by John Tarpley
If you've recently started to attempt the frustrating, more-often-than-not-laborious task of wrenching a tune out of a guitar and slipping into the ether to peel off a few words to tack onto your new tune, then, young songwriter, stay away from this one. Adam Faucett and, more so, the music of Adam Faucett are notoriously devastating.
Three weeks with Faucett's new album, "More Like a Temple," and I've given a thought or two to just trading in my instruments for a shovel and good pair of gloves. There's a very short list of area songwriters who command as much respect from both audiences and fellow musicians like Little Rock's "folk swamp soul brother." Faucett evokes a sound between Otis Redding's soul shout and Cat Power's swampy poeticism. Throw in a dash of John Fahey picking and the occasional glimpse of Rufus Wainwright vocal operaticism and you're almost there. The precise craft on display in the album's string-colored arrangements and crystalline production is strong by any standard, but as always, Faucett's melodies are the highlight: inspired, innate and effortlessly gorgeous. After a dozen-plus spins, "More Like a Temple" is far beyond just good. It may just be one of the most vital documents of a young musician to come out of town in years. Expect to hear about this album for a long while.
He's joined by his backing band, the Tall Grass, and joshua, the Velvet Kente frontman who also occupies one of the rare spots on the aforementioned "shortlist."