Although Landreth is an extremely competent guitarist in the conventional form, he is most well-known for his slide playing. Landreth has developed a technique where he also frets notes and plays chords and chord fragments behind the slide while he plays. Landreth plays with the slide on his little finger, so that his other fingers have more room to fret behind the slide. He's also known for his unique right-hand technique, which involves tapping, slapping, and picking strings, using all of the fingers on his right hand.
Landreth has worked steadily for decades and amassed a following among his fans and peers. Eric Clapton has said he is "probably the most underestimated musician on the planet and also probably one of the most advanced.
Sonny Landreth's official website (Warning: Flash) is http://www.sonnylandreth.com.
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Sonny Landreth released his Newest CD: "From the Reach"!“This ninth album, is the first is released on his own Landfall label. On it, the Louisiana-based slide guitar wizard does something unprecedented in his body of work, as he collaborates with five of the greatest guitar players on the planet – Eric Clapton, Mark Knopfler, Robben Ford, Eric Johnson and Vince Gill – for some jaw-dropping performances. Also making a house call is legendary New Orleans pianist and singer Dr. John and iconic Gulf Coast troubadour Jimmy Buffett and also features Nadirah Shakoor (backing vocals) from Buffett discovery.
On the opener, “Blue Tarp Blues,” Sonny trades solos with Knopfler, and the aural contrast between Sonny’s shimmering slide and the Dire Straits leaders’ biting Strat is a textural treat. Clapton cuts loose on the following “When I Still Had You,” adding his soulful voice to the choruses as well. Slowhand then wails on “Storm Of Worry”, a spooky slow blues reminiscent of his Bluesbreakers era.
“The Milky Way Home” is a powerful instrumental rocker that features Eric Johnson on delectably distorted guitar passages that morph into his trademark violin-like sound. “The Goin’ On” shifts into a country rock groove, with Vince Gill and Sonny alternating guitar solos and lead vocals. Robben Ford brings his soulful tone and phrasing to “Way Past Long” and “Blue Angel (the latter with Gill on backing vocals), as Landreth swaps his trusty Strat for a Les Paul. Each of these performances is an extraordinary showcase of brilliant players reacting to each other in supremely inspired fashion.
“I’ve wanted to make this kind of record for a long time – to do an entire album that would feature some of my favorite players as special guests,” says Landreth, who’s as articulate as he is virtuosic. “And after all these years, I’ve gotten to become friends with them, so that addressed the question of, who do you ask? Every one of them wanted to do it, so that really fired me up.”
“The other thing was how to do it without it being yet another clichéd ‘duets’ album,” he continues. “Then I got the idea to write the songs specifically for each of the artists and that was the real hook for me, as a writer as well as a guitar player. I grew up listening to Eric and Mark, and these other players have influenced me along the way. Not only that, but we all came up listening to a lot of the same music, so we had common ground to work with. Once someone would say yeah, then I had to come up with songs that were worthy of them.”
Landreth spent a year writing these songs, and another year putting the album together—a logistical feat of some magnitude considering the fact that every one of the principals, including Landreth, spends considerable time on the road. The process for most of the recording involved two stages. After Landreth had a particular song written, he went in the studio with his band and longtime engineer Tony Daigle and completed the basic tracks, leaving space for the guests. Daigle then sent his mix of the tune to the guest to contribute his or her parts. (The exceptions were the tracks with Gill, which were cut face to face in Nashville, and the one featuring Dr. John, which was recorded in New Orleans.)
“I’d get back these fantastic solos, and I’d go, ‘Oh my God, I’ve gotta re-cut mine!” Sonny recalls with a laugh. He’s exaggerating, but he did take a second pass at a couple of his parts.
The final stereo mixes feature Landreth on the left and the other players on the right. “We did it to tap into the conversational aspect of it,” Sonny points out. Current technology brought virtually unlimited flexibility to the recording process, but in the end what matters is that the performances truly feel in the moment—even if that moment was actually separated by time and physical distance.
“That was of course the goal with these performances,” Sonny confirms. “They’ve gotta feel right. I was going for the essence of what about these fabulous musicians inspired me to begin with, and that’s what I honed in on. I was able to go, ‘This sounds like a lick he would do,’ and then write that into the arrangement. The guests then had a chance to flesh the concepts out. I really wanted to make sure we captured each of their individual voices on the guitar, and I feel like we did that.”
In one of two delightful changes of pace to the album’s six-string focus, Dr. John brings the requisite gris-gris to “Howlin’ Moon” with his trademark rollicking piano and harmonies, on which he’s joined by Jimmy Buffett. “Although the central idea of the record was playing with my guitar heroes, I wanted to be open to the unexpected as well,” Sonny explains. “I’d written ‘Howlin’ Moon’ a long time ago, and I always had Dr. John in mind for it. Then we took it a step further with Jimmy’s vocal and the vibe was perfect.”
As for the rest, “Let It Fly,” a slice of exotica so warm that sweat drips off it, features backing vocals from Buffett discovery Nadirah Shakoor. The title of “Uberesso,” a blistering instrumental from Landreth and his band, was inspired by Sonny’s passion for espresso. The album closes with the metaphysical ballad “Universe,” as Gill adds his glorious voice to the goosebump finale.
Anchoring the grooves is Landreth’s touring rhythm section featuring longtime musical partner Dave Ranson on bass and Mike Burch on drums. Steve Conn, another regular, is on keyboards. Sam Broussard plays acoustic guitar on “Universe” and “Let It Fly.”
As for the intriguing album title, “I thought about it a lot,” says Sonny. “One of the most interesting things to me in the songwriting process is letting it cook and bubble and see what comes up to the top. As I was writing these songs, the word ‘reach’ kept coming up, and ‘reach’ is a pretty powerful word. Aside from the obvious meanings, it can refer to a body of water. And the water imagery kept appearing as well, so it’s like this is what came up out of this whole project for me. What would happen if I invited all these people; where would this take me? I literally reached out to them, and they graciously came on board. Then there was the impact locally of Hurricane Katrina. So the title is the result of all of the above. It’s coming from an honest place.”
The same could be said of everything this one-of-a-kind artist has done in his single-minded career.
Source:-- Bud Scoppa
http://vetril.blogspot.com/2008/05/sonny-landreth-new-cd-from-reach.html
Landreth was born February 1, 1951, in Canton, MS, and his family lived in Jackson, MS, for a few years before settling in Lafayette, LA. Landreth, who still lives in southwest Louisiana, began playing guitar after a long tenure with the trumpet. His earliest inspiration came from Scotty Moore, the guitarist from Elvis Presley's band, but as time went on, he learned from the recordings of musicians and groups like Chet Atkins and the Ventures. As a teen, Landreth began playing out with his friends in their parents' houses.
"They would ping-pong us from one house to another, and though we were all awful at first, as time went on we got pretty good. It's an evolutionary process, just like songwriting is," Landreth explained in an interview on his 44th birthday in 1995. After his first professional gig with accordionist Clifton Chenier in the 1970s (where he was the only White guy in the Red Beans and Rice Revue for awhile), Landreth struck out on his own, but not before he recorded two albums for the Blues Unlimited label out of Crowley, LA, Blues Attack in 1981 and Way Down in Louisiana in 1985. If anyone is living proof of the need to press on in spite of obstacles, it is Landreth.
The second of those two albums got him noticed by some record executives in Nashville, which in turn led to his recording and touring work with John Hiatt. That led to still more work with John Mayall, who recorded Landreth's radio-ready "Congo Square." More recently, he's worked with New Orleans bandleader and pianist Allen Toussaint (who guests on several tracks on South of I-10, as does Dire Straits guitarist Mark Knopfler). In the last years he was on tour with guitarist, composer and singer Hank Shizzoe.
On Landreth's brilliant albums for Zoo, the lyrics draw the listener in to the sights, sounds, smells and heat of southwest Louisiana, and a strong sense of place is evident in many of Landreth's songs. Although his style is completely his own and his singing is more than adequate, Landreth admits that writers like William Faulkner have had a big influence on his lyric writing. The fact that it's taken so long for academics at American universities to recognize the great body of poetry that blues is concerns Landreth as well. Robert Johnson is Landreth's big hero when it comes to guitar playing. "When I finally discovered Robert Johnson, it all came together for me," Landreth said, noting that he also closely studied the recordings of Skip James, Mississippi John Hurt and Charley Patton.
FOR SPECIAL VIDEOS See Also:
Youtube channel: "Sonny Landreth's Specials": http://www.youtube.com/user/WilliamMusicEater
Natural World
Sonny Landreth Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I breathe this mornin′
Caution in the wind
Whisperin' warnings
About the melting ice
The rising tide
The burning forest
Smoke signal in the sky
Under brick and steel
The ground we stand on
That's under the drill
The natural world is talkin′
The natural world got plenty to say
You can hear the story
But can you swallow the tale
About me and you
And poison in the well?
About stripping the mountain
To the naked truth
About a fall from grace
From the burden of proof
About a shot in the dark
A flare on the sun
An ivory tower
A poacher′s gun
About bloody tracks
Stained hands
A slick on the ocean
A line in the sand
The natural world is talkin'
The natural world got plenty to say
Sonny Landreth's song "Natural World" is a powerful commentary on the destruction and disruption caused to our planet by human activity. The song kicks off with Landreth sensing something in the air that's not quite right, as if the environment is trying to warn us of impending danger. He sings about melting ice, rising tides, burning forests, and shifting plates, all of which seem to signify a coming natural disaster. The ground beneath us is also at risk, as corporations drill into the earth in search of precious resources.
The song is a warning, an appeal to people to take heed of the damage being wrought to our planet. Landreth asks if we can "swallow the tale" of the harmful effects of our actions, such as poisoning the water supply and stripping mountains bare. He also references mankind's "fall from grace," and the burden of proof that comes with acknowledging and taking responsibility for our actions. Landreth's moving portrayal of the natural world as a sentient entity that's trying to tell us something encourages us to listen more closely and do what we can to prevent further harm from being done.
Line by Line Meaning
There's somethin' in the air
The atmosphere carries a sense of unease and foreboding
I breathe this mornin'
This feeling is present and apparent to me as I take my first breaths of the day
Caution in the wind
There are subtle cues in the breeze that signal danger and potential harm
Whisperin' warnings
Slight, indiscernible messages are being conveyed by the elements that shape our environment
About the melting ice
The gradual melting of glaciers and ice caps is indicative of systemic climate change
The rising tide
Sea levels are increasing and causing flooding and erosion in coastal areas
The burning forest
Wildfires are raging and destroying vast swathes of natural habitats
Smoke signal in the sky
The visual manifestation of environmental destruction and pollution is becoming increasingly apparent
The shifting plates
Geologic activity is destabilizing the earth and causing significant shifts in tectonic plates
Under brick and steel
The seemingly unshakeable foundations of our urban environments are still subject to the same physical forces as the natural world
The ground we stand on
The very earth beneath our feet is in a constant state of flux and transformation
That's under the drill
We are extracting and exploiting natural resources at an alarming and unsustainable rate
The natural world is talkin'
The environment is exhibiting clear signs of distress and protest against human activity
The natural world got plenty to say
There are many messages that we are failing to heed from nature's systems and processes
You can hear the story
The evidence of environmental degradation is apparent and tangible
But can you swallow the tale
Accepting the gravity and magnitude of the environmental crisis is a bitter pill to swallow
About me and you
Humans are the primary culprits and beneficiaries of environmental exploitation
And poison in the well?
We are poisoning our own resources and failing to account for their finite nature
About stripping the mountain
We are altering and destroying natural landscapes and ecosystems to serve our own needs and desires
To the naked truth
The true cost of human exploitation and intervention in the natural world is becoming increasingly obvious
About a fall from grace
We are devolving into a more disrespectful and careless relationship with the environment
From the burden of proof
The onus is on us to prove our ability to restore and protect our natural resources
About a shot in the dark
Our attempts to solve the environmental crisis are often misguided and uninformed
A flare on the sun
Even the most powerful and essential parts of the natural system, such as the sun, are being affected by our actions
An ivory tower
The wealthy and powerful are insulated from the worst effects of environmental degradation and may not be motivated to enact change
A poacher's gun
The exploitation of natural resources is often being carried out for criminal purposes, leading to further environmental destruction
About bloody tracks
We are leaving a trail of destruction and devastation in our wake
Stained hands
We are complicit in the environmental crisis and cannot claim ignorance to our role in this destruction
A slick on the ocean
The consequences of our activities are far-reaching and devastating, even affecting entire ecosystems such as the ocean
A line in the sand
We are on the precipice of causing irreversible damage to our environment, and need to act decisively and urgently to change course
Writer(s): Sonny Landreth
Contributed by Kayla G. Suggest a correction in the comments below.