JOSH RITTER, top 100 living songwriters-Americana folk

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jamestkirk
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JOSH RITTER, top 100 living songwriters-Americana folk

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Josh Ritter (born October 21, 1976) is an American singer-songwriter, guitarist and author who performs and records with The Royal City Band. Ritter is known for his distinctive Americana style and narrative lyrics.In 2006 he was named one of the "100 Greatest Living Songwriters" by Paste magazine.

Ritter graduated from Moscow High School in 1995 and attended Oberlin College in Ohio to study neuroscience, but later changed his major to the self-created "American History Through Narrative Folk Music".

At the age of 21 Josh recorded his first album Josh Ritter at a recording studio on campus. After graduating, Josh moved to Scotland to attend the School of Scottish Folk Studies for six months.

Josh then moved back to Idaho for a few months, before moving to Providence, Rhode Island, then Somerville, Massachusetts, where he worked temporary jobs and played at open mic nights. During this time, Ritter sold copies of his album and was spotted by Glen Hansard and his band The Frames, who invited him to return with them to Ireland. As an early sign of his success to come, Ritter found on the trip to Ireland that his album sold particularly well at open mics there. With the money from merchandise sales, Ritter was eventually able to quit his day job and devote himself to music full-time. -wiki




JOSH RITTER

The Animal Years...listen and read on
https://www.youtube.com/watch?v=PyYJrS8 ... 17E050C772

Artist Biography by Mark Deming-all music guide

An American singer/songwriter with a strong voice, a keen wit, and an evocative way with words, Josh Ritter has built a loyal following as one of the leading lights on the contemporary folk scene. Born in Idaho, Ritter bought his first guitar after hearing the Bob Dylan and Johnny Cash classic "The Girl from the North Country." While attending college in Oberlin, Ohio, Ritter got his first taste of the music of Leonard Cohen and Gillian Welch; he instantly fell in love with their songs and dropped his neuroscience major in favor of the pursuit of music. As home to classic folk venues like Club Passim, Boston was the place Ritter chose to follow his dream. He recorded and released his self-titled debut in 1999, but it was 2002's The Golden Age of Radio that got him noticed by both critics and folk fans. Selling copies of the disc on his own funded Ritter's touring, while successful tours in turn funded more albums, and so on.


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Signature Sounds Recordings soon picked up the rights to The Golden Age of Radio; their reissue gave it exposure on a national level, and the four- and five-star reviews started rolling in. The HBO series Six Feet Under grabbed a track from the album for their end credits, while Ritter received an offer to open for the Frames on a tour of Ireland. Soon his single "Me & Jiggs" was in the Irish Top 40, a headlining tour of the country was sold out, and a tribute band named Cork was playing nothing but Ritter material in numerous Irish pubs. Back home, Ritter's following was growing with sold-out shows in New York City and Boston, while an invitation to the Sundance Film Festival helped begin 2003 on a high note.

Hello Starling In February 2003, Ritter spent 14 days in rural France at Black Box Studios (where much of the gear originally equipped Curtis Mayfield's studio in Chicago). The result, Hello Starling, was released in September of the same year. The success of The Golden Age of Radio and Hello Starling attracted the attention of the major labels, and Ritter signed with V2 in time for the release of 2006's The Animal Years. Ritter's tenure with V2 was brief, and after releasing a CD/DVD concert album, In the Dark: Live at Vicar Street, through an Irish label in April 2007, he hooked up with the BMG-distributed Victor Records, which issued the rock-oriented The Historical Conquests of Josh Ritter in August 2007.

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The hard-touring Ritter dropped two more live discs in 2008, Live at the 9:30 Club and Live at the Record Exchange, and he opted to eliminate his problems with record labels by forming one of his own, Pytheas Recordings. Pytheas issued the album So Runs the World Away in 2010, and when Ritter published his first novel, Bright's Passage, through the Dial Press in 2012, Pytheas issued a special box set of Ritter reading his own novel, accompanied by an EP of songs inspired by the book. Ritter returned to music with 2013's The Beast in Its Tracks, an album inspired by his divorce, and he traveled to New Orleans to work with producer and engineer Trina Shoemaker for his 2015 release Sermon on the Rocks.

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The Animal Years
AllMusic Review by James Christopher Monger

Idaho-bred singer/songwriter Josh Ritter's V2 Records debut follows in the footsteps of 2003's Hello Starling only in instrumentation. While he retains his literate tongue and expressive voice, there is far less humor on Animal Years than on his previous two outings. Producer Brian Deck (Iron & Wine, Modest Mouse) keeps Animal Years intimate but transient, like a circus train crawling through a small town on a busy Saturday afternoon. Essentially built around two startlingly affecting diatribes on the war in Iraq, Ritter utilizes the voices of Peter and Paul, as well as Laurel & Hardy, to eke some kind of explanation from both the Administration and the Creator. The first, the deceptively sweet-sounding "Girl in the War," threatens "The angels fly around in there, but we can't see them/I got a girl in the war, Paul I know that they can hear me yell/If they can't find a way to help her they can go to Hell." The second, "Thin Blue Flame," is a nearly ten-minute rant that follows the Velvet Underground "Heroin" arc of tinder to spark to full-on blaze in a way that hasn't worked for anyone in a long time, but most certainly does here. The other cuts never reach the same heights, but standouts such as "Wolves," with its sunrise gallop and "Whole of the Moon"-era Waterboys piano, and the languid "Monster Ballads" soar only inches beneath them. [A Barnes & Noble Exclusive Edition of Animal Years was reissued in 2011 that included a bonus disc featuring Ritter performing the entire album acoustic. It also included four live B-sides, two videos, and new liner notes from Pulitzer Prize-winning journalist Tom Ricks.]
"After silence, that which comes nearest to expressing the inexpressible is music".

-Aldous Huxley
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The Beast In Its Tracks
https://www.youtube.com/watch?v=FYni2z4 ... 6hw98SG9m2


AllMusic Review by James Christopher Monger

Breakup albums are the worst. Self-absorbed, bleating, and riddled with clichés, they provide catharsis for the artist while sucking the life out of the listener like a swarm of whiney mosquitoes. Luckily, Josh Ritter has spent enough time on the listening end to know what not to do when it came time for him to throw his own broken heart into the ring. The resulting Beast in Its Tracks, written in the wake of his divorce, treats the situation with anger, warmth, despair, humor, honesty, and most importantly, empathy for both of its subjects, something that many records of a similar disposition fail to achieve. Ritter approaches the arrangements for the 13 songs with the same candor, forgoing any unnecessary embellishments and allowing the melodies, like the newly single protagonist, the freedom to sink or swim all by their lonesome. Less expansive than 2010's So Runs the World Away, yet still rich enough in atmosphere to make for a relatively seamless transition, Ritter doesn't just sit at the end of his bed with a guitar and emote into a tape recorder. He likens the throes of bitterness, distrust, and depression to images from a Hieronymus Bosch painting on the jaunty, calypso-tinged "Nightmares," admirably searches for a silver lining on the nostalgic "Hopeful," sends a "Thank You," "Condolences," "Get Well," and Congratulations" card to all of the involved parties with the life-affirming "Joy to You Baby," and even finds love again on the ethereal, moonlit-closer "Lights," proving that every fever breaks eventually.
"After silence, that which comes nearest to expressing the inexpressible is music".

-Aldous Huxley
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So damn good!

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Hello Starling...full album
https://www.youtube.com/watch?v=fVX_U8t ... 1B951CD1FC

AllMusic Review by Thom Jurek

Idaho songwriter Josh Ritter has received a lot of attention for his fine, spare songwriting and his no-frills approach to performance. As a result of his excellent debut album Golden Age of Radio, he's become a critic's darling all over the U.S. and a full-tilt pop star in Ireland. He's like a lot of young people who are shining stars upon arrival, except for one thing: the proof of his staying power is on Hello Starling, his sophomore effort for Signature Sounds. Over the course of 11 new songs, Ritter reveals that not only is he not a fluke, but he seems to have arrived on the scene fully formed. He writes with the wisdom of someone twice his age, and a sense of tender, subtle humor is as important to him as is his ability to write a personality sketch or even a love song. Recorded with Curtis Mayfield's old gear in a ramshackle French farmhouse over 14 days, Hello Starling is seemingly straight-ahead folk-rock recording that accents the more unobtrusive aspects of living in the modern world. Like Rufus Wainwright, Ritter takes the approach of being in each setting he writes about. His power of observance, not only for scenery and characters but subtle emotional states, is remarkable. He may be the guy in the story or a tree on the sidewalk, but he's there. And while his topics would not indicate being any big deal, they are quite simply profound. "Kathleen" is the story of a young man who waits on the sidelines at a party to get the opportunity to drive a young woman home. His protagonist is full of the shy, geek-love need of a bystander who has long desired a woman who doesn't even know he's alive. But rather than merely ache with the unrequited love he believes he is entitled to, he summons his bravado -- buoyed by a Hammond B3, ringing electric guitars, and a poetry that is as shot through with Kenneth Patchen's last romantic ideals as it is with Mike Scott's Celtic pop melodic sensibility -- and makes his stand under the moonlight. It's an anthem for the shy. "Man Burning" is a glimmering rocker with acoustic guitars in the forefront and the B3 careening over the lyrics. The story is about a man whose regrets are shackled to him, yet he seeks to transcend them with his passion for living and for regret. But there is also the tenderness of the poet, whose metalinguistic tome about writing ("Bone of Song") is heartbreakingly profound in its reverence for the craft and for the altar of the thing itself. Leonard Cohen would have been proud to write this song. Ritter's entire album can be summed up in the rocker "Snow Is Gone" when he sings "I'd rather be the one who loved than to be loved and never even know," with the kind of worldly wisdom Guy Clark has consumed himself with seeking over 30 years. Hello Starling is a step beyond Golden Age of Radio in craft, maturity, vision, and in kindness; it's one of the few recordings that has been released in recent years that will be being played a decade from now. Isn't that the true test of art, even when it's popular -- its endurance?

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"After silence, that which comes nearest to expressing the inexpressible is music".

-Aldous Huxley
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Sermon On The Rocks
https://www.youtube.com/watch?v=lhJ4CRJ ... 3B68sKsT5K


AllMusic Review by Mark Deming

Two years after 2013's The Beast in Its Tracks, the good news is Josh Ritter is feeling better about things. While The Beast in Its Tracks documented Ritter's often unsettled state of mind after the collapse of his marriage, 2015's Sermon on the Rocks is the sound of a man on the rebound, and while the album is hardly sunshine and cold beer throughout, these songs clearly reflect Ritter's tenacity and spirit rather than the damaged emotions that were front and center two years earlier. "Getting Ready to Get Down" finds Ritter offering a small-town girl some advice to forget Bible college and see a bit of the big bad world, and the tale is told with the swagger of a guy who wouldn't mind showing her a few things himself. And while "Where the Night Goes" and "Birds of the Meadow" can both be read as messages to a former love, they also speak with a confidence and wit that make it clear Ritter is on a fresh road and enjoying the ride (and "Lighthouse Fire" is a more passionate declaration of attraction for someone new on his radar). "Cumberland" is a number that shouts with the joy of new experiences, while "Homecoming" revels in the pleasures of the familiar, and if "Henrietta, Indiana" and "Seeing Me 'Round" make it clear Ritter hasn't lost touch with his serious side, they're both written with sincerity and compassion. Ritter's singing is as strong and expressive as his songwriting, and he and co-producer Trina Shoemaker have given the album a lively sound that suits the album's emotional palette. Sermon on the Rocks is an album where Josh Ritter allows himself to have some fun while showing that his skills as a songwriter have emerged unscathed after his divorce, and it suggests that his future is as bright as ever.
"After silence, that which comes nearest to expressing the inexpressible is music".

-Aldous Huxley
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