I just played Superman on my Fresh Air Radio slot too, and very satisfying it was too. That scraping fiddle is just brilliant on a couple of these songs.

Everyone should also take careful note that despite the avalanche of shit I get from promo people, Wendy here is the one who introduced me to Barton Carroll as well as arranging my interviews with My Brightest Diamond and the Willard Grant Conspiracy.

Ergo she is ace.

“I must have had a wicked childhood, I must have had a horrible youth, but somewhere in my wicked childhood, I must have done something good…” It’s such a gorgeous melody, and rendered so less corny than the Julie Andrews version. There was an underlying menace to his interpretation, which I found to be strangely humorous.

Anyway, I think there is a podcast of that track somewhere out on the web. I know he did it in a session at KEXP and it’s worth the search.

(Sorry, that’s probably a deeply inappropriate insult, but C&B coined that delightful little phrase on the Portishead thread the other day and I thought it was briliant! I’ve been dying to use it!)

Carroll isn’t breaking any new ground with the Wilbury-esque vibe to Brooklyn Girl…, but it’s sunny and disarming enough for that not to matter. And that pedal steel is gorgeous.

The second track is much more unusual. I don’t know if prog-country exists as a genre yet, but if not Mr. Carroll may have just invented it. Intriguing yet approachable. I like it.

I do get what Matthew’s saying about the oddly unengaging tone to his singing voice. It’s a strange thing, but he is keeping everything very restrained. It’s a very measured delivery. I’m also picking up hints of Robyn Hitchcock about him from time to time, particular in his lower vocal registers.

Overall, very good though. This is what should happen when country and indie collide. Chris Denny; take notes.