Barry Walsh: News

ONE TO THE HEART, ONE TO THE HEAD REVIEWS

Here's four early reviews of the new Gretchen Peters with Tom Russell CD "One To The Heart, One To The Head", currently climbing the Americana charts. It includes my song, "North Platte".

From the El Paso Times:

http://elpasotimes.typepad.com/pullen/2009/04/gretchen-peters-eps-tom-russell-evoke-old-new-west-on-new-cd.html
From Americana UK:
http://www.americana-uk.com/auk/modules.php?op=modload&name=Reviews&file=index&req=showcontent&id=4479

From Pop Matters:
http://www.popmatters.com/pm/review/71632-gretchen-peters-with-tom-russell-one-to-the-heart-one-to-the-head/
And finally this one from TwangNation:
http://www.twangnation.com/2009/04/03/album-review-gretchen-peters-with-tom-russell-one-to-the-heart-one-to-the-head-scarlet-letter-recordsbuddy-and-julie-miller-written-in-chalk-new-west/
Enjoy every sandwich!

bw

I'm in Albuquerque on the way home after an amazing week in the Southern Rockies, riding the narrow gauge railroads of Colorado and New Mexico. Tom Russell, Gretchen Peters, Wylie Gustavson, Sourdough Slim, Paul Zarzyski and I spent the last week entertaining the 60 or so music lovers on the trip. We started here in Albuquerque at the historic El Rey theater last Friday night, then drove up to Durango and the (also historic) Strater Hotel and Theater. The next night we were in Silverton, Colorado at about 9,500 ft. We took the Durango and Silverton railroad back to Durango the next day. We drove on to Pagosa Springs, where we spent the next two days. The last gog day for us was spent in Chama, New Mexico. We got there early on Wednesday and boarded the Cumbres & Toltec narrow gauge train (the "longest and highest narrow gauge railroad in the world") and rode up to Cumbres Pass, where we were met by a van that took us back to Chama. The views were incredible! More on this later as I have to get on the plane...

Starting the year out in San Diego on Jan 1 by visiting with journalist Kenny Weisberg and going to the San Diego Zoo after playing New Years Eve with the Box Tops.

Getting lost after leaving a gig in Sautee Nacoochee, GA, in mid-January and winding up in North Carolina-knowing we had to leave for the UK the very next day.

Wandering The Lanes in Brighton, UK at the end of January, in what would turn out to be the first of two trips to the coast of the English Channel in one year and five trips to Europe in 13 months.

Hearing Gretchen sing "On A Bus To St. Cloud" in St. Cloud, Minnesota for the very first time in April. Not a dry eye in the room-onstage or off.

Recording "One to the Heart" in Austin in May at Mark Hallman's studio with Tom Russell, and getting to play a beautiful old upright-perfect for this project about the West-and an antique pump organ tuned down a half-step. Whenever I played it the tracks had to be slowed down to be in tune with the pump organ

Recording Mickey Clark's record in June with legendary producer Jim Rooney, to be released in March, '09. Mickey swapped vocals on one soon-to-be barroom classic- "Don't Piss On My Boots (and Tell Me It's Rainin')" with John Prine, Jerry Jeff Walker and Kinky Friedman. Needless to say, a good time was had by all.

Driving across Switzerland on the way to Tom and Nadine Russell's wedding in Gstaad, listening to the Sound Of Music. And yes, the hills really were alive....

Singing "Love Me Tender" along with a roomful of people led by a French accordion player in a restaurant in a small town nestled in the Alps, the night of Tom and Nadine Russell's wedding rehearsal dinner.

Stumbling on the National Yodeling Festival of Switzerland while staying overnight in Lucerne on the way back to Zurich.

Recording the Christmas album at home in April.... And May..... And June.........

Playing the Wolfeboro, New Hampshire Folk Festival in a tent next to Lake Winnipesaukee while the sun was setting on a cool night in late July.

Playing the Gosport, UK Festival in a tent five days later on the banks of the Solent, looking out at the Isle of Wight. Our second time this year to see the English Channel, and what would be one of five trips to Europe in 13 months.

Touring the Napa/Sonoma wineries in mid-September while playing dates in Northern California. No earthquakes or wildfires this time but some damn fine wine....

Seeing Gretchen's name in lights on the marquee in front of the Crystal Bay Casino, on the north shore of Lake Tahoe; right next to the famed Cal-Neva lodge where Frank, Dean and Sammy hung out with Ava in the Rat Pack days.

Playing at the Bowman House Concert series in a beautiful barn outside of Atlanta in mid-October, with strands of white lights in the roof beams; and falling leaves and acorns tapping on the tin roof during the quiet last verse of "On A Bus To St. Cloud".

The election of Barack Hussein Obama. All the rest of this blog is filler. Gretchen and I both worked on his campaign, along with hundreds of thousands of other people. We were all part of an historic event the likes of which we have never seen.

Ending the touring year in Amsterdam on December 8, in a beautiful city made even more striking when it's lit up with beautiful lights for the Holidays. We stayed (and performed) with old friend and songwriter/bassist John Lester, and his beautiful family. We had SRO audiences on all three gigs in Holland.

Starting Nanci Griffith's new album (the working title is "The Loving Kind") the morning after getting in from our return from Amsterdam. I had no time for jet lag as I worked on the record for the next three days. I did take a few 10 minute power naps slumped over the piano but I don't think anyone got hurt.

Performing the entire Christmas album live on radio Lightning 100 in Nashville on December 21st, with a band composed of myself, Doug Lancio, Dave Francis, and our Highway 101 buddy Cactus Moser.

What a year!

Peace and Love to all for 2009

In Kerry Dexter's Best of 2008 column that came out today, THE CROSSING made the list. Also making the list is Gretchen Peter's NORTHERN LIGHTS, which Barry Walsh co-produced. NORTHERN LIGHTS is a Holiday/Winter/Christmas album, light on the Christmas songs but heavy on the Winter/Snowy/Introspective songs.

Check it out at:
http://musicroad.blogspot.com/2008/12/best-music-2008.html

Amazing week at Bass Hall, McDavid Studio
2:35 PM Wed, Oct 01, 2008 | Permalink | Yahoo! Buzz
Michael Granberry E-mail News tips

For lovers of acoustic music, this promises to be quite a week in Fort Worth. It all gets started Wednesday night, when a trio of virtuoso guitarists (Tommy Emmanuel, Monte Montgomery and Rhett Butler) team up for a show at Bass Performance Hall at 7:30. It carries with it a special $10 ticket offer for students and faculty. But like a fine wine, the week only gets better with age. The Sarah Palin-Joe Biden debate notwithstanding, John Gorka comes to McDavid Studio (across the street from Bass Hall) for one of his one-of-a-kind shows at 7 p.m. Thursday. And then, one of my personal favorites, the great Gretchen Peters, finishes off the week with a show in McDavid Studio at 8 p.m. Friday. Gretchen will be backed up, as usual, by one of the world's greatest piano players, Barry Walsh. For more information, call 817-212-4280 or visit www.basshall.com.

http://musicblog.guidelive.com/archives/2008/10/amazing-week-at-bass-hall-mcda.html

Here's a youtube clip of Gretchen Peters, Janis Ian and myself doing Wild Horses in Winters, CA on 9/12/08 at The Palms Playhouse- a great venue....

http://www.youtube.com/watch?v=ZT3n0LbBmiU

My good friends, The Amber Rose Guitar Duo (Martin Nockalls and Steve Merrett), from Doncaster, UK, have released their tastful version of my song "Exeter Cathedral" on their new CD, Acoustic Axis. It is an eclectic mix of instrumentals, old and new, but great listening throughout. It's available in hard copy from:

www.amberroseguitarmusic.co.uk
and also downloadable from iTunes and other online stores.

Hear Exeter Cathedral on their myspace site at:
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=152894195

From Maverick Magazine (UK), May '08:

Barry Walsh The Crossing( Scarlet Letter Records 207141-2) *** Barry Walsh is probably familiar to a good many Maverick readers, as for the past eighteen years he has played keyboards for Gretchen Peters and accompanied her on most of her UK tours. Now he steps into the spotlight with his solo album of deftly played piano pieces. He plays a Grand piano, and apart from Erik Satie's Je Te Veux, all the tunes have been penned by Barry and several were inspired by his tours in the UK like the delicate and reflective Leaving Newcastle and the more grandiose Exeter Cathedral. Though recorded in Nasville, this has no connection to country music, but just might be of interest to Gretchen Peters' fans.
Reviewed by Alan Cackett

Barry Walsh has been making music professionally for more than thirty years. Most of that has been spent in Nashville recording studios. In recent years he has been touring in support of singer and songwriter Gretchen Peters, and with Alex Chilton and the Box Tops. His past history includes backing up Roy Orbison and Jimmy Webb, and writing songs that Waylon Jennings and The Amazing Rhythm Aces, among others, have recorded.

Thanks in part to encouragement from Peters, Walsh has now gotten around to recording his first solo album, and it has something none of those credits noted above would likely prepare you for. Original, mostly just Walsh and his piano, it is music that draws on both Bach and folk, and remains true to the voice of this artist. Without the first word being said, Walsh speaks clearly and movingly of connection, discovery, love's questions and love's certainties, and the varied landscapes of thought and emotion. David Henry adds masterful cello on several tracks, including the opening title cut, and Mark Selby brings in guitar on Nigel's Blues. The only cover is a twice imagined take on Erik Satie's Je Te Vieux, a piece which Walsh presents as at once somber and seeing the possibility of joy. It fits in perfectly with the rest of the collection.

Barry Walsh
The Crossing
(Scarlett Letter Records, 2008)
Terrific sidemen are the unsung heroes of the music world. Barry Walsh is a piano virtuoso whose gifts at the keyboard have added so much to the music of the Box Tops and singer-songwriter Gretchen Peters, as they did in the past for Roy Orbison, Jimmy Webb and Al Green. Mr. Walsh has released a solo album of his own compositions, and it's nothing short of spellbinding. He admits being influenced by Bach, and it shows. This is not a pop album, nor is it New Age. Rather, it has elements of classical, jazz and blues, and it takes you on a mesmerizing journey. Mr. Walsh has circumvented the genre of solo piano recordings by slowing down the pace and letting the individual pieces speak for themselves. And they do, loudly and lyrically.
Michael Granberry- Dallas Morning News:

Artist:Barry Walsh
Album:The Crossing
Website:http://www.barrywalshmusic.com
Barry Walsh has been a professional musician for more than three decades, and in that time he's performed with Roy Orbison, Jimmy Webb and Al Green, and he's written songs that were recorded by Waylon Jennings, Jessi Colter and the Amazing Rhythm Aces. Currently, in addition to touring extensively with singer-songwriter Gretchen Peters (over ten UK tours since 2001), Walsh plays keyboards for the recently revived Memphis rock and soul band The Box Tops, featuring Alex Chilton.

The Crossing was recorded at Walsh's home on a Kimball Viennese Edition grand piano with touches of backing by cellist David Henry and guitarist Mark Selby. Walsh's Labrador Retriever Nigel lay motionless at the feet of Selby as he overdubbed on an as yet untitled song. It was duly named "Nigel's Blues" in his honor.

I have to confess to being one of those people who never really 'got' music without lyrics. However, maybe as a result having been mesmerized so many times watching him play with Gretchen, I was eagerly anticipating the release of this album. On first listen, what was immediately obvious was the emotion that had gone into these beautiful pieces of music. Even before reading about the album, it is apparent that each one came from a personal place, be it experience of affinity.

The latter is true of 'Je Te Veux.' Barry comments of the track, "This is an Erik Satie (the French composer) piece, and the only song I didn't write on the CD. I have been playing Satie's music for 40 years."

That, therefore leads us to the rest of the album, Walsh's own compositions. The Title song, 'The Crossing,' a metaphor for the changes in two lives over a period of time, one of which was his own. Angel of Repose' was the title of one of his favorite books, by Wallace Stegner and 'Years May Go By' was inspired by a line in a Rikki Lee Jones song. The obvious love for England which has grown over his years of playing here is evidenced in the fact that two songs on the album refer to UK cities; the haunting 'Leaving Newcastle' and 'Exeter Cathedral', the melody of which remains with you long after the final piano chord is played.

Barry Walsh truly is one of the most remarkable and intuitive musicians I have ever had the pleasure to watch and he has created his own piece of magic in his first CD release. I am hoping that when he tours here with Gretchen this year we may be given the opportunity to hear even just one of these tracks performed live - maybe 'Leaving Newcastle' in the city which it honours. In the meanwhile this Cd will continue to have heavy rotation on my CD player and I only hope there are more where this came from. Apparently I do 'get' music without lyrics after all.

Helen Mitchell - FATEA UK:

http://www.fatea-records.co.uk/magazine/barrywalsh.html
World traveler and musical explorer Barry Walsh has done many things and made music with some extraordinary figures, but only now has he composed and recorded a solo instrumental album. The 11 original piano works on Walsh's new CD The Crossing are serene, airy and cyclical, but they have a gravity born of their inspiration in specific experiences.

"The title is a metaphor for the changes that have happened in my life in the last three years," says Walsh. "A long-time marriage ended, and a new relationship began with a singer-songwriter I've known for many years."

That would be Nashville artist Gretchen Peters, author of hits such as "Independence Day" and whose critically acclaimed recent CD Burnt Toast & Offerings investigated the birth of the new relationship with the candor and clarity of a poet. On The Crossing, Walsh offers his take on the story in the universal language of spare, elegant instrumental music, a telling that's more abstract but no less emotionally potent.

The title track takes the long view on the journey he and Peters made together and toward each other with a suspenseful pulse in the high register and a breath of release and relief at the end. The delicate second cut "Leaving Newcastle" was named for a special place shared on tours in the UK. During a two-week separation, when Peters was in England and Walsh was home alone composing, he conceived the album's wistful "To See You Again." The CD closes with the Erik Satie influenced "The Steps Of The Parthenon," a reference to the Parthenon replica in Nashville, long a meeting place for local lovers.

Walsh has been a professional musician for more than three decades, and in that time he's performed with Roy Orbison, Jimmy Webb and Al Green, and he's written songs that were recorded by Waylon Jennings, Jessi Colter and the Amazing Rhythm Aces. Currently, in addition to touring extensively with Peters, Walsh plays keyboards for the recently revived Memphis rock and soul band The Box Tops, featuring Alex Chilton.

The decision to step forward with a solo work after so many years of supporting others allows these many influences, as well as Walsh's many travels and life epiphanies to come together in a style he can claim as his own.

The Crossing was recorded at Walsh's home on a Kimball Viennese Edition grand piano with touches of backing by cellist David Henry and guitarist Mark Selby. Walsh's Labrador Retriever Nigel lay motionless at the feet of Selby as he overdubbed on an as yet untitled song. It was duly named "Nigel's Blues" in his honor.

The recording breathes with expansive, roomy warmth, and the music captures the bittersweet reverberations of adults changing course.