Ron Elliott The Candlestickmaker(1969)[FLAC]

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[color=Green]The Candlestickmaker [1969] 2003 - Collectors Choice Music / CCM-363-2[/color]



01. Molly In The Middle (4:07)
02. Lazy Day (2:38)
03. All Time Green (2:57)
04. To The City, To The Sea (2:57)
05. Deep River Runs Blue (2:49)
The Candlestickmaker Suite
06. Part I - Dark Into Dawn
07. Part II - Questions

Now heres a record that, for all practical purposes, should not be this obscure. In fact, Im often taken aback at how many Beau Brummels fans arent even aware that Ron Elliott, said groups guitarist and songwriter, ever cut a record on his own. Fortunately, however, Collectors Choice saw fit to remind the world a few years back and reissued 1970s The Candlestickmaker, which would prove to be Elliotts one and only record.

The music here is beautiful. Mining a deep spiritual vein that was only hinted at in the last two Beau Brummels records (on 1968s Triangle, in particular) Elliotts vivid word craft and west coast roots are bolstered by the musicianship of such luminaries as Chris Ethridge, Bud Shank, Ry Cooder, and Mark McClure. Elliotts voice is a marked contrast to Sal Valentinos tremulous purr, boasting a rich depth that calls to mind that crown prince of Americana, John Stewart. Interestingly enough, this entire record makes me think of the dense, rocky wildernesses of the Pacific northwest. Maybe this has something to do with how the overall sound of the band is rather sparse, while managing to invoke a richly woven sound. Even the orchestral arrangements of Bob Thompson convey an organic and understated character.

When a record only holds five songs, it seems ridiculous to pick highlights, but All Time Green and the gently flowing train song Deep River Runs Blue really are absolutely beautiful. Mark McClures sharp, spidery guitar lines on the former, while Ry Cooders distinctive slide work on the latter blends majestically with either Elliott or McClures burbling wah guitar. Meanwhile, Bud Shanks flute marks the mellow jazz folk of Lazy Day, and Leon Russells subtle brass arrangements drive To the City, To the Sea. Each of these little touches make the songs both memorable and distinctive.

The magnum opus here, however, is clearly the fifteen minute long title track. As Elliott suggests in Richie Unterbergers liner notes, the song has a healing quality to it. The lyrics build on what seems to me to be a driving theme throughout The Candlestickmaker: mans struggle to break through the cold iron landscape of modern capitalist society and rediscover a free, wild America. Arguably a common theme in the early 1970s United States, but rarely one so eloquently presented. The music never once falters: Ethridges bass runs warm and melodic, while McClures guitar craft truly sparkles as it trails around Elliotts words. Indeed, McClure proves himself to be one of the greatest revelations, and his grace on his instrument draws me towards exploring his own work further.

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