Robert Francis Albums (2)
What The Critics Say
Before Nightfall is a different animal than Robert Francis' debut, whose rich production and pastoral songwriting took the songwriter an entire year to complete. Nowhere is that difference more pronounced than on "One by One," a nostalgic track that makes an appearance on both albums in radically different versions. As presented here, it's a straight-and-sober ode to lost love, stripped of the piano arpeggios and violin that lent a folksy elegance to the original arrangement. Returning listeners may find themselves wondering what happened to Francis' luxuriant take on Americana, which once included everything from ambient animal noises to mariachi horns. Recorded in a matter of days, Before Nightfall does away with those accoutrements, devoting more focus to the songs' core than the different ways those songs can be ornamented. Robert Francis keeps the studio sparsely populated this time around, occasionally enlisting help from family members (sisters Carla and Juliette Commagere, both of whom sing backup) and family friends (Ry Cooder, who plays slide guitar on "Climb a Mountain") but largely sticking with a simple four-piece band. The result is a grounded, no-frills album, sometimes sweeping in scope -- the falsetto-filled choruses of "Junebug" and "Keep on Running" are wonderful -- but always reminiscent of a live recording. ~ Andrew Leahey, All Music Guide
What The Critics Say
With cover art that mimics Bob Dylan's The Times They Are a-Changin' right down to the typeface, One by One demands (and, perhaps, deserves) to become a staple of the modern-day folk catalog. Nineteen-year-old Robert Francis is already impressively self-sufficient, playing nearly ever instrument -- from guitar to glockenspiel -- on this self-produced debut. It would be an understatement to say that Francis' musicianship belies his young age, as some of One's best songs already harbor the rustic, world-weary quality that many artists spend their careers cultivating. Whether or not Francis has actually experienced the pastoral blues that color his lyrics is beyond the point; his dusty baritone and heartland imagery make the potential fib worthwhile. From the right-handed piano twinkles of opener "Mama Don't Come" to the gorgeously hypnotic, looping closer, there's an airy sense of space to these ten songs. Even the album's most ornate material -- the seven-minute title track, perhaps, with its climax of co-ed vocals and sweeping violin -- is allotted enough room to breathe. When the orchestration becomes lush, Francis usually swoops in with a musical reprieve, be it a momentary break in a riff's rhythm or a touch of reverb to widen the sound. Even more interesting is his love for subtle, esoteric flourishes: a dog barking in the middle of "The Devil's Mountains," right before the bluesy pedal steel gives way to mariachi horns; delayed violin in verse two of "Little Girl"; the church-like harmonies in "Dakota." It's impressive proof that Francis' self-appointment as producer isn't the result of some youthful ego trip, but rather the most logical choice for a penny-pinched teenager -- or, for that matter, anyone whose music mirrors these rustic folk-pop strains. Dylan it ain't, but One by One is one solid debut. ~ Andrew Leahey, All Music Guide
