The eighth full-length record from the great band Woods is officially out today. It’s called With Light and With Love. When you peel off the cellophane from the record’s sturdy packaging and spin the vinyl contained in it, lots of light and love come pouring out.
There’s not a clunker on the record. I don’t adore the opening cut (of ten total) like the rest of them but this is a brilliant collection of songs. The number that will be played and most discussed a long time from now is “Moving To The Left.” Earl has never been overtly political either with his songwriting or public statements. Despite the title, this one doesn’t espouse or reveal any kind of tilt. Earl mainly writes about earthly beauty and navigating life in realms where there’s sun, clean air/water, good vibes and of course, trees. Views on how a day or interaction goes are often described abstractly. Pursuits discussed in some of Earl’s songs are of a solitary or individual variety but maybe that’s just me adapting them to my walks through the Woods. Moving to the Left asks questions about where one fits. Events and incidents repeat themselves and Earl wonders if what we’re experiencing is off axis – or more likely the product of a rut. “It feels strange. It feels the same. We speak in tongues to hold the shame.”
The subject of light comes up many times throughout the record. While the songs aren’t linked as in an opera or such, Earl references illumination often as a necessary ingredient for relaxation, renewal, balance and even sleep.
There’s a real sense of triumph in the way Earl sings on “New Light” which kicks off side two of the record. He doubles down vocally on Feather Man (the last cut) in a way we haven’t heard since he looked at his reflection on Bone Tapper Lake way back when this great songwriter was launching a career that’s become an object of extreme affection and appreciation for a lot of people now.
As my friend Marc said a few weeks ago, you could probably count on one hand the number of current bands who have made eight great indie records with prospects for more. Not only has Earl done that with Woods but he’s nurtured a record label that has helped launch many great bands, artists and projects not to mention his stewardship of the magical gathering he founded in Big Sur.
All but a couple songs on Light/Love were recorded in Greenpoint with the esteemed engineer/musician Al Carlson on hand.
The wonderfully talented musician and Woodsist friend Jonathan Rado plays organ on three of the record’s best songs: Leaves Like Glass, Twin Steps and Only the Lonely. On Glass, the organ is really a big part of the song. Keys are played on five other songs by John Andrews of the band Quilt. Andrews played as a touring member of Woods on parts of last year’s summer gig schedule. Quilt will open for Woods on a string of upcoming dates starting later this month and I’d assume Andrews will do double-duty during that stretch given the crucial layer of sweet sound he adds.
This is release #72 for Earl’s Woodsist label. It’s Woodsist’s first release since Kevin Morby’s solo debut which came out the Tuesday before Thanksgiving of last year. As you know, Morby has quit Woods to embark on a solo career that‘s off to a promising start. Morby remains on good terms with his old bandmates. The cordiality of the relationship is such that Morby has been invited to fill a coveted slot at what will be the fifth annual gathering in Big Sur, CA this August for Woodsist Fest 2014.
It’s unclear how the void created by Morby’s exit from Woods will be filled on stage. That question may be answered next week when Woods does a Brooklyn warm-up gig in advance of the full tour commencing a week from Friday in Philly. The promotional photos associated with upcoming dates offer no hint of what’s in store. It could be Earl does his thing, Jarvis Taveniere plays bass with Aaron Neveu on drums and Andrews on keys – and Woods goes without the beautiful parts Jarvis plays on his Teardrop. That would be a disappointment but don’t forget Woods survived for a stretch without Morby during a Babies tour in the spring of 2011. In that instance, Woods called on an English tour mate to play drums on a few songs while Taveniere played mostly guitar. Some bass parts were left out and Earl favored an acoustic for much of those sets. G Lucas Crane was still in the band at that time which helped visually and sonically of course. I personally think it’s important for Taveniere to have a guitar strapped on for the gig’s duration (or in rotation with Neveu) and a dedicated bass player on stage in addition to the core three. We’ll see. I’d imagine Earl has it well figured out given the number of live dates the band is already committed to play in 2014.
I’d expect “Twin Steps” off the new record to be a setlist lock on the upcoming tour. There’s a blazing Earl guitar solo two-thirds into the recorded version of the song that ought to be fun and super-extendable in the live setting.
It should be noted that Earl enlisted Tim Presley to play guitar on two songs. Presley may be the best rock and roll guitar player going right now. On “Full Moon,“ Presley plays slide in a manner which resembles the sound produced by George Harrison on the song My Sweet Lord.
The record’s cover art features four Earl drawings. The record’s title is on the back with four more drawings including one of a peace sign. The album’s packaging is double-pocketed and opens up to a 1969 photograph taken in Vietnam by Earl’s late father Terry Willard Earl.
