Independent Clauses | n. —unusual words about underappreciated music

David Ramirez's impeccably written tunes add to the singer/songwriter craft

August 17, 2012

In an age of disruption, it is profoundly comforting to see someone doggedly carrying on a torch that so many want to decry, digitize or destroy altogether. Everything from digital streaming to high gas prices makes it hard to be a craftsman of song right now, but David Ramirez doesn’t care. He’s a rambling troubadour who has looked for redemption in a bar stool, but instead found it in God and women. He loves traveling the country, until he misses family, friends and women. These are timeworn, careworn themes, and Ramirez treats them with dignity by falling right into the stream and carving his own niche in the flow.

Ramirez undeniably has heard, learned from and played with a ton of other singer/songwriters, and he shows no intentions of being experimental in any regard. But that’s what it means to be a part of a craft: Ramirez saw and heard, and now says so that others can hear. Are these songs beautiful? Undeniably, incredibly so. They come invested with a depth of history that resonates through Ramirez’s weary yet confident voice. You can hear it in the steady strum, and in the turns of phrase. Many have been here, and many will come after. And the mark in time that is Apologies will add into the chorus of songs and albums that someone (hopefully someones) in the next generation of songwriters will be influenced by. Ramirez himself muses on learning in the opening lines of the album:

“Well I never paid attention when I was a young boy
To the great instructions from the ones that came before me
Now that I’m older I long to pay attention
But it doesn’t seem like anyone is saying much of anything”

Opener “Chapter II” is one of the highlights of the album; a self-aware rumination that culminates in the poignant claim, “Well I’ve been holding on so long it seems, That what I’m holding has been holding me.” Voice and earthy acoustic guitar form the basis of the tune, just as they form the basis of the rest of the songs on the album. Contributions from a full band fill out some tunes (“An Introduction,” “Dancing and Vodka,” “Mighty Fine”), while banjo, piano, and harmonica make occasional solo appearances. But the heart of this album is Ramirez’s baritone and six-string, which is why standout tracks “Goodbye” and “Find the Light” rely on those two elements.

All eleven tracks on Apologies are keepers; there’s not a clunker in the batch. The highs are very high, and the lows are pretty high too. It’s definitely on the consideration list for Top Ten of the year, because the songs just resonate with a deep part of me that wants traditions to live on. We can have new traditions (I’m stoked for M&S’ and the Avetts’ new albums, just like everyone else), but there’s a rare joy in hearing something that could have been written 50 years ago being turned out now. I hope that we will be able to hear some fantastic songwriter 50 years from now who knows the value of considering the past in the process of creating weighty tunes. Because that’s what David Ramirez has done here: written strong tunes that could go on to be learned, loved and covered. Bravo.

Stephen Carradini and Lisa Whealy write reviews of instrumental, folk, and singer/songwriter music. We write about those trying to make the next step in their careers and established artists.

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