Below The Fold
Otis Taylor
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CAT # 83627
1. Feel like lightning 4:53 Preview 2. Boy plays mandolin 4:01 Preview 3. Hookers in the street 4:44 Preview 4. Mama's got a friend 2:53 Preview 5. Working for the Pullman Company 4:17 Preview 6. Your children sleep good tonight 5:30 Preview 7. Didn't know much about education 4:45 Preview 8. Went to Hermes 3:46 Preview 9. Government lied 5:11 Preview 10. Right side of heaven 3:22 Preview Also available as
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CAT # 83627-25
1. Feel like lightning 4:53 Preview Buy MP3 89¢ 2. Boy plays mandolin 4:01 Preview Buy MP3 89¢ 3. Hookers in the street 4:44 Preview Buy MP3 89¢ 4. Mama's got a friend 2:53 Preview Buy MP3 89¢ 5. Working for the Pullman Company 4:17 Preview Buy MP3 89¢ 6. Your children sleep good tonight 5:30 Preview Buy MP3 89¢ 7. Didn't know much about education 4:45 Preview Buy MP3 89¢ 8. Went to Hermes 3:46 Preview Buy MP3 89¢ 9. Government lied 5:11 Preview Buy MP3 89¢ 10. Right side of heaven 3:22 Preview Buy MP3 89¢ BUY ALBUM AS MP3 DOWNLOAD — only
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On Below The Fold, Taylor’s signature trance sound, marked by his artistic fearlessness, is fleshed out by the use of surprising instruments. Fiddle, organ and banjo meld into passionate narratives giving the songs an unearthly cast. “I’m obsessive about trying out new ideas and sounds," the 2005 WC Handy Award nominee explains. “And I’m particularly drawn to the banjo because it’s originally from Africa. In old-time music, banjoists would tap on their fifth string, a process which carries right through to Delta blues.” And for the first time, Taylor employs drums on several tracks. Standout selections include the brazen opener “Feels Like Lighting”, the warmly sung “Working For The Pullman Company” delivered by Taylor’s daughter Cassie, and the closer “Right Side Of Heaven” which bustles with the sounds of a New Orleans-style cajun marching band.
Revered as a riveting live performer whose music is equal parts John Lee Hooker and Nick Cave, Taylor has carved a unique niche for himself by creating music that Rolling Stone hails for “murky swamp drones and intricate African folk that move right past entertainment—into a realm where the blues can again be about illumination and provocation.”
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