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Where Shall You Take Me? by Damien Jurado

Re-issue time for Damien Jurado's fifth full length album originally released back in 2003. It was his turn to make a  bleak Nebraska-ish trawl through the darker end of heartland rock in which he conjured up timeless sounding songs which seem like they are from several generations back. His catalogue is big and sprawling but this is one of his most intimate albums. 

Vinyl LP £20.49

USED LP on Secretly Canadian, EX+/EX-.

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Vinyl Double LP £17.99 SC084DLXLP

Deluxe reissue 2LP on Secretly Canadian.

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Vinyl Double LP £17.99 SC084DLX

Deluxe reissue 2LP on Secretly Canadian.

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CD £11.49

CD on Secretly Canadian.

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REVIEWS

Where Shall You Take Me? by Damien Jurado
2 reviews. Write a review for us »

8/10 Penrith Steve 16th February 2016

Damien Jurado, when on form, is a force to be reckoned with. He is on form on “Where Shall You Take Me?” as he ploughs a furrow between Jason Molina and Neil Young’s more tender moments. “Omaha” is one of those songs that makes your heart sing and break at the same time – despite the lyrics not necessarily being of that nature – absolutely stunning. “Abilene” does a similar job with a lovely melody hummed between verses. I’m assuming regular contributor Rosie Thomas sings harmony vocals on “Window” and “I Can’t Get Over You”. Their voices go together so well, both songs, country and gospel tinged in melody, are quite beautiful. This, or "Ghost of David" are good places to start.

8/10 Penrith Steve 16th February 2016

“St. Bartlett” was the first in a loosely connected trilogy of albums by Damien Jurado that included “Maraqopa” and “Brother & Sisters of the Eternal Son”. All three were produced by Richard Swift, who since his reasonably successful album ”Dressed Up For The Letdown” has been in demand as a producer. His influence is definitely audible from the off on Jurado’s ninth offering. “Cloudy Shoes” has a kind of low-key, epic lollop, typical of Swift’s solo work, and with the call-and-answer-ish backing vocals is reminiscent of The Flaming Lips. “Arkansas” dips into classic ‘60s girl group style production – more airy than Phil Spector’s cacophonous Wall of Sound, but in that area. Swift does seem to know what he’s doing and shows it on “Rachel & Cali” where everything is stripped back to vocals and acoustic guitar. A gentle bass joins in followed by shimmering arpeggios that gradually layer on top of each other. One of the album’s stand out tracks. “Pear”, “Kansas City” and “Harborview” are similarly stripped back, allowing Jurado’s melancholic delivery to take centre stage. “Throwing Your Voice” again has the signature Swiftian lollop and a sad, melodic refrain of “You can come back when you need”. Another decent album from an artist who is pretty damn consistent.

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