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Am I The Meadow Or The Mountain?

by Sam Fuller-Smith

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1.
how long has it been? winding road ahead how far is the end? calling sparrow sent you must have seen too much I must be losing touch when does the lighthouse turn it's gaze for your returning to where it is you stay? right now, the sirens end have you seen trouble there? hold on...something's burning it must be winter again these passing strangers have a way of making me laugh and sigh when I want to cry it's the same thing every time Oh, how the night comes waltzing through wait for the sound and stars to follow you curse now the daylight, bright and true leave when you need to but don't be a stranger
2.
instead of turning over solid ground you could just stand up and look down to see you never lost your way around but it's a fool's game now don't sleep away your best chance to see the bluebird carry on don't take it all steal a glance it's not an uncommon song lullaby for a ditch all you can do is look up in this light I can see what laid you down it's passing formed a darkness never found shoulder to shoulder there's not one colder turned on you by now don't waste the light hand it down no room for the wall don't speak the name sing the song all the way from the top lullaby for a ditch all you can do is look up it's not an uncommon song
3.
can't compare haunted air hungry for an open door can't relate to common place television stares you were on my mind shadows swing alone in spring reaching out for those in doubt the wind knows why the earth will sigh i can only try you were on my mind a calling bird's goodnight word will be sung when twin bells rung holding on to what's been gone happens all the time see me now wondering how to be one more or less done feeling like all my pockets are full of holes you were on my mind
4.
I have to believe in a spirit how holy, I will define may be divine or cut from the pines nonetheless, it is mine I have to believe in a present day saint wandering the streets stalking the weak like the shadow of peace I have to believe And I will not be down on my knees for anybody but my baby
5.
New Shades 04:03
I painted for you a circle around a stone to trace back time again like a river runs it away you know we couldn't stay bent branches on a sunny day held in our hands the blister of chance each day changes the way i see the changes coming each time I draw the line I have to turn away it's hard to stay balanced from day to day it's hard to say if I want to change or stay the same sweet returning always learning new shades drawn in a daze I wonder how far we've come
6.
sometimes the rain, repeating is enough a gentle promise to keep up sometimes it takes the best of me to remember: it helps the blood get going when it's almost morning to race for the sun I try to take the chance to open all the doors and let the dreamers dance behind me- a forgetful cast sometimes it takes a steady hand and you are the only one that I can stand Oh, the Blistered City Blues? I know that one
7.
if I step out into winter wind in time to see my shadow sink beneath the city streets I'll know I haven't missed the wonder of day returning home I've turned around to see my face reflect the years right back to me to see this through what we need to do is reach a shore, out farther, a point of endless thought look out, my love look out there for me who could have seen the wind change in such a way not much left now to make me want to stay
8.
I cant' explain the things I see I don't know why it's happening around me but I am a part of it all related to every tragedy every fruit tree every fire escape every moonbeam every broken heart every new beat every shoe shine every window screen but that's just me I can't see down every dark street can't walk away from everyone I meet sometimes, looking back, i should have stuck around but I can't cling to memories of voices lost and found I am here now

about

๐˜›๐˜ฐ ๐˜ด๐˜ฆ๐˜ฆ ๐˜ต๐˜ฉ๐˜ช๐˜ด ๐˜ต๐˜ฉ๐˜ณ๐˜ฐ๐˜ถ๐˜จ๐˜ฉ
๐˜ž๐˜ฉ๐˜ข๐˜ต ๐˜ธ๐˜ฆ ๐˜ฏ๐˜ฆ๐˜ฆ๐˜ฅ ๐˜ต๐˜ฐ ๐˜ฅ๐˜ฐ
๐˜๐˜ด ๐˜ณ๐˜ฆ๐˜ข๐˜ค๐˜ฉ
๐˜ˆ ๐˜ด๐˜ฉ๐˜ฐ๐˜ณ๐˜ฆ, ๐˜–๐˜ถ๐˜ต ๐˜ง๐˜ข๐˜ณ๐˜ต๐˜ฉ๐˜ฆ๐˜ณ, ๐˜ˆ ๐˜ฑ๐˜ฐ๐˜ช๐˜ฏ๐˜ต ๐˜ฐ๐˜ง ๐˜ฆ๐˜ฏ๐˜ฅ๐˜ญ๐˜ฆ๐˜ด๐˜ด ๐˜ต๐˜ฉ๐˜ฐ๐˜ถ๐˜จ๐˜ฉ๐˜ต

To say that Sam Fuller-Smith is my favorite male vocalist working today might sound like an exaggeration, but it isnโ€™t. If a good vocalist is someone who recognizes their gifts and limitations and sorts out how best to work within those boundaries then Sam is in the enviable position of possessing not only an effortless tenor but a craftsmanโ€™s command of that tool. None of the pitfalls of the typical modern male vocalist, the over-annunciation, the pinched whine, the emotionally empty affectation, are to be found here. Instead, thereโ€™s only a pure reed of a voice and its methodically constructed accompaniment. Fuller-Smith achieves a delicate balancing act in that his songs are impressionistic yet direct, even deceptively so. They donโ€™t tell stories nor are they about particular situations, but are the stuff of his experiences and his attempts to work through the way he encounters them. They are forward-looking and modern despite being rooted in the past. To me, that makes them timeless.

๐˜“๐˜ฆ๐˜ข๐˜ท๐˜ฆ ๐˜ธ๐˜ฉ๐˜ฆ๐˜ฏ ๐˜บ๐˜ฐ๐˜ถ ๐˜ฏ๐˜ฆ๐˜ฆ๐˜ฅ ๐˜ต๐˜ฐ
๐˜‰๐˜ถ๐˜ต ๐˜ฅ๐˜ฐ๐˜ฏโ€™๐˜ต ๐˜ฃ๐˜ฆ ๐˜ข ๐˜ด๐˜ต๐˜ณ๐˜ข๐˜ฏ๐˜จ๐˜ฆ๐˜ณ

Though Fuller-Smithโ€™s life has spanned the United States (Seattle, Lawrence, Nashville and Raleigh from West Coast to East) I find his music uniquely evocative of the Midwest. This is American Music without being Americana. It bears none of the tired genre-markers of that over-conscious, overwrought and increasingly closed system. It might sound tired to say that the low rumble running throughout the background of opener โ€œDonโ€™t Be a Strangerโ€ isnโ€™t unlike big rigs crisscrossing the American Steppe; or that everything about these recordings brings to mind the long drives between East Coast and West, specifically that terrain of wind turbines and grain silos one encounters crossing Iowa. Maybe it sounds clichรฉ, but it feels right. The sparseness of these arrangements brings to mind a landscape equally spare.

๐˜Š๐˜ข๐˜ฏโ€™๐˜ต ๐˜ณ๐˜ฆ๐˜ญ๐˜ข๐˜ต๐˜ฆ ๐˜ต๐˜ฐ ๐˜ค๐˜ฐ๐˜ฎ๐˜ฎ๐˜ฐ๐˜ฏ ๐˜ฑ๐˜ญ๐˜ข๐˜ค๐˜ฆ ๐˜ต๐˜ฆ๐˜ญ๐˜ฆ๐˜ท๐˜ช๐˜ด๐˜ช๐˜ฐ๐˜ฏ ๐˜ด๐˜ต๐˜ข๐˜ณ๐˜ฆ๐˜ด

Fuller-Smith wrote these songs in Seattle after moving back there from an interlude of a few years in Nashville. Sam would venture to Nashville from the Pacific Northwest several times from 2016-2018 to put this music down with engineer, multi-instrumentalist and friend Rodrigo Avendaรฑo; two sessions of four songs each, followed by two overdub sessions. The duo work fast and donโ€™t question much. This is borne out by the effortless sound of the recordings. Nothing feels fussed over. Every decision made seems inevitable. For me, their work brings to mind the too-brief working relationship of Damien Jurado and Richard Swift; one is the songwriter, the other the sonic architect.

๐˜ ๐˜ฑ๐˜ข๐˜ช๐˜ฏ๐˜ต๐˜ฆ๐˜ฅ ๐˜ง๐˜ฐ๐˜ณ ๐˜บ๐˜ฐ๐˜ถ
๐˜ˆ ๐˜ค๐˜ช๐˜ณ๐˜ค๐˜ญ๐˜ฆ ๐˜ข๐˜ณ๐˜ฐ๐˜ถ๐˜ฏ๐˜ฅ ๐˜ข ๐˜ด๐˜ต๐˜ฐ๐˜ฏ๐˜ฆ
๐˜›๐˜ฐ ๐˜ต๐˜ณ๐˜ข๐˜ค๐˜ฆ ๐˜ฃ๐˜ข๐˜ค๐˜ฌ ๐˜ต๐˜ช๐˜ฎ๐˜ฆ ๐˜ข๐˜จ๐˜ข๐˜ช๐˜ฏ
๐˜“๐˜ช๐˜ฌ๐˜ฆ ๐˜ข ๐˜ณ๐˜ช๐˜ท๐˜ฆ๐˜ณ ๐˜ณ๐˜ถ๐˜ฏ๐˜ด ๐˜ช๐˜ต ๐˜ข๐˜ธ๐˜ข๐˜บ

If there is a mountain in these meadows of song it is the trio in the center, beginning with the misty โ€œYou Were On My Mindโ€ and its harp-like banjo wanderings. In an album full of perfectly placed production and arrangement touches this triptych is the pinnacle. One of the most sublime moments comes when โ€œI Have to Believeโ€, a meditation on faith and its manifestation in love, begins with only hushed guitar and voice before being swept up just past the halfway mark by a current of plucked strings and percussion and carried through the instrumental back half of the tune casually hurtling toward a cluster of ambiguous Mellotron flute notes before disappearing completely. Each time this point comes Iโ€™m caught by surprise and left to think โ€œhow did I get here?โ€ โ€œNew Shadesโ€ rounds this movement out, balancing shimmering Fender Rhodes with single-note guitar and a minimal tom beat.

๐˜๐˜ฐ๐˜ญ๐˜ฅ ๐˜ฐ๐˜ฏโ€ฆ๐˜ด๐˜ฐ๐˜ฎ๐˜ฆ๐˜ต๐˜ฉ๐˜ช๐˜ฏ๐˜จโ€™๐˜ด ๐˜ฃ๐˜ถ๐˜ณ๐˜ฏ๐˜ช๐˜ฏ๐˜จ
๐˜๐˜ต ๐˜ฎ๐˜ถ๐˜ด๐˜ต ๐˜ฃ๐˜ฆ ๐˜ธ๐˜ช๐˜ฏ๐˜ต๐˜ฆ๐˜ณ ๐˜ข๐˜จ๐˜ข๐˜ช๐˜ฏ

There are other musicians on the record, Margo Priceโ€™s pedal steel ace Luke Schneider and Lylasโ€™ Kyle Hamlett among them. But most of the accompaniment is handled by Avendaรฑo and Fuller-Smith himself. A result of this is that the tendency to go for a โ€œband feelโ€ is largely absent. Often thereโ€™s little accompaniment at all, the songs left to hang vaporous, suspended in air like some of my favorite moments from the late Talk Talk albums. When other instruments are employed they make their appearance with conspicuous inevitability. No notes are wasted here.

๐˜ž๐˜ฉ๐˜ฐ ๐˜ค๐˜ฐ๐˜ถ๐˜ญ๐˜ฅ ๐˜ฉ๐˜ข๐˜ท๐˜ฆ ๐˜ด๐˜ฆ๐˜ฆ๐˜ฏ
๐˜›๐˜ฉ๐˜ฆ ๐˜ธ๐˜ช๐˜ฏ๐˜ฅ ๐˜ค๐˜ฉ๐˜ข๐˜ฏ๐˜จ๐˜ฆ ๐˜ช๐˜ฏ ๐˜ด๐˜ถ๐˜ค๐˜ฉ ๐˜ข ๐˜ธ๐˜ข๐˜บ?

Fuller-Smith says these songs are about โ€œtrying to capture lost time, feelings of longing, not knowing one's placeโ€ as well as โ€œuncertainty and searching and feeling a little lostโ€. These emotions are felt acutely throughout. And yet this collection of moody ruminations ends with what starts as a whisper before erupting into an explosive declaration of hope. Closer โ€œI Am Here Nowโ€ recalls all the best things about the Velvet Underground, as if โ€œHeroinโ€ had been recorded with the refinement of their eponymous album. Its triumphant squalls of feedback leave me with this feeling: sometimes all you can do to escape the gravity of old emotions is to destroy the things that trigger them, with love.

-Ryan Norris/Coupler
Chicago 2018

credits

released March 1, 2019

Sam Fuller-Smith: Vocals, acoustic and electric guitar, vibes, percussion, feedback
Rodrigo Avendano: Drums, bass, percussion, keys, synths, electric guitar
Kyle Hamlett: Banjo
Luke Schneider: Pedal Steel

Recorded and mixed by Rodrigo Avendano at Sweet Blood Sound in Nashville, TN
Mastered by James Plotkin

All songs written by Sam Fuller-Smith
Dogwood Origin Music BMI

Produced by Sam Fuller-Smith and Rodrigo Avendano

"Earth Turning" Painting by Lisa Grossman
Used with permission from the artist

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