Duncan Walters Proudly Announces Guardian
The Follow Up to His Critically Acclaimed Debut
"The Album is Awesome"
jpoet - Country / Americana Music WriterSan Francisco Weekly
".one of this year's sleepers.
It's a gem of a record !"
Michael Lipton - For the Daily MailCharleston Daily Mail
"I was knocked out by it"
David McGeeCountry and Americana Music EditorBarnes & Noble.Com
"From honky tonk, Cajun to straight up country there is one word that sums up what Walters is about: sincerity.
"
David CowlingAmericana-UK.com
"Occasionally there is an artist who re-establishes and re-enacts
the innocence, integrity and simple joy that sometimes seems so lost [in
country music]. Duncan Walters is one of those artists."
Doug Floyd
Altcountrytab.com
Guardian, the second album by singer/songwriter Duncan Walters, displays the same passion and impressive musicianship that made his 2003 debut, Northern Rain, a critical favorite. Walters combines elements drawn from the worlds of singer/songwriter, folk, country, Cajun and honky tonk for an undeniably modern sound that¹s built on a bedrock of tradition. Like its predecessor, Guardian was produced by Walters and tracked live in the studio with his regular Austin, Texas sidekicks: B. B. Morse (Willie Nelson, John Arthur Martinez, Merle Haggard) on stand up and electric bass, Phillip Stevens on the Telecaster and Kevin Hall and Ron Irwin on drums. Guest players included five time Grammy winner Flaco Jimenez on accordion, Tommy Spurlock (The Band, George Jones, Emmylou Harris, Flying Burrito Brothers) on pedal steel and Bobby Flores (Ray Price, Willie Nelson, Doug Sahm) on fiddle and mandolin. All the players contributed their talents to the arrangements and the result is a real time, down home album. It¹s marked by Walters¹ sharp guitar work, first-rate melodies and his restrained baritone, a voice that recalls the weathered tones of Merle Haggard and Guy Clark.
The songs on Guardian retain the warmth, texture and live feel of Walters'
debut, but the new songs dig deeper into the heartache and sorrows of
everyday existence, shining a little bit of light into even life¹s darkest
corners. "Guardian of the Sky" is a slow, bluesy meditation on mortality and
aging that finds comfort in the love of children and family. Walters
delivers an aching, slightly ironic vocal complimented by Spurlock's weeping
pedal steel and the understated twang of Stevens' guitar. "Spin," the
album's most poignant love song, explores the inconsolable wound of jealousy and the insecurity and self-doubt it breeds. Walters almost whispers the distressing lyric as Stevens showers the background with shimmering fills as delicate as teardrops. "Greyhound" is an old fashion drinking song driven by Stevens' clanging guitar, bouncy Tejano meets Cajun accordion work by Flaco Jimenez and a lyric that details the hazards life in a post 9/11 world.
"Crystal White Girl" is a raucous, edgy honky tonk rocker with a snarling
vocal and abrasive guitar work that could be about a drug addled female or
maybe methamphetamine itself. "Dancing Girl" and "Standing in the Sun" are
seductive songs about love and redemption full of cryptic images that spin
subtle webs of mystery. "Talk Radio/Fly Away" has a jaunty beat and soaring
pedal steel guitar that provide a startling contrast to the song's
restrained anger. It's an anti-war song that laments the loss of innocent
life and the lies those left behind often tell themselves to get through the
day. The songs on Guardian aren't always an easy listen, but their telling
insight and innate musicality stir up the kind of profound emotions that
can't be faked. Walters may not be for everyone, but those who listen with
an open heart will discover an artist of rare compassion with an important,
affecting message.
