Jeff Turmes | The Sun Never Went Down

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Avant Garde: Avant-Americana Folk: Singer/Songwriter Moods: Mood: Dreamy
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The Sun Never Went Down

by Jeff Turmes

This CD is a collection of songs, nearly all written on five-string banjo, about history, memory, desire, and survival.
Genre: Avant Garde: Avant-Americana
Release Date: 

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  Song Share Time Download
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1. Storm Comin
2:26 $0.99
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2. Naked
3:25 $0.99
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3. Andrew Jackson
3:10 $0.99
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4. God Will Punish the Wicked in His Own Sweet Time
1:49 $0.99
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5. Mexico City
5:53 $0.99
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6. President of Dreamers
3:50 $0.99
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7. The End of the Silver Age
3:32 $0.99
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8. Men of His Time
3:51 $0.99
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9. White Horses
2:56 $0.99
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10. Helmet
1:44 $0.99
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11. Before You Were Born
2:42 $0.99
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12. Grace
2:43 $0.99
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13. Shenandoah
4:09 $0.99
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14. The Third Brigade
2:44 $0.99
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15. The All of You
3:07 $0.99
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16. The Sun Never Went Down
6:40 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
The songs on The Sun Never Went Down were nearly all written on five-string banjo, but it doesn't sound like music you would normally associate with that instrument. Besides banjo, the instrumentation includes bass (acoustic and electric, sometimes on the same track), voices, drums and percussion, brass and woodwinds, electric piano, and guitars. Plus some other less easily identifiable sounds. I wanted the whole record to have an unified sound, with enough variation to make it interesting. The songs are not obviously personal and address ideas about history - how it is remembered, recorded, and represented - memory, desire, and survival. Influences and sources include stories from my past, the written recollections of Alvar Nunez Cabeza de Vaca, an early Spanish explorer, a story my mother often told about the death of her father, and the folk song Shenandoah. Songs were inspired by newspaper photographs and articles, reflections on the plagiaristic nature of history writing, things I came across in my reading, a map of Mexico City I found, the title of a painting I saw in London, a placard in the armor display at the Metropolitan Museum, and so on. The sound of the banjo evoked a lot of ideas. I was experimenting, both with the way I write songs and with sounds. I would come into the studio and say "let's try this and see what happens", and my engineer and co-producer, Jim Doyle, was only too happy to oblige and make suggestions of his own. I believe the result, rather than being self-indulgent or willfully odd, is extremely musical. I was fortunate to have some very talented singers and instrumentalists with me on this.

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