David Wilcox Albums (14)
What The Critics Say
David Wilcox’s Airstream consists of songs played by Wilcox alone on his acoustic guitar, accompanying his solo voice. Although the tracks sound professionally recorded (as they were, albeit in his Airstream trailer), it may be supposed that they were intended originally to serve as guides for sessions with other musicians to be held in a recording studio. That would be standard operating procedure for Wilcox, who -- although he tours playing by himself -- usually records folk-rock arrangements on his solo studio albums. There have been nine of those before Airstream, plus a couple of live albums, a couple of compilations, and a duo album of poetry set to music with his wife, Nance Pettit. Having reached the age of 50, Wilcox is a veteran singer/songwriter by now, and he may have decided that it's the songs that count, and that he may as well present them as people are going to hear them on the road. Leaving aside the novelty of the solo presentation, the songs are a fairly typical bunch for him. There's a tender song of enduring love for his wife ("Forever Now"), a song for his now teenaged son ("This Old Car"), several songs using nature imagery to reflect on the nature of love, and a few topical songs that sound like what any thoughtful, liberal Christian American might think of the state of politics, circa 2007-2008. "Falling for It" is Wilcox's straightforward attack on President George W. Bush for using the fear following 9/11 to invade and occupy Iraq. "Reaper Sweepstakes" is a more sarcastic and general look at the challenges facing the country and its citizens. And "Three Brothers" is an allegorical treatment of the troubles in the Middle East. None of this will sound unusual to a fan who heard Wilcox's last album, Vista, or any of his others, for that matter. He remains a man trying to translate his personal experiences and his impressions of world events into well-crafted songs and succeeding most of the time, if never really transcending his sources of inspiration to say something more profound as, for instance, Bob Dylan often does. By that standard, of course, most singer/songwriters come up short, and Wilcox remains worth hearing, especially on an album when he speaks in so direct and unadorned a manner. ~ William Ruhlmann, All Music Guide
What The Critics Say
Vista is David Wilcox's 13th album in 17 years (that's including a live one of old songs, a best-of, and a duo disc with his wife Nance Pettit of traditional poetry set to music), and he seems to have a pretty good idea by now of what he wants to accomplish. He recorded in his home studio, then took the results into a professional studio for some polishing. Like most folkies, he is accustomed to playing by himself with his acoustic guitar every night, and so only does a little ornamentation for his recordings -- another stringed instrument or two, a keyboard instrument, a discreet rhythm section, some background vocals -- without obscuring the solo effect. And like most singer/songwriters, his goal is to provide his own viewpoint on his personal experiences and his perceptions of the larger world. In a series of warmly sung, melodic folk-pop songs, therefore, he reflects on a man's love for his wife and child, assuring the one that he can help her through "The Hard Part" and the other that he can guide him to the "Great Big World." At the same time, as a Christian still impressed by the "Miracle" of Christ's birth, he must ponder the ways in which religion can lead to terrorism ("Good Man") and patriotism can lead to war ("Into One"). He has no real answers to these problems beyond his observations of them and his hope that they can be eased, which perhaps makes him just like the rest of us. In fact, that is his value as a songwriter and performer, that, as on the leadoff track, "Get On," he can express universal feelings about, in this case, the conflict between the heart and the head in deciding whether or not to act. Wilcox is going through the same things as his audience; his gift is to put those things into song. ~ William Ruhlmann, All Music Guide
What The Critics Say
Neither David Wilcox or Nance Pettit planned on creating an album called Out Beyond Ideas when they started reading sacred poetry. The accidental project began when a friend gave the couple a book of mystic poetry for Christmas. Soon, they -- being musicians -- decided to set the poems to music. As they continued this experiment, just for fun, the harmonies and arrangements worked themselves out, and before long, they were performing these songs for friends. Everyone liked the songs, but they all had one question: are the songs available on a CD? They weren't. Furthermore, a number of people began to volunteer to play on an album including Grateful Dead drummer Bill Kreutzmann. As one might imagine, mystic poetry works well within a singer/songwriter format -- a natural fit. So while a musical-poem like "How Did the Rose Ever Open" might seem a bit esoteric (or old fashioned), it isn't all that far removed from the general contemplations that singer/songwriters are prone to. The real drawing power here, however, is the intertwined voices of Wilcox and Pettit. Their comfort with one another is evident and the merger of their voices also creates a lovely blend on Out Beyond Ideas. Singer/songwriter fans and lovers of esoteric poetry will enjoy this outing. ~ Ronnie D. Lankford, Jr., All Music Guide
What The Critics Say
David Wilcox writes in the liner notes of Into the Mystery that he feels as though his first ten albums were practice and now he's really cooking. Perhaps the subtitle of the disc could have been "How David Got His Groove Back," because he certainly did, not that it was ever lost, necessarily. Into the Mystery is a gloriously lovely and straightforward collection of compositions and performances, each supporting the other to attain its simple yet somehow lofty aim of being easy on the ears. For the most part, this is the kind of disc you can put on while shuffling around the house on a quiet weekend morning. Only "Apple a Day" and "Ask for More" break the laid-back vibe. Wilcox co-wrote a few of the tunes, teaming with fellow troubadours Pierce Pettis and Maia Sharp, who are both thoughtfully talented in their own rights. No, there's nothing inherently earth-shattering about anything heard within these 13 tracks. Nonetheless, it is at least partially earth-shattering that an artist can still achieve (and set) such high standards after so many recordings. ~ Kelly McCartney, All Music Guide
'Live Songs & Stories'
Release Date 4/9/2002
Tracks 21
Label What Are Records?
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What The Critics Say
Folk road dog David Wilcox has crisscrossed the country many times over, playing empty coffeehouses and packed folk festivals. His 2002 collection, Live Songs & Stories, documents these journeys, alternating live versions of his best-loved songs with the humorous introductions the singer/songwriter has become known for. Wilcox's brand of intimate contemporary folk was born to be performed live, and the unobtrusive interactions with his audience only make the music stronger. The intricate wordplay evident in his songs also shows up in his spoken explanations; his words flow almost like an energetic poetry slam, introducing the songs like a lo-fi version of VH1's Storytellers series and giving insight to the addictions of "Eye of the Hurricane" and his own inspirations in "Words Alone." The songs are sparsely but expertly performed (often just Wilcox's voice and guitar, occasionally augmented by Jake Armerding's gentle fiddle and backing vocals), and every track leaves the listener not only with a glimmer of insight into the performer's mindset, but also with undeniable hope and a kinder world-view. These are the hallmarks of a terrific folksinger and songwriter, of which Wilcox is both. ~ Zac Johnson, All Music Guide
What The Critics Say
With his mellifluous tone and jazz and soul phrasing, Wilcox could be written off as a lightweight, but his songs and musicianship are far more worthy than a copycat's. This is the eighth album for the folksinger with the James Taylor voice, at times accompanied by acoustic band Jars of Clay. He tackles a back porch blues on "What You Whispered," near funk and soul (on banjo) on "This Tattoo," and folk-pop-hip-hop with "Start With the Ending." Its pithy lyrics may seem borrowed from Loudon Wainwright's catalog of mock, complex relationship songs, but it's clever nonetheless. And like Wainwright's and Richard Thompson's songs to their guitars, there isn't a guitarist in the world who won't relate to "Guitar Shopping." ~ Denise Sullivan, All Music Guide
What The Critics Say
"I know compassion is all out of fashion/And anger is all the rage." So begins singer/songwriter David Wilcox' 13-part story of coming out from under and making it in the modern world. From the daily cynicism of the Alison Krauss-assisted title track to financial struggles ("Never Enough"), human loss ("Prisoner of War"), and the frustrations of the recording industry ("Sex and Music"), Wilcox deals with a wide array of difficult topics, but is able to find hope in nearly all of them. In "Down Here," a duet with Jennifer Kimball, the pair finds solace and joy in being together, despite being outcasts "under the radar of the status quo." "Hometown" finds another pair split by questions of "the good life" reminiscent of "Green Acres," yet with much less satisfaction. In "Dust To Dust," Wilcox finds freedom even in death. The answer, Wilcox lyrically posits, is perspective ("The truth has changed how I see," he says in "Leaving You"), and though Wilcox' topics may at first seem discouraging, his sensitive and human handling of them teach us all to find the music in even the most difficult aspects of our lives. ~ Matthew Robinson, All Music Guide
What The Critics Say
On his sixth album, David Wilcox finally got around to giving his side of what happened during his five-year, three-album sojourn on a major label between 1989 and 1994. After leaving it, he made the delightful, if uncharacteristic live album East Asheville Hardware, but on Turning Point he reflected on what it had been like to be a "Human Cannonball," reaffirmed his sense of non-traditional spirituality ("Secret Church," "Silent Prayer"), and celebrated romantic and domestic joys. As usual, the singing was sincere, the lyrics a little obtuse, and the guitarwork inventive. You couldn't help thinking that he was straining to find a breakthrough here, and after showing off the more entertaining side of himself on his live album, it seemed more a retreat than an advance. He reserved his sense of humor for the final track, "Waffle House," which came after a delay to let you know it differed from the rest of the record, but that was the problem-maybe if he could integrate his comic sensibility with his more earnest tendencies, he would be easier to like. ~ William Ruhlmann, All Music Guide
'The Nightshift Watchman'
Release Date 10/8/1996
Tracks 11
Label Song of the Wood
See Album Tracklist and Review
What The Critics Say
Though he would later deliver more polished and accomplished effort, David Wilcox's independent debut Nightshift was full of promise. Even at this early stage, Wilcox had a firm grasp of his acoutic guitar style and his songs were beginning to flower -- "Daddy's Money" is as good as would ever get. Sure, there are a few rough spots on the album, but that just adds to its charm, especially in retrospect. ~ Thom Owens, All Music Guide
