Dan Tuffy

Playing lightly is a highly underrated skill that eludes many musicians. Even those who play quieter styles seldom have the control necessary to truly have a delicate touch. This technique of restraint adds a subtlety, openness, dynamic range, and precision that is a calling card of masterful players. When you start low, there is so much room to grow, meaning the slightest increase in the intensity of your picking leads to palpable dynamic changes. Furthermore, a mix engineer doesn't have to “crush” the track with compression to tame wily errant notes played recklessly by the musician. Without this squashing, the track is translated transparently leading to a much more engaging sense of mood. The truly great players have harnessed this quality to their advantage. Legendary Canadian producer and stringsmith Daniel Lanois has mastered this. As has guitar hero Mark Knopfler of Dire Straits. Their playing breathes with a rich textural resonance.

Australian-born, Netherlands-based outlaw country/folk singer-songwriter Dan Tuffy has that touch. With his debut record Songs From Dan, Tuffy told harrowing tales of intrigue through his traditional western songs, relying mostly on his voice and his guitar to tell the story. On his latest record, Letters of Gold, he has further expanded his sound to a fuller band aesthetic, even incorporating some electronic elements. This is thanks to the creative partnership with collaborator Michael Turner as well as the influence of producer Zlaya Loud. Yet, the essence of the art still remains very much in Tuffy's hands with the focus driven by the tasteful execution of his playing and the haunting delivery of his words.

A steady rollin' shuffle of acoustic guitar propels the record out of the station. Tuffy's deep voice translates for his eyes as he takes in the sights around him. A 'rising sun over the plains' lead guitar flanks him while the bass nimbly scurries below in anticipation. The solitary focus of his baritone recalls the later works of Leonard Cohen after his voice dropped into the basement. Tuffy ironically quips “I can't contain my feeling” under the breath of a considerably restrained vocal. The kind of expression where you are so overwhelmed by beauty that rather than be excitedly effusive, you merely admit your joy dulcetly to yourself. Afraid that anything further would spoil the moment. A sonorously effected guitar solo provides the perfect desert road accompaniment to Tuffy's steady driving opening track.

They mine more sonic gold with 'Honey Flow', amping up the groove with chunkier riffs and a little drum machine to propel it forward. For a moment, you think that the snares and claps could have been better captured live but they quickly fade back into the song acting as a cohesive unit with the acoustic elements. After a verse, Nick Larkins' aqueous organ joins the fray adding a hazy air of legend and mystery. Tuffy's vocals recall Knopfler's bluegrass hit 'Why Aye Man' while the organ's featured passages have the DNA of Ray Manzarek's best playing back in the late 60s.

'Time Stole My Angel' is as sweet and delicate as you can get with child-like bells accompanying the dreamy chord changes. Tuffy inherits Dylan at his most tender and endearing as he sings a wistful love song to his child. 'Sandy Track' gets us back on the journey with a shuffle. The steady train-chugging rhythm presses ever on. You can hear Tuffy's breathing on the track, huffing along quietly with the inexorable beat, directing the band verbally between sections. Another great travelling tune.

'No Sleep Until the Work is Done' is an ode to workers with the feel of an old mining tune. Warbling harmonica and a heave-ho attitude pervade this track while a devilishly deep octave guitar solo plays out the exhausted workers hymn. The kind of slogging anthem that made a career for Tom Waits. The offering wraps up on a haunting tone with 'Big Man'. Tuffy's bassy whispered voice is again joined by some inspired octave guitar and wailing harmonica.

Letters of Gold is a testament to the subtle mastery of an instrument and what that can bring to the texture of a song. On paper, most songs (at least by singer-songwriter types) are just a couple of small collections of chords and hopefully some clever lyrics that express something profound. The depth of character all branches off from the feel that can be imparted on those six strings. The new direction thanks to Turner and Loud expands Tuffy's horizons in new and interesting ways but the heart of his music is still in his hands.

4.5 Stars.