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| SingOut! — "Fool's Paradise" Kevin McCarthy — "Fool's Paradise" Rambles.net— "Fool's Paradise" Dirty Linen — "Calling On Love" Sing Out! — "Calling On Love" Sing Out! — "Fields Of Elysian" Acoustic Musician — "Fields Of Elysian" Dirty Linen — "Unbroken Chain" Performing Songwriter — "Unbroken Chain" Victory Review — "Unbroken Chain" Acoustic Musician — "Game of Dances" |
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| Live Performance Review RAMBLES....A cultural arts magazine—(http://www.rambles.net/kamm_love.html) Calling on Love (FR105) live at the PALMS, Sacramento, CA (May 1995) |
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Review—SingOut! Vol. 47 #1, 2003 PAUL KAMM & ELEANORE MACDONALD - Fool's Paradise (Freewheel Records FR107 (2003) |
| Paul Kamm and Eleanore MacDonald have been married and performing together for 20 years. This delightful couple are writers and singers of “neo-impressionist folk music”. Eleanore describes them as an “opinionated redhead and a diplomatic cohort”. they live in the same town as Utah Phillips in Northern California. Anti-war/peace activists, vocal dissenters and strong supporters of animal rights, they have no trouble finding topics for songs. Paul and Eleanore have produced 7 CD’s while traveling nationally. Their style is comprised of simple, graceful tunes, quiet vocals and lyrics that attract and hold any audience. Their harmonies are their trademark. They can sing separately or meld perfectly. They are a bit of a national secret despite having become a Kerrville New Folk winner in 1997, and a Telluride Troubadour and Rocky Mountain New Folks Showcase winner for two consecutive years. It is hard to believe that such beautiful voices and calm demeanors can be applied on Fool’s Paradise to such tough songs as “Josephine”, about America marching like “self righteous crusaders again” after September 11th, and “Rebel Son” who is asked “what have you found that would make you lay your body down?”. Overall this is a beautifully written and sung album bound to be played frequently on my player. Recommended. - VKH |
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Review—Kevin McCarthy 2003 PAUL KAMM & ELEANORE MACDONALD - Fool's Paradise (Freewheel Records FR107 (2003) |
| This review is written by Kevin McCarthy, 2/03 "Kevin's Celtic & Folk Music CD Reviews" http://www.surfnetusa.com/celtic-folk/index.html Paul Kamm and Eleanore MacDonald must have been winemakers in previous respective incarnations. No, this isn't an attempt to fill the void left by the departure of the infamous psychic Miss Cleo. It's because the music of this duo unfolds at a gentle, almost timeless pace, with nothing rushed or pushed past the ears of the listener. Like the spirits of the gods, it is presented and served as it was meant to be. Their music also takes on the form of delicate secular spirituals, in content if not in what is commonly thought of as typical spiritual song style. A number of the songs carry the imprint of 9/11 and our current headlines. The second verse of "josephine" goes: Whether military grunt (or possibly even Jesus himself?), "rebel son," Kamm and MacDonald's harmonies, on display throught the release, are most Kamm is joined periodically by MacDonald on the the title cut, "fool's |
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Review— Tim O'Laughlin for www.Rambles.net 2003 PAUL KAMM & ELEANORE MACDONALD - Fool's Paradise (Freewheel Records FR107 (2003) |
| Fool's Paradise, the latest offering from Kerrville New Folk winning duo Paul Kamm and Eleanore Macdonald is their best yet. I've been a fan of Kamm and MacDonald since the first time I saw them in concert in 1995. Their recordings hold up well to repeated listening and are among those that find their way into my changer time and time again. Like experienced vintners, this duo's product - their musicianship as well as their skill at producing their recordings - keeps improving as the years pass, and with more than twenty years performing and recording together, they are setting the mark very, very high. It's actually difficult to try to find appropriate superlatives to describe Fool's Paradise. It's such a fine piece of work that the term "quantum leap" kept coming to my mind, although the word doesn't quite fit. After all, this CD is MacDonald & Kamm's seventh effort, and necessarily part of an evolutionary process. But this offering, like a bottle of Bordeaux laid down years ago, has produced a vintage that discerning listeners will recall more than fondly. It contains a perfect blend of the many different aspects of songwriting, performance and production, such that final result is something truly wonderful. The first thing that struck me about Fool's Paradise was how good this CD sounds. The quality of production values are as close to perfect as anything I've heard, including offerings from major labels. Kamm and MacDonald built and equipped their own recording studio and with the assistance of Mikail Graham, whom they describe as "the man behind the curtain," as well as "daughter Supreme" Breelyn MacDonald, who is described as "our 'other' ears,'" (and to whom the CD is dedicated) they have created an acoustic masterpiece. A listener could listen as they would to an instrumental recording, without paying attention to the words, and come away perfectly satisfied. In a Rambles review a few years ago, my only commentary that was less than congratulatory was my comment that the blending of two voices and one guitar lent a superficial "sameness" to each cut that took some time to dissipate as I developed a more intimate knowledge of the individual songs. At that time, I opined that this "sameness" might be avoided with less use of parallel vocal harmonies, and suggested that "these two voices would sound wonderful with arrangements that had them singing different lyrics at the same time, with melodies and counter melodies interwoven to create a broader palette of sounds -- a technique often used by The Indigo Girls." That may well prove true, but while Kamm and MacDonald chose not to take my undoubtedly unwanted advice (continuing to employ the parallel harmonies that help create their sonic signature) in Fool's Paradise, any hint of "sameness" is gone. I stand corrected. One spin of this CD informs the listener that they didn't need to make the changes I suggested. I couldn't tell you what's different, but I can say that this is CD is a cohesive, well constructed work with lush harmonies and orchestration that is so gorgeous that a person could listen to it over and over again without paying any attention to the lyrics. But oh, how they would miss out, because the lyrics are such well-written poetry that they could stand alone without the music! The combination of the two are what left me grasping for superlatives. In my allegorical "CD cellar," this is simply one of the finest vintages I've ever come across. Fools Paradise wove a spell that enveloped me from the first instrumental introduction to the final stanza. On an emotional level, I was touched deeply by each and every song. Especially poignant were the cuts that related to recent and current events. "Josephine," a collaboration between Kamm, MacDonald and Bodhi Busick, is a lament concerning the events and aftermath of September 11th. It also relates strongly to current events. As this review is being written, the government of the United States has just invaded Iraq. Once again I feel as if I have been torn asunder, and this CD is helping me process my emotions just as if these songwriters reached into my heart and drew on my own horrified reaction to these events as grist for their creative process. These lyrics from "Josephine" apply equally well to events that had not yet transpired when the song was written: "Like a shot heard around the world, like the only piece of news It choked any other thing that might have spoken true Just rally 'round the flag, boys, and demonize the foe and turn those human faces into something that won't show Be careful what you say here In the land of the free 'Cause the walls are closing in In this age of certainty And all at once, tomorrow came suddenly …" George Orwell almost had it right, but the year should have been 2003, rather than 1984. But Fool's Paradise offers a healing touch too. I took great comfort in Kamm's "Let Love Remain:" "Oh how the times have changed and still been the same. Yet through all these troubles love remains. So come lay your burden down, let your heart be true. There's nothing more you need do … Don't call on tomorrow to show us the way, when the dust hasn't settled on today. It's only a changing sky - the sun and the rain - between what we've lost and what we'll gain. Tell the conductor not to stop this train. It's all right to weep now, cause you'll be back again. Let love remain …" Mention must be made of the contributing musicians, Peter Grant on pedal steel guitar and dobro, Rob Bonner and Rich Stanmyre on bass, Keith Allen on guitar and dobro, Gary Campus on congas and brushes, Stephen Holland, Tony Unger, Nina Gerber, Tom MacDonald, all on guitar, and the man behind the curtain, one-man-band Mikail Graham on bass, fretless bass, guitar, EBow, atmospherics and electric sitar. They all contribute mightily to the polish that makes this CD gleam like the jewel that it is. I can't recommend Fool's Paradise more highly. |
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Review—Dirty Linen June/July 2000 PAUL KAMM & ELEANORE MACDONALD - Calling on Love (Freewheel Records FR105 (1999) |
| Paul Kamm and Eleanore MacDonald’s 16 years of performing together is certainly in evidence on this, their fifth recording. Harmonies this rich and graceful don’t happen by chance. Combine that with Kamm’s strong voice, compelling songwriting and stylish guitar work, and the results are truly outstanding. The arrangements are as tasteful as the songs, perfectly complemented by Kamm’s rhythmic guitar, MacDonald’s lovely voice, co-producer Mikail Graham’s subtle touches of bass and guitar, and Alasdair Fraser’s fiddle. In addition to Kamm’s seven original songs, there are two covers, a moving version of Ralph McTell’s “From Clare to Here” and Garcia/Hunter’s “To Lay Me Down”. A wonderful recording and highly recommended. (JLe) |
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Review—- SingOut! 50th Anniversary Issue 2000 PAUL KAMM & ELEANORE MACDONALD - Calling on Love (Freewheel Records FR105 (1999) |
| On this, their 5th CD, Eleanore MacDonald and Paul Kamm’s ‘Calling on Love’ has no extra fluff. Though there are strings, bass and piano added, much of the production relies on the bare excellence of great guitar and harmonies. The title cut is a prayer to the future and it sets this quality right at the start. In the song they call on love to rescue us all from fear, violence and suspicion. The sentiment of peace through love, for the sake of the children of our world, is beautiful and their delivery does it justice. Throughout the song, as well as the rest of the CD, their harmonies are exact and their very breath is in unison. Singing independently, these two are clearly very fine singers, but their voices combined have a magical, moving effect. Covers of “To Lay Me Down”, by Garcia-Hunter and “From Clare to Here” by Ralph McTell, are great examples of how the simplicity of superb and confident voices can shine with little accompaniment. They sing messages of love, spirituality, dreams and prayers. The choices made with string additions match the mood that their flawless singing creates. Evidently this duo has spent time building a studio and is now ready for more recording. I say, bring on the next CD! (AP) |
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Review—- SingOut! VOL.40 #1 PAUL KAMM & ELEANORE MACDONALD - Fields of Elysian (Freewheel Records FR105 (1995) |
| Paul Kamm and Eleanore MacDonald are a duo from Northern California who create quietly compelling acoustic music that speaks to a variety of personal and political issues. Although they are relatively unknown and apparently have not yet toured widely, Kamm and MacDonald have worked together for many years and their experience is evident in this seamless release that features occasional musical contributions from such guitarists as Nina Gerber, Martin Simpson and George Souza. |
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| The songs were written - or occasionally co-written - by Kamm and alternately feature one or the other on lead vocals with the other providing harmonies. The best song on the album is “The Dark Horse”, a long, inspirational work performed as an a Capella Kamm-MacDonald duet after a wonderful classical guitar intro by Souza. Another moving song is “All This Time”, written for MacDonald’s birth mother, as well as for herself and other adoptees. As MacDonald wonders about the whereabouts of the mother she has never met, she also voices the love that she feels for her own child. |
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| Other songs comment on topics such as greed, the environment and interpersonal relationships. Kamm and MacDonald’s harmonies are write beautiful but not overpowering. Their music has a timelessness to it that is obviously instinctive and that is seemingly unaffected by any kind of commercial concerns. - (MR) |
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Review—- Acoustic Musician APR '95 (John Sirkus) |
| "Aside from being another fine recording by Kamm & MacDonald, FIELDS OF ELYSIAN contains some musical approaches new to the duo's recorded repertoire. These include a nice a capella piece"The Dark Horse", and a satirical, reggae-flavored number entitled 'Living in a Toxic Dumpsite" which features the following rather sarcastic lyrics: "Do you think it's dangerous? Kind of smells like leftover meatloaf...This place we're living and putting all those hot dogs... Living in a toxic dumpsite." These departures in style & demeanor provide a welcome counterpoint to the delicate, sometimes brooding ambiance of the majority of their material. That description pretty well applies to the other highlights of this CD as well, including "Restless Heart", "The Fields of Elysian", and "Twilight Cafe", all of which are wistful, appealing melodies. The disc also has one of their finest and most accessible songs yet, "All This Time", an incredibly powerful piece about someone's search for information about his or her past. If songs got commercial airplay based on artistic merit instead of payola, you'd have already heard this tune. Like so much of North America's best acoustic music, their work can only be heard on community radio and the occasional public folk show. The same goes for the CD itself. If you want to go down to your local record store and pick up a copy, well, you can't. You might be able to order it from an independent CD store or directly" | |
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Review—-Dirty Linen Magazine # 40 |
| "What's even more staggering than the amount of singer-songwriter material that is produced is the amount of really bad singer-songwriter material that is produced. Paul Kamm & Eleanore MacDonald have managed to defy the odds by not only putting out a fine independently produced project, but by being responsible for some of the best songs I've heard in a long time by any artist on any size label. The first thing that strikes me about the disc is the exquisite harmony these two artists create. Both Paul and Eleanore have sure & graceful voices but, oh, when they meld it's one of those sinfully rich pleasures- like a musical S'more. Songs are about things like rainy days, peace and Oklahoma farmers, each delivered with a seriousness that evades being preachy. Paul's gentle guitar & sparingly used synthesized sounds complement his lyrics perfectly, engaging the listener throughout the entirety of the disc. With all it has to offer, UNBROKEN CHAIN deserves major label attention and a place in the music collection of anyone who respects and admires beautifully crafted and executed music. (John Bobey) | |
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Review—-Performing Songwriter Vol. 1, Issue 3 |
| "Ordinarily I duck long folk narratives, but Paul Kamm & Eleanore MacDonald utterly seduced me with their extended takes on disc one (Unbroken Chain). Singer/ Songwriter/ guitarist Kamm clearly loves literature, history and mythology, and he weaves moody tales and hypnotic spells with references that simply resonate. Yet, he also avoids any dense lyrical or rhythmic overkill, giving each line it's full space to breathe. Lyrics are just part of their story. Kamm & MacDonald both have fine voices- warm, measured, expressive- but their harmonies are exquisitely and a real treat to listen to... Aural Heaven!" (JC) | |
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Review—Victory Review - March 1990 |
| "UNBROKEN CHAIN is a soothing and haunting collection of original folk songs written by Kamm. Delicate 2 part, male/female harmonies float over subtle musical arrangements-acoustic gut stringed guitar, slide guitar, atmospheric synthesizer and even a trombone. From the first to last song the music creates a timeless, unbroken mood with sounds reminiscent of British musicians like Pentangle, some of Sting's mellow acoustic work and the main body of American folk music in general. The music sounds good without listening to the lyrics - happily, the lyrics are substantial and uplifting. The album succeeds because it was well produced and focused." | |
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Review—Acoustic Musician - December 1994 (John Sirkus) |
| "Kamm & MacDonald are among the least known folkies on the scene, and most undeservedly so. Their latest CD, GAME OF DANCES, a re-release of their obscure first cassette, is their third CD. Their third excellent CD, that is. Relying almost entirely on a single guitar, soaring vocal harmonies, and the considerable strength of Paul's exquisite melodies, they've put together a work of music that is unforgettable & elegant in it's simplicity. The tunes tend to have a lilting, Celtic quality that compliments the mystical imagery of some of the lyrics. By the way, their other CD's, UNBROKEN CHAIN and INTO THE CLOUDS are still in print and well worth hearing, especially if you appreciate articulate, socially conscious lyrics." | |
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Review—Rambles—Live Performance—Calling on Love (FR105) live at the PALMS, Sacramento, CA (May 1995) |
| A few years back, Paul Kamm and Eleanor MacDonald opened for David Wilcox at The Palms -- a tiny, friendly venue that is literally a small barn tucked away on the edge of some relatively new suburbs that sprouted like weeds out of the rich farmland between Sacramento and nearby Davis, California. I had really been looking forward to hearing Wilcox, who is one of my favorite performers, and I had arrived early at this first-come, first-seated "concert hall." The Palms is as intimate a setting as you can find, with room for just over a hundred people in a rustic space so constricted that those in the front row can rest their feet on the edge of the six-inch-high stage. I'm a nut when it comes to acoustic steel-string guitars, and I had just ordered an Olson cedar-top like the one I knew Wilcox played. It was dangling impossibly far away at the end of a two-year-long waiting list, and I was eager to hear what my new guitar would sound like. But after I secured one of those coveted front-row seats, I saw that Wilcox's Olson and his relatively high-tech series of pedal-actuated effects were nowhere in sight. Instead, there was a simple setup consisting of two microphones flanked by at least two or three guitars (an Alvarez-Yairi and a Taylor come to mind) that were resting in their stands. I sighed in exasperation, realizing that I would have to wait through someone's idea of a musical "appetizer" before getting to enjoy the long-awaited main course. My pique melted away as soon as Paul Kamm and Eleanor MacDonald took the stage, and began their set. This duo has two distinct musical signatures -- their vocal harmonies and Kamm's syncopated finger picking and strumming, which is every bit as recognizable as the styles of Norman Blake and Tony Rice, two of my guitar heroes from the bluegrass flatpicking world. Kamm's elegant work on the guitar provides the perfect support for his simple but lyrical melodies. Kamm's strong vocals are in turn taken over the top by MacDonald's soaring harmonies. I was entranced by their forty-minute set and when the break came, was pleased to see that they had a table filled with CDs available for purchase. While I was trying to determine which album to buy, I made the mistake of asking MacDonald which album I should buy if I could only afford one. She briefly favored me with a glance that instantly made me aware of how witless my question had been before kindly explaining that each of them were like her children, and she couldn't recommend one above any of the others. I wished that I could buy all of the albums but finally settled for Fields of Elysian, which had a hauntingly beautiful song that featured MacDonald, about an adopted child's musings concerning her birth mother. I treasure albums that age well, and over the years I have found myself sliding Fields of Elysian into my CD changer again and again. It was therefore with eager anticipation that I unwrapped Calling on Love, Kamm & MacDonald's first recording in three years. My first impression was that the CD was musically very similar to Fields of Elysian (after all, these are the same two voices, backed by the same guitar). If I had stopped there, without allowing myself time to let the music and especially the poetry wash over me in repeated waves, I would have done myself and these two fine artists a disservice. Calling on Love is an album that not only wears well, it almost needs to be broken in -- although truth be told, it is the listener who is changed by the music, not the other way around. Kamm's compositions and the two songs the duo covers are performed with deceptively simple artistry. Kamm's lyrics are such beautiful poetry that they could stand alone, and with accompaniment and harmony added, they seemed to beg me to return to them again and again. When I yielded to this calling, I had a new understanding and appreciation every time. There are elements of musical accompaniment that I don't recall from Fields of Elysian, such as Alasdair Fraser's viola on "From Clare to Here" (one of the few songs not penned by Kamm), and the sparing use of piano, fiddle, fretless bass, other guitars, keyboards and "atmospherics" on other tracks. I particularly liked Fraser's fiddle on "Chasing the Storm." There is nothing here not to like, but I did find myself wanting just a little more. Kamm sings solo on this album, and I wished I could have heard a number that featured MacDonald's beautiful voice. And while the previously mentioned superficial "sameness" dissipated as I came to appreciate the nuances of each arrangement, I would love to hear these singers experiment with vocal arrangements that were less parallel. These two voices would sound wonderful with arrangements that had them singing different lyrics at the same time, with melodies and counter melodies interwoven to create a broader palette of sounds -- a technique often used by The Indigo Girls. I want to emphasize though, that this particular desire for "more" dissipated considerably as I came to appreciate the intricacies of the arrangements. This is a very, very fine work. These "parents" have another precious childin which I'm sure they deservedly take immense pride. It is an album that Iknow I will treasure for years to come.[ by Tim O'Laughlin ] |
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