Mild Leo Kottke

Leo Kottke - Standing In My Shoes (1997) {Private Music 01005821462}
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© 1997 Private Music / BMG | 01005 82146 2
Finger-Picked Guitar / Progressive Folk / Jazz Blues / Contemporary Folk / New Acoustic

Working with former Prince sideman David Z, Leo Kottke comes up with one of his most unusual records with Standing in My Shoes. David Z doesn't necessarily bring Kottke toward funk, but the spare rhythm section gives the guitarist a stronger sense of groove than ever before, and Kottke really shines in such a setting. His solos are loose and swinging, and even his trio of vocal numbers have a charming, carefree quality. Standing in My Shoes does bog down occasionally, particularly when the execution is more compelling than the material, but on the whole, it is one of his more fascinating records of the '90s.

Leo Kottke - My Father's Face (1989) {Private Music 2050-2-P}
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© 1989 Private Music | 2050-2-P
Finger-Picked Guitar / Progressive Folk / Contemporary Folk / New Acoustic

Guitar virtuoso Leo Kottke has never been a fan of his own singing, observing once that it resembles "geese farts on a foggy day." Be that as it may, his voice (both vocally and lyrically) is an essential element of his persona, one he's too-often neglected. This cogent 1989 collection balances the Minnesotan's trademark knuckle-busting 12-string exhibitions ("William Powell," "Theme from 'The Rick and Bob Show'") with memorable lyric-based songs.

Leo Kottke - Greenhouse (1972) {BGO Records BGOCD50 rel 1997}
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© 1972, 1997 Takoma / BGO Records | BGOCD50
Contemporary Folk / Finger-Picked Guitar / Progressive Folk / Jazz Blues / New Acoustic

A somewhat less ambitious record than Mudlark, from a recording standpoint, Greenhouse is a true solo record that offers several surprises. Over a third of it is made up of vocal numbers, including two that are absolutely superb. "Tiny Island" may be the best track here, a song by Al Gaylor, inspired by the death of Jimi Hendrix, that offer one of Kottke's best vocal performances of his whole career.

Leo Kottke - Regards From Chuck Pink (1988) {Private Music 259 641}
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© 1988 Private Music | 259 641
Contemporary Folk / Finger-Picked Guitar / Progressive Folk / New Acoustic

This 13-song set of instrumentals purports to explore, in Kottke's words, "lifetimes or moments…that have not only endured but prevailed against the test of Pink." Chuck Pink, that is – a personified force of self-censorship and blame. Kottke's always been good at tagging his songs with quirky titles, and Chuck Pink is no exception, with tunes like "I Yell at Traffic," "Dog Quiver," and "Theme From Doodles."

Leo Kottke - Dreams And All That Stuff (1974) {BGO Records BGOCD132 rel 1992}
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© 1974, 1992 Capitol / BGO Records | BGOCD132
Contemporary Folk / Finger-Picked Guitar / Progressive Folk / Jazz Blues / New Acoustic

Kottke's sixth official album is a dazzling array of pieces, some wistfully romantic ("Mona Ray"), others savagely witty ("When Shrimps Learn to Whistle"), and still others downright folksy ("Bill Cheatham"), with accompaniments of varying shapes and types, from dobro to synthesizer and piano.

Leo Kottke - A Shout Toward Noon (1986) {Private Music 1701}
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© 1986 Private Music | 2007-2-P / 1701
Finger-Picked Guitar / Progressive Folk / Jazz Blues / Contemporary Folk / New Acoustic

Though the opening cuts are typical Leo Kottke instrumentals – bouncy guitar pieces with nods to jazz, folk, and blues – A Shout Toward Noon is dominated by more moody, somber tunes. In some cases these are in bright folk territory – "Four Four North" has the tense, repetitive activity of a Hitchcock soundtrack and features some unusual guitar techniques that magnify the sense suspense. Other cuts like "The Ice Field" have the meditative, melancholy character that is more typical of John Fahey's later work.

Leo Kottke - Balance (1979) {Vinyl, Chrysalis CHR-1234}
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© 1979 Chrysalis / Capitol Records-EMI Of Canada | CHR-1234
Finger-Picked Guitar / Progressive Folk / Contemporary Folk / New Acoustic

Out of all of Kottke's albums, I find myself going back to this one and 6 & 12 String Guitar the most. Balance is an underappreciated gem. Leo Kottke stands out to me as one of the most distinctive and talented guitarists of our day, along with the likes of Michael Hedges, Pat Metheny, Phil Keaggy, Andy Summers, The Edge, Johnny Marr, and probably a few others. His style is unlike anyone I know, full of rich acoustic textures and a voice that grows on you after a while.

Leo Kottke - Burnt Lips (1978) {Chrysalis–BGO Records BGOCD259 rel 1994}
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© 1978, 1994 Chrysalis Records / BGO Records | BGOCD259
Finger-Picked Guitar / Progressive Folk / Contemporary Folk / New Acoustic

The subjects of death and betrayal permeate this understandably dark album. Opening with the Nick Lowe chestnut "Endless Sleep" as a slow acoustic blues, this unpredictable guitar un-star also sings about "Sonora's Death Row" and offers the opinion that "Everybody Lies." His always problematic singing assumes a prominent role, which might not be the best strategy. He showcases his string wizardry on "A Dull Thud" and several other instrumentals.

Leo Kotke's 1995 release, Leo Live, is a welcome addition to his repertoire. Kotke has gotten past his earlier reluctance to perform vocals, and his voice here sounds comfortable and assured on tracks like "Room at the Top of the Stairs" and the talking blues "Jack Gets Up." Yet, as is characteristic of his style, it's his instrumental work on cuts like "Peg Leg," "Little Martha," and a mellow version of the old classic "Twilight Time" that show the artist in peak form. Kotke's mildly "Oddball" proclivities may come through in song titles like "I Yell at Traffic" and "Flattened Brain," yet whatever he names it, his playing is consistently top of the mark. Definitely recommended.