Most Helpful Customer Reviews
|
|
3 of 3 people found the following review helpful:
5.0 out of 5 stars
Amazing, soulful, powerful, September 9, 2002
This guy, who I hear is 19, is amazing!! His voice sounds of that of a mature old energetic blues player. His guitar-playing is extremely forceful, rhythmic, percussive and strong. He plays very powerful, emotional, edgy music. I am 3 years older than him and if I can play guitar like him by the time I'm 70, I will have accomplished something. His music is well beyond his years. He also fingerpicks, brings some ragtime style into his playing, and carries on the blues in certain songs. Words can barely describe the soul that comes through in his songs. He's tremendously gifted. Buy this good music!!
|
|
|
1 of 1 people found the following review helpful:
5.0 out of 5 stars
Robert Johnson would have been impressed!, May 27, 2003
I bought this after reading a review in 'Guitar Player' magazine. He plays the blues, fingerstyle, slide, Jazz influences, etc. like he sold his soul at them crossroads. He sings as though the hellhound is on his trail. Recorded at the age of 19. Go figure...
|
|
|
5.0 out of 5 stars
The best prodigies don't sound like prodigies..., June 25, 2009
A great deal of attention is paid to the fact that David Jacobs-Strain is so young. He was still a teenager when he recorded this album. There are plenty of kids with technical skills that most people will never develop, but the best child prodigies, and the ones worth listening to, are the ones who just sound like full-fledged musicians, as Jacobs-Strain does here. His fingerpicking and slide skills are impressive for anyone at any age, and his voice has the weathered sound of any true blues singer.
Stylistically, though, Jacobs-Strain was still having trouble finding an identity separate from his mentor at the time, Otis Taylor (who was also recording for the same label, NorthernBlues, at the time). The dark tone, fast picking that frequently stays within one or two chords, the acoustic instrumentation with odd accompaniment for accent, it is all strongly reminiscent of albums like Otis Taylor's White African and Respect the Dead. (Again, both of those albums were also released by NorthernBlues). Jacobs-Strain even relies heavily on the talents of Kenny Passarelli, who was also involved in those Otis Taylor albums. So, while this album will sound very unique and different to someone unfamiliar with the works of Otis Taylor, those who are aware of Taylor will recognize the sound immediately. The only critical difference is that on White African and Respect the Dead, Taylor's sound was complemented by Eddie Turner's Hendrix-influenced electric guitar work, whereas Jacobs-Strain sticks pretty much to acoustic, particularly resonator guitars. Still, the general approach is pretty much the same approach Taylor had been using at the time.
However, what this album lacks in differentiation from Otis Taylor, it makes up for in execution. As a singer and a guitarist, David Jacobs-Strain performs with complete conviction and mastery.
Since this album, Jacobs-Strain has grown to develop a more unique sound, based more around band interaction. Ocean Or A Teardrop is a fine piece of work with a bit more of a rock influence, but not the kind of blues-rock that the term usually connotes. It is closer to the blues rock of people like Jeff Lang. The guitar work on Ocean isn't quite as stunning, but it is more stylistically distinct from Otis Taylor, and well worth acquiring.
Further listening: Otis Taylor (if you hadn't gotten the hint by now).
|
|
|
|
Interact With Your Music: Discover, listen to, and buy new music, all from the pages of SPIN's digital edition, free to Amazon customers.
~ David Jacobs-Strain
~ Bon Iver
~ Fleet Foxes
~ Jeff Healey
~ Plant, Robert/Krauss, Alison
by David Jacobs-Strain 
