Putnam Smith

Artist Information

Biography

PUTNAM SMITH

"As quirky and genuine as the state from which he hails"
- Dirty Linen Magazine

www.putnamsmith.com

Guest Musicians:
Seth Yentes: cello
Mariel Vandersteel: fiddle


Selected as an "Emerging Artist" at the Falcon Ridge Folk Festival (2011), and noted as "One To Watch" (Rob Reinhart, Acoustic Cafe), Putnam Smith is a quickly rising star on the national folkscape, as well as a favorite in his hometown of Portland, where he was nominated for "BEST FOLK ACT" (Portland Phoenix, 2011).

Putnam first met with national attention, when his sophomore release, "Goldrush," went to #5 on the national Folk DJ Charts (and made it onto 6 "Favorite Albums of 2009" Lists). His latest release, "We Could Be Beekeepers, (June, 2011), shot right up the Folk DJ charts the month it was released, to the #2 album, with 3 songs in the top ten.

Recorded with Mark Thayer at the Signature Sounds Studio, "Beekeepers" has received glowing reviews in Performer Magazine and FolkAlley.com. The disk features the raw and ripping fiddle playing of Mariel Vandersteel (of Blue Moose and the Unbuttoned Zippers), and the folk-funk cello of Seth Yentes (of Whiffletree). This new "trio" sound explores new territory in modern roots music: with original songs that sound straight out of the 19th Century, and traditional Appalachian tunes that sound surprisingly alive and fresh.

Indeed, Putnam seems like he just might have "Stepped out of an early American History Book" (FolkAlley.com). After all, he lives in a log cabin, plays his Grandfather's banjo, and prints up the jackets to his CDs on an antique letterpress. Yet this rootsy multi-instrumentalist songwriter (he also writes and performs on guitar, mandolin, fretless banjo, and piano), steeped as he is in old-time Appalachian traditions, is very much a storyteller for the modern age.

A nationally touring artist, Putnam has won over audiences from East Coast to West; from Winnipeg, Canada to the Gulf Coast. He has also shared the stage with such folk notables as: Amy Speace, Mark Erelli, Spuyten Duyvil, Madison Violet, Garnett Rogers, Richard Julian, and Bruce Molsky.

Some favorite venues that Putnam has played, include: Club Passim (Boston), Johnny D's (Boston), Rockwood Music Hall (NYC), Me and Thee Coffeehouse (Marblehead, MA), One Longfellow Square (Portland), Trinity House Theatre (Livonia, MI), MAMA's coffeehouse (Bloomfield Hills, MI), Ebenezer's (D.C.), Uncommon Ground (Chicago), Ginkgo's (St. Paul, MN), Flipnotics (Austin, TX), Chickie Wah Wah's (New Orleans), Studio Live (Sedona, AZ).

Putnam's songs sound like they've come from a back porch in the Blue Ridge Mountains, or some cabin on the coast of Maine. From whiskey-slinging good-time banjo numbers, to intimate heartbreakers on the guitar, to lighthearted tunes about 'lawnmower repair' on the mandolin, Putnam is able to connect with each member of his audience as if each one were an old friend with whom he were spending a precious evening. Says Sarah Banks of Spuyten Duyvil after a Putnam Smith show: ""One of the most magical performances I've had the luck to attend!"


He lives in a log cabin just north of Portland, Maine, and loves compost.

Instrumentation

Mariel Vandersteel - Fiddle
Seth Yentes - Cello

Discography

Discography:
2011, "We Could Be Beekeepers"
#2 album on the Folk DJ Charts (June, 2011)
featuring:
Mariel Vandersteel on fiddle (from Blue Moose and the
Unbuttoned Zippers) & Seth Yentes on cello (from
Whiffletree).
2009, "Goldrush," Itchy Sabot Records (ISR004)
#5 album on the Folk DJ Charts (6/09)
** made 6 different "Favorite Albums of 2009"
2007, "this blue, " Itchy Sabot Records (ISR003)
Debut release.

Links

• Facebook
• MySpace

Audio

• The Birds Would Understand
  Listen   Download
• Arkansas
  Listen   Download
• Full Moon, Baby
  Listen   Download
• Goldrush
  Listen   Download
• Lawnmower Repair
  Listen   Download

Lyrics

• Reese Witherspoon is his Queen
• Full Moon, Baby
• I Think It's Almost Summertime
• Goldrush
• Carlos The Mechanic

Video

Photo Gallery

Press

• Sexy voice!
  

  "A Sexy Voice!"

• "How Do I love this Record? Let me count the ways!..." [+ Show ]
  

  "How Do I love this Record? Let me count the ways!..." - Aimsel Ponti, Portland Press Herald Po..."How Do I love this Record? Let me count the ways!..."
  - Aimsel Ponti, Portland Press Herald
  
  Portland acoustic-Americana-roots musician Putnam Smith celebrates the release of his second album, "Goldrush," with a Friday-night show at One Longfellow Square.
  
  Thirty-eight seconds into the opening track, "A Natural Disaster Is What We Need," I was in like Flynn. With harmony vocals from Sorcha Cribben-Merrill, cello by Seth Yentes, five-string upright bass by Adam Frederick and guitar, banjo and vocals from Smith, the song is fantastic.
  
  "Wish there was a hurricane, blow all our monies out into the bay/ Wish there was a cyclone, spin us 'round and 'round, leave us far from home/ And I could just be with you, and you could just be with me without all this world around," sings Smith.
  
  I could leave it at that, not even listen to the rest of the record, send you to this show and tell you to get this CD based on just this song. But I just refilled my mug with decaf and am settling in for the 11 remaining tracks.
  
  Smith takes the first of several turns on the piano with "I Think It's Almost Summertime." "Postcard to Mum and Dad" tells the story of a young man who leaves home for the pursuit of music and self-discovery.
  
  "New York, 0-2" is just Smith and his piano. My heart grew heavy as he sang about the imminent demise of a relationship and the clamoring for hope and solace that accompanies it.
  
  Yentes' intense cello opens "Wouldn't Need This Whiskey," soon to be joined by Smith's banjo. "Carlos the Mechanic" is yet another jewel with Frederick's upright bass and Smith on mandolin. "Goldrush" ends with "Rollin' Blues," an optimistic three-minute tune about a wandering soul.
  
  How do I love this record? Let me count the ways -- and while I'm doing that, why don't you zip over to www.myspace.com/putnamsmith, where you can hear the unexpectedly poignant non-album track "Reese Witherspoon Is His Queen."
  
  Putnam Smith with Ramblin' Red and Wiffletree. 8 p.m. Friday. One Longfellow Square, Portland. $8. All ages. 761-1757; www.onelongfellowsquare.com

• "IT, all of IT is there, just listen..." [+ Show ]
  

  "What is it that makes a record stand out? It's hard to describe.... a feeling. Listening, your mi..."What is it that makes a record stand out? It's hard to describe.... a feeling. Listening, your mind and heart get engaged. Maybe there are goosebumps, it just happens. Why? The words, the voice, the chord changes... maybe the drums come in just at the right moment. It's magic and when it happens, it's satisfying on many levels. That's how I would describe Putnam Smith's new cd, "Goldrush". IT, all of IT, is there, just listen."
  -- Sara Willis, host of "In Tune By Ten," Maine Public Radio

• FRESH-SOUNDING OLD-TIMER [+ Show ]
  

  FRESH-SOUNDING OLD-TIMER Putnam Smith. With a name right out of a Nathaniel Hawthorne novel and h...FRESH-SOUNDING OLD-TIMER Putnam Smith.
  
  With a name right out of a Nathaniel Hawthorne novel and hand-pressed CD packaging graced with images of antique farming tools, Putnam Smith does nothing to dispel the notion that he wouldn't mind living in 1809 instead of 2009. And while his sophomore release, Goldrush, explores plenty of contemporary themes, there is a pervasive feeling of displacement that weaves its way through the 12 finely crafted acoustic songs, a feeling that Smith always finds himself in places he doesn't quite want to be.
  Topics
  
  * Adam Frederick
  * •
  * Ben Folds
  * •
  * Bluegrass
  * •
  * more >>
  
  He's wishcasting from the open, really, with "A Natural Disaster Is What We Need." Like a Traffic tune shaped with rambling banjo and a gripping cello, we hear him "wish there was a tidal wave, to carry all our things away ... [so] ... petty troubles would just fall on through/And I could be left with just you/And you could be left with just me." It's the same escapism that finds a son leaving his parents for Austin in "Postcard for Mum and Dad" and a protagonist stuck in the city and pining for a time when old farms didn't get turned into "luxury estates" in the album's title track.
  
  He's a modern-day back-to-the-lander, with commands to "love compost" and an offer in the liner notes to trade the album for "firewood, home-canned goods, artwork and man-made monies" (of course, you've likely already purchased the album if you're reading the liner notes). His music can sound downright ancient at times, too, going even farther back than the roots stomping of the Avett Brothers and Hackensaw Boys to a more old-timey and dusty sound, with vocals sometimes breathed as if by Old Man Winter; in the opener and elsewhere Sorcha Cribben-Merrill is his backing-vocal Persephone.
  
  But it's when he opens up his voice into the higher register and instills more emotion where he really succeeds. The piano ballad "I Think It's Almost Summertime" paints Smith as a more laconic, more intellectual, and geekier (if that's possible) Ben Folds, modestly stripping down into swimming suits when "it was the perfect night for a skinny dip." When the song ramps up in the second half with a half-rap and a hard-charging Seth Yentes cello you might be disappointed, even if it is good songwriting.
  
  Fear not, though. With "New York, 0-2," he gives us a delicate piano piece that he manages to escape without gussying up. In halting, concert-hall vocals, he's "hoping what you said was true/But New York, I'm oh for two." Again, he can't quite find a place to be.
  
  Maybe he just needs to let his hair down more often. "Wouldn't Need this Whiskey" sees him get aggressive in his vocals and playing, gaining body and verve. It opens with just bowed bass from Adam Frederick (borrowed from Emilia Dahlin, who did Smith's album artwork), super deep, and then a melancholy and spare banjo that picks up speed and starts to roll like bluegrass: "Oh, darling my dear/800 miles from my lips to your ears ... Wouldn't need this whiskey, were you here."
  
  It's old-timey phrasing from an old-timey sort of guy, but he manages to keep his sound fresh like a new age of simplicity — a new age he's desperate to find and call home.
  
  Sam Pfeifle can be reached at sam_pfeifle@yahoo.com.
  
  GOLDRUSH | Released by Putnam Smith on Itchy Sabot Records | with Ramblin' Red + the Yentes Bros. | at One Longfellow Square, in Portland | May 29 | www.putnamsmith.com
  

• MaineFolkMusic.com review of 'this blue' [+ Show ]
  

  This Blue Putnam Smith (2007) CD Review by Bob McKillop MaineFolkMusic.com Putnam Smith we...This Blue
  Putnam Smith (2007)
  CD Review
  by Bob McKillop
  MaineFolkMusic.com
  
  Putnam Smith weaves moody, pensive songs from strands of deep, resonant vocals and old-time instrumentation. The stories and observations in his music take their time, and appear slowly and carefully from within the fabric; lines repeat, and phrases are left missing for the imagination to complete. His themes tend to illuminate the sacred moments where relationships reach their tipping points, where the true nature of a person appears, and when the landscape of our lives somehow becomes crystal clear before us.
  
  His second CD, and first studio album, is entitled “This Blue”, and was released in 2007. It was co-produced with Dan Mazal and recorded mostly at Castle Freak Studio in San Antonio, Texas. On his website, he refers to it as “the album I’ve always wanted to make… a return to the intimacy of a raw, acoustic sound”. This CD is very intimate; sparsely produced, simply arranged, and full of the casual sounds and conversations that surrounded the tracking of the music. It’s very organic and personal; I felt very close to Putnam and his music.
  
  “Seaside Motel” is a very representative cut. The song begins with finger-style guitar and Putnam’s vocals, and he creates a very introspective mood. Plinking keyboard traces and reverb-laden chords ratchet up the drama ever-so-slightly toward the song’s early ending. The lyrics trace a languid conversation between two maybe-lovers that leaves their final disposition as uncertain and tentative as the melody in this tune. Putnam uses great symbolism in the lyrical hook that opens and closes the song.
  
  “Would you leave him like you left your men before?
  Would you leave me scrawling love notes on your door?
  You say, Well that’s so hard to tell this early in the morning…
  Seaside Hotel… sign says vacancy”
  
  My favorite cut is “Reese Witherspoon Is His Queen”. Strong guitar work, a foundation laid by Seth Yentes’ solid cello tones, and emotive, declarative backing vocals from Sarah Jessop help make this song so affecting. With this song, Smith steps out of the songwriting rut in which we sometimes find him. It is a profile of someone Putnam must have known as a mentor, someone who left a strong impression on him in his youth. This person is dealing with some internal demons, and some external difficulties, but Putnam bathes him in a sympathetic, compassionate light, a light of understanding, that illuminates his internal dignity.
  
  “And night after night he dreams,
  Of knights in armor and horses and torture scenes
  He dreams of trumpets and servants preparing a feast
  And he is king of the castle,
  And Reese Witherspoon is his queen…
  His wife makes the morning coffee and this month’s rent”.
  
  “Hummingbird Song” is most evocative of the old time sound that Putnam seeks to master and authenticate with his music. Claw-hammer banjo simultaneously provides a strong rhythm and brings us the harmony that defines the song. Putnam sets the lyrics down inside the patches of bare ground between the grassy swaths of banjo picking, and there you have it, this simple, catchy, love tune.
  
  Seth Yentes plays cello in a way that compliments Putnam’s rich, textured, tenor voice in these songs. We also get pedal steel from Nate Flemming, fiddle from Katherine Gill, and the afore-mentioned Sara Jessup’s wonderful backing vocals. Smith provides the guitar, banjo, mandolin, piano, and other backing vocal tracks. I enjoyed the simple, yet creative production and tracking. The album jacket is unique – plain brown cardboard, letter pressed personally by Putnam (with some help) on a 1901 hand-set and pedal-powered Pearl press. Nice touch!
  
  You can purchase Putnam’s fine album at CD Baby and at his shows. He is appearing at The North Star Music Café twice in early April, and at One Longfellow Square on April 21.
  
  

• 'this blue' compels and captivates [+ Show ]
  

  “this blue” Compels and Captivates By Allen Adams staff writer, The Maine Edge Sometimes...“this blue” Compels and Captivates
  
  By Allen Adams
  staff writer, The Maine Edge
  
  
  Sometimes, it seems like the best thing to do might be to go back in time
  and enjoy a little music for music’s sake.
  
  Putnam Smith makes that kind of music. He’s that rare breed of musician
  that manages to be a throwback without ever coming off as dated. His
  heart-on-his-sleeve lyrics and acoustic melodies make him a welcome
  alternative to the processed, homogenized offerings of corporate radio.
  
  Granted, Smith’s style, as showcased by his album “this blue,” may not
  resonate with everyone. There are no crunching guitars or thumping bass
  lines, no forced rhymes or simplistic lyrics. The songs are simply and
  quietly engaging. His soulful vocals are evocative and engaging, and he
  plays the banjo, guitar, mandolin, and piano at various times on various
  tracks in an impressive display of heartfelt musicianship. No matter what
  the instrument, Smith presents bluesy old-timey songs about life, love,
  and loss.
  
  From the opening strains of “Not Why I’m Blue,” the album’s opening track,
  to the closing notes of “Through My Teeth,” the listener is offered a
  window into the heart, mind, and soul of an artist. While this album might
  not be autobiographical per se, it is abundantly clear that there is a
  whole lot of Putnam Smith on display in these thirteen songs. Truth is a
  very underrated commodity in today’s music scene,
  
  Of course, the album is entirely Smith’s, but he has plenty of help. With
  Seth Yentes on cello, Katherine Gill on violin, Nate Flemming on pedal
  steel, and Sarah Jessop providing additional vocals, “this blue” has a
  rich, full sound that will transport the listener to a simpler time in a
  simpler world. The journey begins with the album cover, self-printed by
  Smith on a circa 1901 Pearl press. It’s the perfect introduction to the
  throwback sounds that permeate this record.
  
  What this album doesn’t have is over-produced pap aimed at the lowest
  common denominator. “this blue” is aimed at making the listener empathize,
  and is largely successful. His honesty and passion shine through on every
  track. Any fan of thoughtful music, especially the blues, would be
  well-served by spending some time with Putnam Smith and “this blue.”
  
  Sample audio from “this blue” can be heard at www.putnamsmith.com, and the
  CD is available for purchase at www.CDBaby.com.
  

• I just fell in love with it [+ Show ]
  

   "Putnam Smith... is a new artist for me.  He was kind enough to submit his album Goldrush to Acoust... "Putnam Smith... is a new artist for me.  He was kind enough to submit his album Goldrush to Acoustic Pie for screening and I just fell in love with it.  It makes me happy whenever I hear his voice come on the Pie.  I’m glad to see that listeners feel the same way."
  -- Acoustic Pie Blog, (San Diego, CA)

• "Goldrush really knocked me out" [+ Show ]
  

  "I listen to a lot of terrific CDs that are submitted to the Folk Show for the WPSU broadcast librar..."I listen to a lot of terrific CDs that are submitted to the Folk Show for the WPSU broadcast library, but Putnam Smith's 2009 Goldrush really knocked me out"
  - Mel DeYoung, WPSU

• 'this blue' [+ Show ]
  

  "This talented multi-instrumentalist will command your ear with his rich and gentle voice and his i..."This talented multi-instrumentalist will command your
  ear with his rich and gentle voice and his intimate
  songs. Crafted with love, the tunes on 'this blue'
  run from the gorgeous and spare to those where the
  strings of the violin and the cello blend seamlessly
  with the other instruments. Me, I'm a sucker for the
  melancholy mandolin numbers... "

• Rewriting history 'Goldrush’ translates traditional sound in unconventional light [+ Show ]
  

  Rewriting history 'Goldrush’ translates traditional sound in unconventional light By William Earl ...Rewriting history
  'Goldrush’ translates traditional sound in unconventional light
  By William Earl
  2009-06-25
  Putnam Smith JPEG.jpg
  
  It isn’t surprising that Portland-based Americana revivalist Putnam Smith’s latest album, “Goldrush,” draws heavily from the mood of classic period Neil Young. Through continuous evocations of hurricanes, moons and other Young metaphors — including the album’s title — it is hard not to make a connection to the Canadian legend.
  
  Arguably, Smith delves far more into a roots country backing than Young ever ventured. The multi-instrumentalist showcases a deft blend of guitar, mandolin, piano and banjo through the tracks, supplemented by haunting cello courtesy of Seth Yentes and sparse rhythm section work.
  
  The album opens with the harrowing “A Natural Disaster is What We Need.” Hoping for “A flood to wash all the rules away,” it is tempting to view the lyrics as a parallel to Smith’s approach to composition. While many songwriters write solely to fit in a popular pigeonhole, the tunes on “Goldrush” are unearthed with just the right touches of musicality, illustrating a utilitarian approach to instrumentation.
  
  Subtle shifts in tone illustrate the complexity with which Smith views his work. The off-kilter banjo and cello interplay on “Full Moon, Baby” washes the tale of displaced love with a decidedly sinister feel. “Postcard to Mum and Dad” is something of a centerpiece, gently spinning an epic ballad out of a stark vocal and guitar performance. The gentle jazz of “The Bartender’s Elsewhere” is a prime showcase for Smith’s vibrant and versatile voice, sending the listener from their headphones to a dirty gin joint. And while many records end on a dour, reflective note, rollicking closer “Rolling Blues” is a perfectly suited romp through the backdoor jams which could soundtrack a hoedown.
  
  One of Smith’s many talents is his sense of place, obsessively detailing events in order to transplant the listener to the center of his mind. On “I Think It’s Almost Summertime,” shambling lyricism such as “I am nakeder than the day I was born and I’m scared to death and happy as a hummingbird” makes for a fascinatingly jarring experience.
  
  Although much of “Goldrush” is too dark for summer, it is one of the standout releases of the season. Much like the craftsmanship taken to produce his hand-printed CD jackets, Smith breaks every song on the record down to its core parts, and in turn breaks many of the rules for contemporary songwriting. Tightly written, unconventionally performed and emotionally dense, “Goldrush” simply begs for repeat listening.
  
  Maine native Bill Earl is a musician and a music writer. He’s currently living in Boston but has his ears on Maine-made music.
  

Setlist

Set List:
-original material for 120 minutes.
-Covers include traditional "old-time"
banjo tunes, and banjo adaptations of
contemporary pop tunes.

Basic Requirements

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