Customer Reviews

Hand In The Sand - A Collection 1990-2004

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In the liner notes for "Hand in the Sand" Carl Weingarten mentions his changed attitude about compilation albums. Sometimes such things are not only reflections of the past, but a necessary and well-founded step that allows the artist to gain a defined foothold from which to move forward. And he is moving forward from a position as a well-established original with this collection of instrumental slide guitar and dobro works.

The cliche' of "I knew you when" applies here. I remember when Carl first experiemented with slide guitar. He shyly played me some of the first original musical phrases he came up with on his own. I think it was shortly after a friend and I insisted he sit down and listen to two of our favorite albums back to back (Layla and Eat A Peach). Carl's playing those early pieces was around the time of his humble beginning as an artist. But to someone like me, who has no musical or artistic outlet beyond my stero, it was so unexpected that someone I know personally could produce something so creative, that it literally broke me into a cold sweat. That would be sometime around 1973 - and included in this collection (Hand in the Sand) is the piece by that name (1973).

Everyone who listened to the guitar-heroes of the 60s and 70s and picked up an instrument could dream of playing those blazing solos or screaming licks. But how many of those can you listen to before the first round of imitations become photocopies - cheaper and devoid of the depth of the original? We listened to those guitarists in awe, and Carl somehow avoided the lure or temptation to try to imitate them. Instead, while respecting and still passionately absorbing every note played by them, he developed an honest style and approach that is his own.

Some time ago, I learned from sculptor that to an artist, creative works are their own reward, and that while commercial success may be nice, it is not necessarily an indication of talent or quality. In the estimation of an artistically-challenged listener like myself, Carl has amassed a wealth of expression that cannot be assessed in volume of sales or hours of air time. "Hand in the Sand" is a sampler that covers just a few grains in that expressive mass.

I can't say enough about this album. It does more than confirm Weingarten's reputation as a terrific slide player. It showcases some of his best compositions from the past 15 years; many are absolutely stunning. By placing them in a new context, it emphasizes how much each has to say.

Some of the tracks--especially those from "Redwood Melodies"--are pretty and have engaging hooks. But Weingarten's greatest tunes (in my humble opinion) seem like expressions of important life moments or conversations. The perceptive observations of the compositions are borne out by his touch--alternately tender and searing--on dobro and slide guitar. They are eloquent moods that draw you in with tasty leads and ornamentations; it's all timed so perfectly, yet it doesn't sound like anyone else's music. (Ry Cooder's film music is the probably the closest thing.)

I keep playing this album. Everyone who I play it for likes it.