Peter Neri is a storyteller. He tells his tales with his acoustic guitar.
He’s an impressionist. His music evokes emotions and thoughts that are indicated by the mood of each of his solo guitar pieces. The mood is tied to the titles of each of the nine tracks on Neri’s latest album release Rough Edges, his first since 2002.
On Rough Edges, Neri takes the listener on short journeys through places that conjure every thing from a drippy faucet to the expanse of a cruise down the Amazon to a hot rod running on moonshine that is probably running moonshine in the dark hills and valleys of West Virginia. It’s achieved by virtuoso performances that put all of Neri’s talents on display from single string, partial chording and finger-style to Neri’s own self-described slam-punk finger-style.
He continually shows his adeptness at establishing a main theme and then interjecting adjacent passages that enhance the piece and carry the listener to the further reaches of his imagination.
Neri says he is more interested in “capturing the energy needed to express the nature of the song rather than trying for technically pristine takes.” Don’t worry there is abundant technique on display and the emotionally charged performances never sacrifice virtuoso ability for spontaneity. It’s all here.
The title track isn’t exactly chicken pickin’ but more like chicken pluckin’, as Neri describes it. The pluckin’ moves the tune along at a nice pace as you picture yourself strutting in the barnyard. He then segues to a delicate reverie that suspends time before coming back to the theme. Neri slips in an alternative playing of the main theme and another quiet diversion before bringing the tune to an end. All in 2:07.
The Sad, Sad Demise of the Underwood 5 refers to the long-gone and lamented typewriter. Neri uses the sound effect of the mechanical typewriter in the intro (and outro) of the track and then sets a hurried yet even tempo as he plays through the short, packed sections of this concise composition.
Perhaps the most elegant and lovely melody, adorned with jungle sound effects, is Journey up the Amazon, during which you can easily envision lightly gliding down the expansive river, taking in its myriad delights and majestic dark shadings. The aforementioned track with the leaky faucet, Faucet Still Dripping, moves at the pace of a plip-plop, drip-drop of that stubborn fixture and Celtic Vision lets you imagine dancers running through their steps to a lilting Irish-flavored melody.
The Question?, with its Latin leanings, and The Answer!, finger-picking balladry, seem perfectly fitted for two parts of a whole but each stands on its own as an individual statement, and Sneaky Pete illustrates Neri’s penchant for interjecting various quiet passages to his main themes.
The CD ends with Moonshine in the Gas Tank, a high powered slide guitar workout that envelops the listener in blues-oriented phrases and an adeptly executed country blues-rock feel.
In all, Neri returns with another volume of impressionist musical stories, along with previous releases Night Visions and Dreaming of Home, that carry you along on another glorious trip through the workings of a singular talent.
It’s available on CD at CDBaby or www.peterneriguitar.com/contact. Streaming versions of the album are on CDBaby, Spotify, Apple iTunes, Amazon, Deezer and many others streaming services.
Peter hosts a radio program, One Guitar, on WFVR 96.5 FM from Royalton, Vermont, where you can stream it (https://www.royaltonradio.org/) Tuesdays at 2 p.m. He spins some of the world’s best solo acoustic guitar music. The show will also begin airing on Blues and Roots radio (https://www.bluesandrootsradio.com/homepage) on Tuesday, July 30 at 8 p.m.
The place was called The Stone Balloon and was fashioned directly after the Cafe Au Go Go in New York. It was a long, narrow room with a low ceiling. Tables and chairs took up most of the audience area in front of a small stage on the right-hand side wall toward the front half of the room. Unlike the Au Go Go it was brightly lit between sets. The Au Go Go was always like a cave.
Cream was scheduled to play at Boston’s Back Bay Theatre in April, but they were also going to play near my hometown in New Haven at Yale’s Woolsey Hall on April 10th and I decided to come home for that, mainly because I had a new girlfriend who was still in school in New Haven. This would be our first big concert date. That made sense.