Friday, Mar 18, 2011 9:00 PM CDT
(8:00 PM Doors)
Mercy Lounge, Nashville, TN
18 years and over
Moss comes only two short years after The Green
Sparrow, and about half of its songs stem from the
same 50-song burst of creativity that seeded that
album. They join songs of more recent vintage, all of which were revised, reworked and morphed by the tireless
Gordon in spontaneous but exacting fashion.
Gordon had a number of goals in mind when it came to making this album. He wanted the songs to be simpler and more accessible, and he also wanted to spend more time writing and revising them. (“Just like John Prine said, ‘You don’t write, you edit,’” he quips.) He also wanted to allow more focus to be placed on the actual singing.
In addition, Gordon wanted to let the album “be more true to itself, where it dictates what it needs, like by picking songs that seem to fit and ignoring ones that don’t.” The powers-that-be in this album’s spirit world apparently decreed that Gordon’s bass guitar should function more like a lead instrument. And so he complied. Fans who appreciate Gordon’s role as the ever-inventive low-end anchor in Phish will be delighted to hear how central his bass work is on Moss.
“The driving force is the bass,” says Gordon. “Not in terms of soloing, but in terms of having unique rhythms. Sometimes I tell people that the lead instrument on Inside In was pedal steel and the lead instrument on The Green Sparrow might’ve been electric guitar, and the central focus on this album is bass.”
“There’s a sort of psychedelic theme, and I’ve never tripped before,” he acknowledges. “But I thought that’s okay because you don’t always have to write from your own character, necessarily. I have an appreciation for what consciousness can do, though my way of getting there has been via different avenues.”