker with its near psyche-krautrock vibe. Most of the record is comfortable and features plenty of Douglas’s dobro where he has earned his fame and respect among musicians around the globe. Guitar aficionados will certainly enjoy this one, but there are enough melodic songs to please fans of blues and rock music including a couple of Paul Simon covers (“The Boxer” being one nearly everyone will know). Better than I expected, to say the least.
© David Hintz
Raymond Gonzalez "Open Tuning"
Own label; 2012
Open tuning, indeed! It is all there with a tuning description for each of these fifteen instrumental guitar pieces. Although this is clearly an album guitar lovers will enjoy, there is a great sense of melody and a clear showcase of dexterity here for even minor fans of the guitar. It is pretty simple—if you like exquisite finger style guitar, then give this a listen. If you like John Renbourn, you will surely enjoy this record. And even with about 37 John Renbourn albums in my library, this one was able to offer me plenty to enjoy.
© David Hintz
Novi Sad "16 Songs, 22 Years"
Lindo Records, 2012
This is an intriguing album. The band begins with a full post-punk rocker. Its female vocalist has an earnest desperation in her singing showing a great touch. After that, you never quite no what to expect. “16 Songs, 22 Years” is right—this is an eclectic set of individual songs that don’t offer much of a unifying theme. Yet the voice remains the same over post-punk, Smiths like pop, folk-rock, flamenco, and whatever else they find in the kitchen sink. I have to say that there is more fun listening here than on many tighter albums. The songs are excellent and the quality playing is full of surprises and there is plenty for folk fans as well as rockers. Worldly, eclectic, broad range tastes… and just when you thought it could not get stranger, the sixteenth song is a 13-minute accordion folk song that sneaks in a spacey electric guitar fade-out twist. Come on, take the challenge and see what you think of this very cool album.
© David Hintz
Ian Hunter & the Rant Band "When I’m President"
Proper; 2012
This is a pleasant surprise. This classic rocker from Mott the Hoople fame is almost matching Robert Plant’s ability to assemble a brilliant band and make every bit as exciting music as he did in his prime. In fact, since I was not exactly a huge Mott fan, I find this album even more enjoyable. There is a rootsy, older rock’n’roll feel, but like on Plant’s records, the band has room to add some worldly psyche moves. Check out the Western vibe of “Ta Shunka Witco (Crazy Horse)”. There is also plenty of the loose glam feel that Mott excelled at, although this band seems even sharper. But the bluesy rootsiness is the key and the authenticity comes from someone who has been making music since the sixties. I recently saw them live as they are touring the USA and Europe and this full band was there doing a great job with this material. Ian Hunter is a sharp guy and in great shape. I don’t know if he would make a great president, but his state of the union musical address clearly shows we are in prosperous times.
© David Hintz
Norman "Hay. Hay. Make a Wish and Turn Away"
Songs and Whispers, 2012
Although they do not exactly sound like the Decembrists, they do have that thoughtful folk rock feeling with the occasional electric guitar that cuts loose. It is a varied affair and succeeds with the better songs. A few times, they drift back into rather predictable patterns, but when their creative juices are flowing, they can be a very intriguing band. They are from the Portland, Oregon area which is quite fertile for interesting bands and Blitzen Trapper also comes to mind when hearing this. The good songs are profound enough to warrant a listen hear and keep your ears close to the ground to keep track of this band.
© David Hintz
Arthur Alligood "One Silver Needle"
Newsong Recordings; 2012
We have Jim Keltner on drums and Leland Sklar on bass. No, it’s not Topanga Valley in California in the early seventies. Instead, it’s a Hall of Fame session rhythm session players who along with guitarist Michael Ward, create the atmosphere for the songs of this guitarist/singer from rural Tennessee. There are country touches, but even better are the Appalachian folk moves that work with the professional and supportive session men. And the pulsating rock sounds on “Go on Back” are something I can listen to many times before tiring. I like his voice and the way he maneuvers it around the beat in a similar manner to Tom Petty among others. Some of the more country numbers may be for other tastes, but there are also contemplative folk songs like “Coming for the Heart of Me”. This is a solid album and fits into a singer songwriter collection where you may have difficulty placing the decade it is from.
© David Hintz
Tony O’Leary "The Mysteries of Life"
Own label; 2012
Tony O’Leary plays Irish folk music—Newfoundland style, as part of that vibrant folk scene. He has plenty of other musicians and adds his mix of accordion, mandola, and guitars to various tracks. There are some traditional arrangements mixed in nicely among his original songs, which have a gutsy Ron Kavana style folk to even rockier arrangements. It is a mixed bag with the Irish material and some of his poignant conservationist original songs working some magic. Most important, a positive feeling is communicated throughout making this a pleasure to listen to before taking a nice long walk.
© David Hintz
Steve Mednick "Two Days after Yesterday"
Cottage Sound Recordings; 2012
If you like your folk with a touch of rock and some rough sonic edges around some smooth guitar chords, you may be in for a treat here. The songs vary from acoustic to electric, some arranged with raw jagged sounds, others more lush with strings and keyboards, choirs, etc. Mednick’s voice is raspy and rough even as he sensitively handles the ballads. At his best (when he really goes for it), he reminds me of Tim Rose, who was a tour de force in his day. This record is a mixed bag, but the overall sense of urgency and stronger songs will stay with me. That may be in part to the lyrical quality which had me digging deeper on first listen than most other discs I encounter for the first time. He sounds like he would be quite commanding on stage, too.
© David Hintz
Dia del Marcado "Seven Years of Dirt"
Root & Branch Recordings; 2012
This is an interesting mix of pleasant mainstream pop rock with nice spacey western landscape slide guitar. There is some careful thought and execution in these arrangements and that pays off handsomely in the end. The songs are more varied, but they seem to follow each other into a comfortable pattern like that of a smooth rail journey across the scrub brush of the old West. And although they are from Groningen, Netherlands, and probably have never been to the east in the USA, let alone the west; their imagination is fertile and succeeds in creating vivid imagery when this works. This is music that challenges and the rewards outweigh the miscues, which is exactly what you want with gutsy efforts that attempt to try out new things.
© David Hintz
Scott Cook "Moonlit Rambles"
Groove Revival; 2012
Don’t let the easy going sway of this country folk fool you. Scott Cook rustles up some sharp-tongued lyrics that are carefully and delicately delivered amidst his catchy music. The opening cut “Song for Slow Dancers” is this album’s alarm clock bell and had me at attention. After that, he varies the topics and the moods with a clever touch. He has a rich voice that is comforting no matter what the issue is to be conveyed. Musically, it is all good, but veers a little bit too much into standard folk-country territory. Still, this Canadian singer songwriter keeps it authentic and true and provides plenty of fine material here.
© David Hintz
Dave Stewart "The Ringmaster General"
Membran/Sony; 2012
As they said on the old gameshow “To Tell the Truth”, will the real Dave Stewart please stand up? Will it be the Dave Stewart from Arzachel, Egg, and the duo DS & Barbara Gaskin (my favorite)? Or could it be the form great Los Angeles Dodgers pitcher who was arrested with a transvestite call girl? No, it’s Dave Stewart number 3, the famed guitarist from the Eurhythmics. I will admit to not following his career much since he and Annie Lennox were making their interesting gothic pop tunes many decades back. For this album, he settles in Nashville with some of the many fine session musicians available there. And although they a bring a bit too much of that slick country sound I expect, Stewart (as ringmaster) still brings interesting rock, progressive, and psychedelic moves into the mix. He also brings in various female vocalists to assist such as Alison Krauss. My favorite is Orinathi helping out with a strong rocker “Girl in a Catsuit”. The title cut displays a lot of heart and there are enough quality songs where there is something to like for each and every listener.
© David Hintz
Stan Rogers "Turnaround"
Borealis Records, 1978/2012
This is the second album of the late Stan Rogers to be remastered and reissued. I was convinced after one record of how good he was. Now with this second one out, I want them all… now! Rogers and his brother recorded with Archie Fisher and Fisher’s sort of deep contemplative folk is where Stan Rogers begins. But he moves around into both ethereal and roots rock both evident in “Oh No, Not I”, a strong song that has instantly become one of my favorites. The female vocals remind me of Joan Mills and Rogers’ main vocals are surprisingly intense while keeping fulfilling warmth in his tone. He covers Archie Fisher’s “Dark Eyed Molly” to great effect. There are sea shanty songs as well as more modern rooted songs. “Try Like the Devil” even employs some of those late sixties’ soul meets rock’n’roll showing just how in tune Stan Rogers was to all music. A folk fan of almost any sub-genre should be listening to these re-releases.
© David Hintz
Christina Martin "Sleeping with a Stranger"
Come Undone Records; 2012
Christina Martin has a cute and delicate voice and like Cyndi Lauper or Stevie Nicks, and continued listening shows that like those two classic singers, there is a tough inner voice behind it. She begins this album in a country direction, but shows off pop and rock moves as well as heartland Americana-folk. This is hook oriented music, but with a lot of heart and authenticity. The story telling is present in many of the songs and the title cut is definitely a gem. “Take My Body Home” has a spooky vibrato in the electric guitar and a touching vocal line. This record won me over quickly and is should easily work its way into the hearts of many different style of music fans.
© David Hintz
Adam James Sorensen "Midwest"
City Creek Records; 2012
If you enjoy the music of James Taylor, Jackson Browne, and Paul Simon, then you may want to try this Chicago singer songwriter out. Sorensen has a soft emotive voice that has a nice tone. The supporting instruments are on the quiet side, which exposes the pedal steel, a bit too much for me. I liked the string arrangements more. The one thing lacking is that one song akin to “Running on Empty” or “Mrs. Robinson” to shake things up a bit. But still a fine effort if you like the quiet and contemplative.
© David Hintz
Synje Norland "To the Other Side"
Norland Music; 2012
Synje Norland has a lovely voice not unlike Emiliana Torrini, although there’s a bit more Americana/country styling here. Sometimes the music gets a little bit too comfortable in that direction. But then “I Will” comes along with a full arrangement and some nice originality. “Pages” offers a bit of spacey electric guitar and a few shifts from pop vocals to deeper areas. This record proves to me what thousands of others have over the years—It is more often that a long player can really win over listeners much more than most single songs can. Stick with this record and Synje Norland will pull you in to her songs.
© David Hintz
Schagai "Schagai"
Totentanz, 2012
East meets West here in this fascinating yet hard to categorize record. There are Asian folk themes at the core, yet the vocals are pseudo-death metal in approach, but on the quieter side. The music has folk-rock and out and out rock moves that somehow work together. There is a gothic folk feel like I have heard in Werkraum’s records, but this is even more unique. It is dark, yet contemplative. The vocal work is geared toward chants and they are apparently Mongolian in origin. I enjoy this record a lot, but I would only recommend it to the adventurous listener. It is not hard to listen to, but either you follow this twisted path or you don’t. Who knows what I will feel like after living with these sounds for a few months?
© David Hintz
Mick Flannery "Red to Blue"
EMI; 2012
This record begins with a hearty Tim Rose/lighter Bruce Springsteen feel to it, but then pulls back into more contemplative songs. Mick Flannery has a rich, breathy, and very expressive voice. The songs have solid rock foundation but there are strings and brass bringing things up to a full production. There is even a less histrionic Joe Cocker at times when things really get revved up and it is hard not to think of his fellow Irishman, Van Morrison. Stay with this record, as Flannery’s style and grace will work their way into your mind. And an as an older sounding rocker like “No Way to Live” moves to a powerhouse like “Get that Gold”, you should become hooked. Aside from maybe a couple too many ballads, this is a highly successful record that will work with any singer/songwriter fan of various rock and folk genres.
© David Hintz
Ian Anderson "TAAB2"
Chrysalis; 2012
Get ready; it is a music critic writing about Ian Anderson and Jethro Tull.... Nothing has been more tiresome for me than reading the dozens of clichéd critical barbs against various progressive bands, particularly Jethro Tull's Ian Anderson (including one just a few months back in Uncut). And now we have the sequel to the most progressive Tull album, "Thick as a Brick". Well, I will be happy to dodge the critical bricks hurled at Tull, as I join millions of fans that have always liked Ian Anderson's songs and Tull's music. "Thick as a Brick" was a busy record musically with side long tracks telling the story of Gerald Bostock. Now it is 40 years later and Ian Anderson has some catching up to do. The story telling is fine, if not a bit predictable, but it flows well. Musically, it is a lot of fun with reference points to the original album and even some other Tull songs. None of the older or recent Tull players, so as in the live tours, Ian Anderson performs under his own name but with a very Tull-like band (a lot if not all of them were here with him live last year). These players know the Tull material and bring the same progressive spirit and skill of that of the original.
© David Hintz
Duncan McCrone "Colourblind"
Circular Records; 2012
As the Rab Noakes liner notes explain, there is not a tight genre binding Duncan McCrone in. It is definitely folk music for folk fans, but he ranges from contemporary originals to classic Scottish fare to sea shanties to the topical songs of Phil Ochs. Oh, and there is a cover of Rab Noakes’ “Waiting Here for You”. And although there is variety, McCrone’s warm style connects everything together and makes for a pleasurable listen. His voice is warmly accented with a nice range for the material. The guitar playing and supporting instrumentation is solid throughout. This one is well worth a listen or two or ten.
© David Hintz
Derek Warfield "Washington’s Irish"
Own label; 2012
Warfield is a founding member of the Wolfe Tones and lately has been engaged in collecting Irish songs and compiling them on records with a historical context. He covered Irish folk songs from the American Civil War era over at least two volumes. Now he has this Revolutionary War album out which is subtitled ‘Songs, Music & Story of the Irish Fight for American Liberty’. This collection has a huge booklet packed with interesting historical context. Yet even if you never open it, you will be treated by striking Irish folk songs, produced with heft, and played with vigor and passion. There is nothing modern here, aside from the recording technology, but you will get 18 enjoyable Irish songs played well and sung by a master.
© David Hintz
Zorita "Amor y Muerte"
Rosita Records; 2012
The beginning of the Clint Eastwood film “High Plains Drifter” begins a lot like this album—spooky music, mystical imagery and then shifting on to a western styled story and music. The one change here is that it goes a little more south with Spanish guitar flair and blasts of brass spicing things up ‘south of the border’. It slips a little in intensity and interest at the end, but there are enough highlights early on to warrant a listen or more.
© David Hintz
Tim Grimm "Thank You Tom Paxton"
Vault Records; 2012
You get one guess to identify the theme of this album. Yes, it is 12 Tom Paxton covers here in Tim Grimm’s tribute to one of the finer American songwriters. And the evidence is well received here, as the songs are a good selection showing off Paxton’s protest songs, topical items, sense of humor, and classic songwriting style. Grimm is a fine folk performer and does well with the material. He has many other players to give each of these songs a full band arrangement, although it feels like Folk-rock with a capital F.
© David Hintz
Greg Russell & Ciaran Algar "The Queen’s Lover"
Fellside Recordings, 2012
If you miss the Dransfields, this UK based folk duo may be ready to fill in; and based on their youthful photos, they may be able to do so for a very long time. The Dransfields immediately come to mind, as there are a few guitar/violin duets, although bouzouki and banjo figure in here as well. They also start with a nice traditional “Two Magicians” and their originals follow smoothly in this vein. They have the experienced hand of Paul Adams in the production chair so everything sounds as it should with clarity among the instruments and a clear and present voice on top with just a bit of harmony here and there. It does not have the inner fire of the Dransfields and instead opts for a more reserved and delicate folk style. They are off to a nice start with this debut album. This is definitely one for the pure of heart seeking out the pure of folk.
© David Hintz
Aimee Mann "Charmer"
Proper, 2012
Aimee Mann really blends into her own album and her vocals nearly take a back seat to the music. That is only a semi-accurate description of this interesting album, as her lyrics and singing are always a clear focal point. It is just that they don’t dominate and seem woven in to this slippery rock music. All of this is quite fascinating and although this is not terribly folk oriented, most singer songwriter fans will be rewarded. The vocal trade-offs with the Shinns’ James Mercer in “Living a Lie” is of interest to indie rock fans and lives up to the star power. The electric guitars and surprising synthesizer wash create a spacey, yet not terribly psychedelic tone to this record. I particularly like the way they set the rock tone in “Gamma Ray” most particularly, although they show up often.
© David Hintz
A new wave band from the 1980s comprised of members from Poland and Norway? Sounds interesting… on paper. Musically, there is a lot of variety with mainstream rock, punk-folk, folk-metal, and lots of traditional arrangements (arranged quite non traditionally). This could be fun, but it is kind of cold and disconnected. At times it reminds me of novelty bands trying to sound like the Sex Pistols. Other songs are more serious, but just nothing unique enough to get me interested.
© David Hintz
The Lumineers "The Lumineers"
Decca; 2012
If you tire of the quantity of heartland Americana and alt country bands, but still like the sound, it is a good idea to keep listening to the many bands that inhabit this world and pick out the gems. Many take different paths into nearby genres and create something interesting. The Lumineers take heartland folk rock and add a modern and classic pop sensibility to it. The melodies are lovely and the arrangements have a nice pop rock rhythm with violins, acoustic guitars all moving along nicely to the quick drumbeats. This trio is from my former hometown of Denver, Colorado and continues the wave of great music coming out of there. They are not as dark gothic as Woven Hand/Slim Cessna, nor as worldly as DeVotchKa, but they have the same strong grasp of roots music of those other successful bands and are forging their own path. This album works well as an extension of ‘the Denver Sound’ or on its own to any true adventurer of the American musical landscape. These three offer yet another interesting take on a classical form.
© David Hintz
Andrew Peterson "Light for the Lost Boy"
Centricity Music; 2012
This is slickly produced singer songwriter material that is in the Christian music section. It is of a quality, that you can still appreciate the songs if you are not Christian or if that is a ‘genre’ that does not generally appeal. Peterson has a nice warmth to the songs and sounds a bit like latter day Al Stewart/Dave Mason/Henry Gross or a pop country crossover artist. It is a little too mannered at times with the lush strings working their way into the songs at all the expected points. But there are a few nice songs with a good folk feeling that will resonate with many, especially with the full band sound.
© David Hintz
Ciro Hurtado "Los Angeles Blues"
Inti Productions; 2012
This Peruvian born guitarist plays a majestic finger style acoustic guitar. If you like that style folk music, this one should grab pull you in. He claims to have mixed his ethnic traditions with the great rock’n’roll and blues from the UK and the USA in the 60s and merged it together for his style called Andean Blues. That may be appropriate, but there sounds like there is some John Renbourn or Werner Lammerhirt in here as well. It is clean music with a Latin flair that stays on the subtle side of the sound. There are plenty of classical forms here and perhaps some formal jazz/fusion forms as well. It plays smoothly with and individual identity that makes it a pleasure to listen to.
© David Hintz
Terakaft "Kel Tamasheq"
World Village, 2012
From Morocco to Mali and further east into the vast Sahara, there are some mighty interesting sounds travelling all over the world. Tinariwen is the most famous of the Saharan nomadic bands spreading their electric desert blues on albums and tours. Terakaft is working the same territory with this lovely album. That is not too surprising as this band features former members of that more famous band, as I discovered after concluding my first listen. I do not finding anything significantly distinguishable from what I have heard there, but the production is top notch here as the electric guitar cuts nicely around the percussion with effective vocals throughout. So we have another fine record from this region that will comfort all those that enjoy this style. And there are many people joining this genre these days.
© David Hintz
The Young’uns "When our Grandfathers said No"
Navigator, 2012
I often mention how nice it is to find an ‘old school’ folk record. Usually it is a singer/guitarist who either handles classic folk tunes or has a deft finger style guitar technique. Rarely do I come across a band that brings back memories of trad vocal groups in the manner of so many such as Sweeney’s Men for example. The Young’uns will be taking every listener back to those days. And for younger listeners who don’t have their old-time favorites, they will find plenty to enjoy right here. Vocals are at the front and some songs offer little or no instrumentation. But it is not all Young Tradition, as there is enough accompaniment to liven things up. This Hartlepool trio has the formula working and has plenty of personality to win over a lot of fans.
© David Hintz
Russ Seeger "Live in Peace"
Paradiddle Records, 2012
Not Pete, nor Mike, nor Peggy, but this is Russ Seeger, himself a veteran of American folk, blues, and rock music evidenced well on his first solo record. He has played with a lot of interesting people such as Levon Helm and Peter Stampfel, so he knows his way around the Americana canon. He mingles blues and rock here mostly with mixed results. If you put it on, be sure to stay with it, as some of the latter cuts worked better for me. It is all well produced and arranged, but some of the latter songs like “Trust in You” had just a little more originality and heft in the playing. “The Great Unknown” is a nice rocker as well. There is some sharp playing and big sounds here, and you can understand why Russ Seeger has fans both from the professional side of the music industry and most importantly from the audience side as well.
© David Hintz
Tirill "Nine and Fifty Swans"
Fairymusic, 2011
Tirill is the violinist for the Norwegian band, White Willow. She has recorded solo and worked with the late Michael Piper, a fine purveyor of psychedelic folk and responsible for the reemergence of Linda Perhacs. So with that, I am expecting a delicate enchanting folk record. Ten songs later, with my expectations were fully realized, I know possess a lovely record destined for the permanent collection. This has all the violin and flute accompaniment helpful for transportive light psyche-folk music along with lovely female vocals and some duets. There are a variety of players with percussion, bass, and guitars working their way into the atmosphere. This conjures up imagery of Scandanavian folk, yet is more delicate than that of a band like Folque, perhaps. Oh yes, the lyrics are all from William Butler Yeats for anyone who wants to see how his poetry can be set to music. But with music this lovely, it is easy.
© David Hintz
