Customer Reviews

Standing in My Shoes

5 star:		(3)
4 star:		(3)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

Leo Kottke is one of a handful of artists whose albums I will buy as soon as they are released. I don't have to hear it first; I know I will enjoy it. And I thoroughly enjoy this album on many levels. The problem with too many fans of this guitar genius is that they want him to keep redoing "6- and 12-String Guitar" for the rest of his life. Hey, that is an essential album, but let's allow the man to move on. If Kottke did keep mining that same formula I'm certain that the critics who attack his newer work would be criticizing him for lack of originality. It seems to me that too many fans won't be happy no matter what he does.

As has been typical of many of Kottke's albums since leaving Capitol Records, he revisits some of his earlier songs and reinvents them. "Standing in My Shoes" first appeared on the live My Feet Are Smiling as a solo guitar/vocal number in 1973. Here Kottke reworks the song adding drum and organ and slowing town the tempo considerably from the original. "Cripple Creek" first showed up on Kottke's 1971 album "Mudlark" with a percussion accompaniment, and again three years latter on the Leo Kottke/Peter Lang/John Fahey collection as a solo guitar piece. On this album Kottke again adds organ. The oldest song from Kottke's oeuvre is "Vaseline Machine Gun" from 6- and 12-String Guitar. The version here is slowed down, adding a funkier beat with percussion added. The final reworking is the inclusion of the lilting "Don't Call Me Ray," which Kottke recorded with Steve Wariner on the latter's 1996 album No More Mr. Nice Guy. In each case, these reinterpretations make for enjoyable listening. Kottke's reworking of the Fleetwood Mac song "World Turning" (which, yes, includes Kottke on sitar) reminds me of when he took the Byrds' classic "Eight Miles High" and put his stamp on that song. It is also one of only two vocals. The other is the lovely "Corrina, Corrina."

The remaining instrumental numbers all possess a haunting beauty, especially "Twice," which features Chet Atkins who was well into his seventies when this album was recorded. I've never really noticed an Atkins influence in Kottke's playing, but it was nice to hear these two masters playing together. Overall, this is a very enjoyable album which only improves with repeated listenings. RECOMMENDED

Although I would not consider this his best (4 stars instead of 5), it is still very good, very dynamic acoustic slide guitar music with accompaniment from both human guests (Atkins) and sometimes a drum machine. The songs are well crafted folky and country tinged with a comtempory pop feel. A few old tracks, such as Vaseline Machine Gun get re-worked here, and although they sound nothing the originals they are quite interesting. This is an excellent mix of Vocal and Instrumental tracks from Kottke. However, if you're looking for just another Kottke guitar album, look elsewhere. This should probably not be your first Leo album, but don't make it your last either.

I don't know where people come off calling this album "hip-hop". Yes, there is a drum machine present on some songs, but it is not a hip-hop beat... just bouncy at times.

This is not the first time Leo has used accompaniment on an album. Consider his all vocal and fully-band-backed "Great Big Boy" album from 1991. It also is not just a Leo instrumental album. Try "A Shout Towards Noon" from 1986, "Regards from Chuck Pink" from 1988 or "One Guitar, No Vocals" from 1999 if you just want to hear Leo and his guitar. This is also not the last album Leo got experimental on (consider 2002's "Clone").

If you are just getting started with Leo, try "My Father's Face" from 1989. That seems to be the album all newcomers buy first. It was my first Leo purchase, and I now have 25 Leo albums. Once you hear this guy play (or see him live) you'll want to dust off that old guitar sitting in your closet again.

For an artist primarily known for solo guitar work, Standing In My Shoes represents a departure of sorts. This album features more musical accompaniment than on most of his previous albums, and even a guest appearance by another guitar player (Chet Atkins, playing a simple but beautiful lead on the song "Twice"). For long time fans of Leo, the drum machines and other musical accompaniment may be unwelcome, and the new versions of two all-time Leo favorites (Vaseline Machine Gun and Cripple Creek) may even be disappointing, but this is an album any fan of Leo Kottke or guitar work in general should appreciate. The song "Corrina, Corrina", an unexpectedly sweet love song, features some of the most expressive and playful guitar work of his career. The song "Across the Street", written about a prisoner who watches his daughter play across the street from his cell, has a dark beauty unlike almost any other Kottke song. The album also contains some of Leo's trademark fingerwork, most notably on songs such as "Itchy" and "Dead End", and while these songs include the controversial rythmn sections, they are interesting and challenging to listen to.

As a long time fan of Leo, I was caught off guard by the sound and feel of this album, and I don't think it would make a good first album for someone looking to give Leo a try. Nonetheless, I recommend it to anyone already familiar with his work. There are several songs with enduring appeal, including at least one classic piece (Corrina, Corrina), and it will add nicely to any Leo collection.

I cant say this is on my list of must have Kottke albums but, like all of his albums, theres enough to warrant a purchase. Its just that he's got about 15 other brilliant albums.. this album is a bit overproduced for me.. check out "itchy", the last song on the album. What an amazing track - uplifting and incredibly hooky.

This album was well composed and assembled; a piece of work that really demonstrates this artist's guitar and vocal talents at their best. He recomposes a well-known Fleetwood Mac tune and does it well. And then the song line-up keeps getting better and better! A Kottke winner that will most assuredly have me jumping the next time he's in town.

....And I mean "playing" in the best, widest sense. I bought this CD for the original version of "Twice", but was almost discouraged by all the critics (canned drums, hip-hop beats, etc...). It turns out Twice is one of the weaker tracks (much better in the vocal version on Sixty Six Steps), and that the critics are wrong! This is a great Kottke album, contemporary and playful sounding (reminds me a lot of David Lindley's approach, yet also having a bit of the old Fahey sensibility).

There is some drum programming - in fact that's the first sounds you hear, but its easy to ignore (and focus on the guitar, and there is some "real" drumming here as well), and I don't hear 'hip-hop' at all. (It starts with the strong (slide-full) title track; I love the sitar on the (Bollywood-esque) cover of World Turning; the bouncy, tumbling like a mountain stream, Dead End is as good as Kottke gets; the traditional Corina Corina is gentle and lovely (reminds me of Chris Smither); Realm sounds like it could be from his collaborations with Phish bassist Mike Gordon; Across the Street could be an outtake from his New-Agey early 80's Guitar Music album...etc, etc, lots of variety here.)

The guitar is bright and prominent in the mix - a wide range of 6 and 12 string, slide and finger-picked, virtuosity. David Z did a fine job producing this (as he subsequently did with 66 Steps....) and it should appeal to fans of that fine work of Leo and Mike Gordon's.

I've been listening to Kottke for years and have all his recordings I can find, but have been mildly disappointed with his recent releases thru the late '80s and early '90s, but this new release goes back to his roots with likes of his "Greenhouse" and "Ice Water" releases. Some great guitar numbers and vocals (his voice grows on you like a fungus...can't get enough of it!), plus Chet Atkins helping out on one number! Leo has been blessed by the guitar god, and it shows on this new release!

I've given this CD many chances. I read the reviews here before buying, and though I didn't much like Peculiaroso, this sounded as if it would be quirky and inventive.

It wasn't. The playing sounds fairly pedestrian to me. I do not want him to play as he did in 1971 forever, though I do love that sound, but this is not just different, it is a retreat. Change is not good if it is change for the worse. Listen to "Dead End" and tell me how this compares to the spiraling variations from those days. Or the "re-working" of "Standing In My Shoes", a brilliant and beautiful tune, that now is not plaintive but merely whiny.

That does not even address the synthetic drum/bass pop sound that overpowers much of the music. Yeech....Save us from Techno, Leo! We come to you to hear an instrument played lovingly and skillfully. That happens all too infrequently on this CD.

Not a disaster, but not remarkable or distinctive in any way. Feels like a quickie, churned out to meet a contract obligation. I'll keep "6 & 12 String" and "My Feet Are Smiling" (two of the most astonishing records ever) in ready rotation and put this one on the very back burner.

Leo! What happened? Why the percussion drone from 'a can', are you trying to get a 'disco beat' to your music? And what happened to the tempo? Are you getting old? Cripple Creek accompanied by an organ? Come on! And this is the only up-beat song on the CD. Chet Atkins playing the lead guitar on your CD? I'll buy one of his CD's if I want to hear him play! 'Corina, Corina' is way too smooth, what happened to the guy who sang 'Pamela Brown'? Give me the younger Leo, straightforward great tempo and just 6 strings - 12 strings only when they are strung to one guitar. And a baritone voice of course, darker than the blackest coffee.

Nine of eleven cuts are destroyed by the inane and incessant electric hip-hop drum noise. Absolutely criminal. Kottke has obviously sold out.