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MP3 The Possum Trot Orchestra - Night Crow

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MP3 The Possum Trot Orch
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Another twelve originals from Susie Suraci and John Minton, all brand new, all rooted in American tradition: bluegrass and blues, country and folk, rock and pop, even zydeco and swing.

12 MP3 Songs in this album (51:01) !
Related styles: ROCK: Americana, FOLK: Modern Folk



Details:
THE POSSUM TROT ORCHESTRA * NIGHT CROW (Southern Can CDs SCCD 2229, 2008)

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Another twelve originals from Susie Suraci and John Minton, all brand new, all rooted in American tradition-âbluegrass and blues, country and folk, rock and pop, even zydeco and swing.

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Formed in 2004, the Possum Trot Orchestra is an American roots music ensemble from Fort Wayne, Indiana, consisting of Susie Suraci (songwriter, vocals, guitar, keyboards & banjo), John Minton (songwriter, vocals, guitar, accordion, banjo & keyboards), Rob Suraci (vocals, bass, guitar, keyboards & percussion), Dave Kartholl (mandolin), and Jon Hartman (drums). They have previously released two critically acclaimed albums-âThe Possum Trot Orchestra (2005) and Harbor Road (2006). Like their previous releases, Night Crow (2008) features all original material, but draws from a wide range of American traditionâ-bluegrass and blues, country and folk, rock and pop, even a bit of zydeco, jazz, and swing.

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PRAISE FOR PTO'S PREVIOUS ALBUMS--

THE POSSUM TROT ORCHESTRA (Southern Can CDs SCCD 2225, 2005)

HARBOR ROAD (Southern Can CDs SCCD 2227, 2006)

--BOTH ALSO AVAILABLE FROM CDBABY


PRAISE FOR HARBOR ROAD

The first thing to recommend HARBOR ROAD is its warm sound, a nice mesh of acoustic guitars, mandolins, electric guitar, bass (upright and electric) and drums. Often, another element is added, like an accordion on the title track and lap steel on TENNESSEE UNBOUND. Between the clarity of each instrument in the mix and Possum Trot Orchestra's loose performance style, the music breathes and simply sounds good. Susie Suraci and John Minton handle most of the vocals, and while neither would be described as a typical "good" singer, both bring an unassuming air to their lyrics (I think of their vocal approach as deriving from the Dylan-Neil Young school). Their voices, together and separately, also blend well with the instrumental arrangements. Suraci and Minton have also written most of the material, and have a talent for inserting politics into human stories (THE HOUSE THAT WE CAN'T BUY and BILLY). I suppose that you could also call Possum Trot Orchestra a jam band, thanks to its laid-back vibe, even though this band never jams much. But genres, in the end, never tell you whether a band or album is any good. . . . Possum Trot Orchestra's warm sound, vocal combo, and lyrical flair offer an enjoyable, down-to-earth recording that should appeal to both roots and rock fans.

Ronald Lankford, Jr.
SING OUT! Summer 2007

8 OUT OF 10. Subtle and delicate American roots at its finest. . . . After their outstanding 2005 self-titled debut I was eagerly anticipating The Possum Trot Orchestra's latest offering. Not only does it not disappoint, but they've stretched out and expanded their template while retaining all the things that made their last album so great.... The Possum Trots are quiet and delicate players, very much less-is-more people, blending traditional folk and roots styles better than almost anyone. They demonstrate to perfection that it's not necessary to blast out a wall of sound to get your point across. Theirs is thoughtful music, music that repays repeated listens, music that is informed by but not in thrall to the tradition, [with songs that] have the timeless feel of classics like LONG BLACK VEIL.... A superb and rewarding listen.

Jeremy Searle, AMERICANA-UK, Liverpool, England, February 2007.
https://www.tradebit.com

This album contains fourteen tracks--or should I say gems? . . . I'm still dazzled by the original stuff The Possums have to offer. . . . Arranged in old ways or even sounding kind of poppy, sung and played impeccably. . . . HEART LIKE RAILROAD STEEL (that title and that electric slide guitar!) and BUCKEYSTOWN (with catchy chorus and upbeat interplay between 5-string banjo and mandolin) are absolutely gorgeous duets. ED (about a couple in New Orleans the night hurricane Katrina struck, not knowing that the levees broke) and BILLY (about a Korean War veteran: "And when they roll them laundry carts / He thinks they're Chinese howitzers," true story?) bring tears to my eyes. . . . The lyrics are featured in the booklet, smart addition, especially for us Europeans, who like to study the subjects! . . . O.K., one more word from me: RECOMMENDED!!

Johanna J. Bodde
INSURGENT COUNTRY, Marburg, Germany, January 2007
https://www.tradebit.com

Many of the songs deal literally or metaphorically with the state of the union, but never in a heavy-handed or awkward way. The songs on HARBOR ROAD are short stories, often cinematic in scope, tackling weighty topics like disaster relief, veterans affairs, corporate takeover of radio airwaves, the rising cost of housing, Nashville's star-making machinery and more. But like folk troubadours from Woody Guthrie to Bob Dylan to Billy Bragg, the Possums balance the matters of the world with politics of the heart--and songs like TENNESSEE UNBOUND, WINTERLIGHT, APPETITE, and the gorgeous album closer, WONDERFUL, deal with love and loss in a mature, daring way. . . . HARBOR ROAD is [the Possums'] best [album] yet, and stands tattered shoulder to tattered shoulder with recent Americana releases by the likes of John Prine, Shawn Colvin, Nanci Griffith and Neil Young.

Matt Kelley
WHATZUP: HEARTLAND ARTS & ENTERTAINMENT, Columbia City, Indiana, January 4, 2007
https://www.tradebit.com

On HARBOR ROAD, Minton's savvy historicism and the Suracis' pop acumen have met somewhere in the middle--and that place, for lack of a better designation, is the early '70s. The Possum Trot Orchestra is starting to exhibit the same shambling deliciousness and talent for musical stew-making as The Band.

Steve Penhollow
FORT WAYNE JOURNAL-GAZETTE, Sunday, December 17, 2006
https://www.tradebit.com


PRAISE FOR THE POSSUM TROT ORCHESTRA

With a cross of multiple folk styles and a touch of surrealism, the Possum Trot Orchestra is weird in the best sense of the word.... PTO references traditional folk without mimicking it.... With PTO's eclectic, bright approach to re-imagined tradition, POSSUM TROT ORCHESTRA is both enjoyable and intriguing, and should please folk fans looking for something out of the ordinary.

RONALD LANKFORD, JR., Sing Out! Summer 2006.

Contemporary American roots at its finest.... Not merely a very good album, it's one of the defining albums of contemporary American roots.... A light and mellow album that conceals depths the likes of which more overt and strident works can only dream. A masterpiece.

JEREMY SEARLE, Americana UK, Liverpool, December 2005
https://www.tradebit.com

As an effort to fashion a kind of creative roots sound for the early 21st century, this CD succeeds almost against expectations. There's enough depth to it to repay many listenings ...[and] a distinctive sound and a point of view that is appealingly its own.

JEROME CLARK, https://www.tradebit.com: A Cultural Arts Magazine, Lancaster, Pennsylvania, February 2006
https://www.tradebit.com

The Possum Trot Orchestra (Southern Can CDs) is het debuut van het trio dat op onnadrukkelijke en relaxte wijze eer betoont aan de rijke Amerikaanse folkgeschiedenis. Ze doen dat via een popbenadering en met merendeels akoestische instrumenten en met vooral met prachtige harmoniezang. Het geeft de softrock van The Possums een heerlijke mellow touch. (The Possum Trot Orchestra (Southern Can CDs) is the debut of a trio whose laid-back, relaxed manner does honor to the rich American folk tradition. They accomplish this with a pop approach, with mostly acoustic instruments, and especially with beautiful harmony singing. It all gives the softrock of The Possums a lovely mellow touch.)

WIEBREN RIJKEBOER, AltCountryNL, Groninger, The Netherlands, January 2006
https://www.tradebit.com

A wonderfully mellow album that takes you through all phases of American music as Music from Big Pink' did over 30 years ago.... This album is unlikely to disappoint anyone who has an appreciation of Americana music of the highest quality.

https://www.tradebit.com, London, December 2005
https://www.tradebit.com

Susie Suraci writes mature pop-rock songs with a stirring 70s vibe, and John Minton croons modern Americana songs that could easily belong to a timeless generation. But both use a variety of traditional folk instruments to round out their songs, and both create songs heavily steeped in cheerful melancholy and bright regret.... The inspiration each gives the other is a bonus for fans of music that will stand the test of time.

JASON HOFFMAN, Whatzup: Heartland Art, Entertainment & Recreation, Columbia City, Indiana, January 19, 2006

Folk blijkt weliswaar bij herhaling het voornaamste bestanddaal van hun [the Possums'] smakelijk roots-stampotje, maar ook country, bluegrass, blues, gospel, rock, pop, swing, ragtime, ja zelfs reggae passeren stuk voor stuk allemaal de revue. En dat levert een hoogst interessante hybride op. (Folk is the main ingredient in their [the Possums'] tasty roots-stew, but country, bluegrass, blues, gospel, rock, pop, swing, ragtime, yes even reggae all pass in review one after the other. And that produces a most interesting hybrid.)

BENNY METTEN, Ctrl Alt Country, Hasselt, Belgium, December 2005
https://www.tradebit.com


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THE POSSUM TROT ORCHESTRA * NIGHT CROW (Southern Can CDs SCCD 2229, 2008)


THE POSSUM TROT ORCHESTRA

Susie Suraci
John Minton
Rob Suraci
Dave Kartholl
Jon Hartman


MAGDELENE
John Minton * Monkey Knuckles Music/ASCAP

John * vocals * acoustic guitar * electric guitars
Susie * vocals * acoustic guitar * organ
Rob * vocals * electric bass * piano * tambourine
Dave * mandolin
Jon * drums

Maddy told her cousin Lou * she'd be up in a week or two
Oh my my * oh my Madeline
Down in Florida on a scam * trying to get back home again
Oh bye bye * oh my Madeline

Magdalene * where you been so long?
Call your name * girl * I swear you're always gone

The minute I hit Anniston * I could smell the fix was in
Oh my my * oh my Madeline
I jumped back on that interstate * just ahead of that old magistrate
Oh bye bye * oh my Madeline

Magdalene...

Oh Maddy * what we had * where did it go?
Oh babe * how we went bad damned if I know

Mixing gin and turpentine * turning water into wine
Oh my my * oh my Madeline


CLOSE TO LEAVING
Susie Suraci * Slim Dot Music/ASCAP

Susie * vocals * acoustic guitars
John * acoustic guitar * 5-string banjo * accordion
Rob * upright bass
Dave * mandolin
Jon * drums

Another miserable day * another lousy dollar
Why the hell do I stay with mutiny under my collar?

It's not like they'd even miss me * nobody ever pats my head
When I think about another year here * oh I'd rather wake up dead
I'm this close to leaving today

I never wanted this life * you know it got forced on me
And every paycheck's a bribe to forget what I wanted to be

Punch the clock * walk the walk * you'll see me in a sad disguise
In my chair * just beware * 'cause you might get a big surprise
I'm this close to leaving today
Oh I'm this close to leaving today

'Cause I'm ready to make some changes * I'm willing to sacrifice
I don't need all these bells and whistles like I need a simpler life

I doubt they would even miss me * nobody ever pats my head
When I think about another year here * oh I'd rather wake up dead
I'm this close to leaving today
Oh I'm this close to leaving today


NIGHT CROW BLUES
John Minton * Monkey Knuckles Music/ASCAP

John * vocal * acoustic guitar * accordion
Susie * vocals
Rob * electric guitar * electric bass * triangle * guiro
Dave * mandolin * slide mandolin
Jon * drums

Well the night was black as sin and a mist was all around
Night Crow left the station * mama * Hell-for-Certain bound

Now the night was black as death when that old Night Crow took to flight
Gonna steal some breath * now mama * from the dead of night

This old world she's in a tangle * don't it make your poor heart sore
Look at all the people * mama * drove from door to door

Got the blue sky for a blanket and the moonlight for a spread
Storm cloud as a pillow * mama * for an aching head

This old world she's surely hurting * don't it cause your heart to grieve
All the people working * mama * for a gang of thieves

Now there's two * there's two trains running * which we're on I sure can't tell
One run to Heaven * mama * the other straight to Hell

That old Night Crow left Nacogdoches rolling down to Louisian'
Pulling twenty coaches * mama * of the lost and damned
Folks all lost and damned


JOE
Susie Suraci * Slim Dot Music/ASCAP

Susie * vocals * piano * acoustic guitar
Rob * electric guitars * upright bass
Dave * mandolin
John * 5-string banjo
Jon * drums

Five shots of whiskey to dull the pain
He didn't see it coming and he didn't say my name
Ten grains of aspirin to help him bleed
There wasn't any turning back * no there wasn't a reprieve

So Joe I hope that girl was worth it
I hope she's praying for our souls

Let the record show
That I really did love my Joe
But the nasty fact
Is old Joe ain't ever coming back


SO GLAD YOU WENT AWAY
John Minton * Monkey Knuckles Music/ASCAP

John * vocal * 12-string acoustic guitar * electric guitar * accordion
Susie * vocals
Dave * mandolin
Rob * electric bass
Jon * drums

At your old apartment * babe * the crap keeps coming down
The smartest move you ever made was getting out of town
Girl * you had it pegged * this hole is just a grave
Oh babe * so glad you went away

Ronnie had to switch to third shift out at Alletron
By the third month his new wife and their two kids were gone
Surely was a shock when I heard Ron's on the rock
Oh babe * so glad you went away

You had it sussed * this town is a bust
A place where dead factories and tractors come to rust
No way to live a life between two damn stop lights
Oh babe * so glad you went away

You saw it clear * there ain't nothing here
A place where no one saves a thing but Jesus and cold beer
I can hardly breathe but I know I'll never leave
Oh babe * so glad you went away


DRY DRY DRY
Susie Suraci * Slim Dot Music/ASCAP

Susie * vocals * acoustic guitars
John * acoustic slide guitar * accordion * 12-string acoustic guitar
Rob * upright bass
Dave * mandolin
Jon * drums

Blades of grass like needles * walking 'cross the lawn
I tiptoe to the river bank but the swimming hole is gone
Days and days of sunshine * weeks and weeks of wind
The money crops have all dried up and we're going in debt again

It's been so dry dry dry
All June and July
We need some rain * some rain * some rain
If Papa's gonna grow some grain

Mama's hauling buckets to keep her garden green
Papa shakes his head and he says this is the worst he's ever seen
Days and days of blue skies and every night we pray
We'll rise up in the morning light and see a sky that's gray

It's been so dry dry dry
All June and July
We need a storm * a storm * a storm
If Papa's gonna grow some corn

It's been so dry dry dry. . . .


LACEY BELLE
John Minton * Monkey Knuckles Music/ASCAP

John * vocals * acoustic guitar * electric guitars * accordion
Susie * vocals * acoustic guitar
Rob * vocals * electric bass
Dave * mandolin
Jon * drums

Woke up this morning the snow was on the ground
Looked for my Lacey Belle * Lacey weren't around
Her footprints in the snow * they couldn't be more clear
Down to the blacktop road * there they disappeared

Lacey Belle * oh how hard I fell * straight to Hell
Lacey Belle * the homefolks wish you well * not me truth to tell
Lacey Belle

First time I saw her * she was sitting there
In her mother's parlor dealing solitaire
Next time I saw her * she was shooting dice
Drinking from a broken dram glass * sharpening her knife

Lacey Belle. . .

Come all you young fellows * take warning by me
Never trust no gambling gal from down in Tennessee
She'll cool you and flatter you * she'll tell you more lies
Than crossties on the L & N * or stars up in the sky

Lacey Belle. . .


OUT OF BED
Susie Suraci * Slim Dot Music/ASCAP

Susie * vocals * acoustic guitar * 5-string banjo
Rob * vocal * electric bass * cowbell * shaker
Dave * mandolin
John * acoustic guitar
Jon * drums

The kids and I have been up since dawn
They're eating their flakes I've got the coffee on
It's a beautiful morning for a brand new start
I'm hoping upstairs you've had a change of heart

I'm listening for your slippers on the stairs
And wishing I could answer all your prayers

You're gonna set the world on fire when you get out of bed
You're gonna make this whole world tired when you get out of bed
And show all the people we know
You've still got your grit and you're ready to roll
You only got in it twelve hours ago
And now you're out of bed
Oh you're out of bed

It's been three months since the mill shut down
We've been looking for work all over this dumb town
We're getting a check so we're doing all right
But I know that worry keeps you up at night

Your daddy always taught you that a man
Supports his wife and kids the best he can

You're gonna set the world on fire. . .


THE ST JOE BRIDGE
John Minton * Monkey Knuckles Music/ASCAP

John * vocal * 6- & 12-string acoustic guitars * organ
Susie * vocals
Dave * mandolin
Rob * electric bass * tambourine
Jon * drums

It's getting old * slipping down this river bank shivering in the cold
Just on the brink * standing at the water's edge trying not to think
It don't seem real from half a life away but how am I supposed to feel?

It's near half past * where's the wonder who expected it to last?
It's getting late * later than I thought to carry all this weight
I guess it's you * from half a life away but what am I supposed to do?

I'm just trying to get around another day
Come what may they come and go and then they go away
I'm slipping up and falling down * I'm tripping on the outer bounds but I'm just trying to get around another day

It's just a thought * maybe a memory or something that I've caught
I felt a twinge * like a rusty door swinging on its hinge
I guess it's you * from half a life away but what am I supposed to do?
I'm just trying to get around another day. . .

Them saints don't come down here
And it's much worse than they fear
We're slipping up and falling down * we're tripping on the outer bounds but we're just trying to get around another day

It's just that way * neither one of us knew what we had to say
It's getting on * across the St Joe Bridge the light is nearly gone
I guess it's me * from half a life away but what was I supposed to be?

I's just trying to get around another day
Come what was they came and went and then they went away
Yeah I slipped up and I fell down * I tripped on the outer bounds but I's just trying to get around another day
Yeah I slipped up and I fell down * I tripped on the outer bounds but darling we all have our days


FLORENCE NIGHTINGALE
Susie Suraci * Slim Dot Music/ASCAP

Susie * vocals * piano * acoustic guitar
John * accordion * 5-string banjo
Rob * upright bass
Dave * mandolin
Jon * drums

I ran across your photograph and letters you sent
I keep them as evidence of your good intent
I'm saving them for the baby girl you left behind
She doesn't deserve the other ugly legacy that you bring to mind

From when we were wild and young
And you thought I'd be the one
Who could play Florence Nightingale and make you feel good again

It was a short course in misery * each credit I earned
By playing along with you till I finally got burned
I don't think I'd make the same mistakes or believe you today
So maybe it's true I did learn a thing or two along the way

From when we were wild and young. . .

You know we broke every rule before we broke apart
I'm still finding pieces of the damage to my heart

I guess I'll always remember you with a grudge and regret
For the nightmare that you put me through
While I was caught in your web
And though I can understand the fear behind the cruel things you did
It's gonna take a longer time to forget the pain and forgive

When we were wild and young. . .


BOOMERS
Susie Suraci * Slim Dot Music/ASCAP

Susie * vocals * piano * acoustic guitar
Rob * electric bass * 5-string banjo
Dave * mandolin * slide mandolin
John * 5-string banjo * electric guitar
Jon * drums

My face is wrinkled * my hair is gray
And you'd walk right past me unless I stand right in your way
Here's my contention * baby * you just don't see me anymore
But I still want attention * baby * so boom boom * I'm a-knocking at your door

Well my heart ain't wrinkled * my heart ain't gray
It's beating harder than it ever did today
It wants affection * baby * it had it once and it still wants more
You know she had it * whoo * a thousand times before
So break with convention * baby * 'cause boom boom * I'm a-knocking at your door

I ain't done with living so don't try to put me on no shelf
Well I'm just beginning to take the reins and enjoy myself

Well my brain may be wrinkled * my brain is gray
So it's just like yours with more and what a price I pay
So what's your question * baby? * You know I've heard it all before
You know she's heard that stuff a thousand times before
And if you need direction * baby * boom boom * come a-knocking at my door
Oh if you need direction * baby * boom boom * come a-knocking at my door


DIVE & LAZARUS
John Minton * Monkey Knuckles Music/ASCAP

John * vocal * acoustic guitar * 5-string banjo
Dave * mandolin
Rob * upright bass * harmonica
Jon * drums

You've heard about that rich man and Lazarus likewise
Who died and now with Abraham does dwell
That rich man * he died too and surely was surprised
To open up his eyes and gaze on Hell

He opened up his eyes and spied a big black Ford sedan
Speeding back to Heaven from the town
He gave a red-hot yell "Have mercy, Father Abraham
Won't you send that waterboy around"

"You clothed yourself in purple and you closed your eyes on need
The old folks and poor people on relief
You don't regret a moment of all your pomp and greed
You only grieve that you have come to grief"

The rich man said "My soul I believe I'm on a roll
Guess I'll shut her down and raise the stakes"
Abraham said "Fool * the soul is but a tool
To blame the carpenter for its mistakes"

"For a great chasm has been fixed between the rich and poor
You cannot cross it now with all your cash
The prophets have been sent but they were likely better spent
For we're surely headed for another crash
Yes we're surely headed for another crash"


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Recorded January * May 2008 at Tempel Recording Studio * Fort Wayne * Indiana
Recorded * Mixed & Mastered by Tom Tempel
Additional Recording by Susie at Backstairs Studio & Rob at The Lake
Design * Matt Kelley & OneLuckyGuitar, Inc.
Art Direction * John, Susie & Matt
Illustration * Jake Sauer
Band Photo * Rick Fernandez
Possum Front Office * Linda Minton
PRODUCED BY JOHN MINTON


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