The Guitar” by Andrew Crawford

Andrew Crawford knows a good song when he hears one. His cover of  Guy Clark’s “The Guitar” rates as one of the best roots music singles released in 2024. The South Carolina-based singer/songwriter and guitarist teams up with gifted fiddler Michael Cleveland to give Clark’s classic a decidedly bluegrass spin. They’re joined by Tim Crouch’s mandolin and bass contributions.

It’s a further realization of the promise demonstrated by his prior single, “Back with a Lonesome Sound”. Crawford makes excellent use of the lessons learned by playing with acts such as Wilson Banjo Co., along with wife Brandi Colt, and sharing stages with formidable talents such as Dale Ann Bradley, Vince Gill, and Jim Lauderdale. Experienced listeners will recognize they are in good hands from the outset.

Crawford’s singing sinks its teeth deep into “The Guitar”. Clark’s penchant for exceptional storytelling, and solid narratives driven by convincing characterizations, is like manna from heaven for the South Carolinian. He wisely attempts to put a distinctive stamp on the song rather than opting to imitate Clark’s vocals and it results in a thoroughly satisfying re-envisioning of the original.

The interplay between Cleveland’s fiddle and Crawford’s guitar is one of the key musical focal points. However, I am particularly entranced by how Cleveland’s contributions function as a near-second vocalist for the piece and further strengthen Crawford’s singing. The latter has, arguably, a stronger voice than Clark was ever blessed with, and both singers interpret “The Guitar” in idiosyncratic ways. However, commonality comes in how both are attentive to every word. Crawford doesn’t coast for even a syllable while delivering Clark’s lyrics.

It definitely provides an instrumental showcase. Accomplishing that without lapsing into misguided attempts at virtuosity is another feather in the single’s cap. “The Guitar” runs just short of three and a half minutes, a solid running time that never feels like a cheat for the listener. If anything, it feels shorter. Crawford’s interpretation of “The Guitar” is driven by a strong sense of urgency, never succumbs to empty theatrics, and has an immediate sound that’s well nigh irresistible.

It works as a standalone track. It would work just as well in the context of a longer collection. Crawford has succeeded in doing something that too few do with covers. He’s remained faithful to Guy Clark’s initial vision for the song, never tampering with its foundational values, while recasting the track in a way that’s musically true for him. It’s familiar yet personal. Crawford further interjects just the right amount of drama into the proceedings without dragging “The Guitar” into needless overkill.

Let’s hope we hear more solo material from Crawford sometime soon. It doesn’t matter whether it is original material or well-chosen covers, his talent and personality shine through. His obvious affinity for bluegrass, running deep on a DNA level, allows him to tailor or refurbish any material in a way that’s best suited for him. His take on “The Guitar” sounds like a musician and singer nearing or at the peak of his powers.

Chadwick Easton

Music

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