Ray Koffman CD Review: Moving On by Jim Lesses. Written for INFOLKUS official publication of: FOLK FEDERATION OF SOUTH AUSTRALIA

Ray Koffman has been involved in the local folk scene for many years. Ray is a self-taught finger picking guitarist whose influences range from Woody Guthrie and Bob Dylan to John Renbourn, and Davey Graham. The last two performers, both excellent guitarists in their own right, have clearly been the biggest influence on Ray’s guitar playing as displayed on this, his debut recording.

Moving On, contains 13 tracks, seven of which were composed by Ray himself. One of the great things about Ray’s songs is how well they fit in amongst the other well known, and not so well known works Ray has chosen to cover. For me, this is just about the ultimate test. If your songs don’t seem out of place set amongst other ‘classic’ songs – which in this case includes, Buddy, Can You Spare a Dime?, Donovan’s Try For The Sun, Jackson C. Frank’s Blues Run The Game, and Gordon Lightfoot’s Early Morning Rain – you have overcome a major hurdle for the listener, and Ray has certainly achieved that.

Since the only instrument on the album (apart from Ray’s voice), is the guitar, Ray’s mastery of the instrument meant that I was never bored with his arrangements or the embellishments he employed to maintain my (or the listener’s) interest. Ray’s guitar playing is always crisp, clear, dynamic, and steady throughout. Fortunately, he seems to understand that less can often be more, and so doesn’t fall into the trap of playing blindingly fast just to impress the listener with his skill and dexterity.

Despite many years living in Australia (he was born in Salford, Manchester), Ray’s voice still resonates with his strong Mancunian accent. It may seem a strange thing to comment on, but Ray’s diction is almost perfect on every song. Again, this is another personal test of mine that I like to apply to performers – as well as applying it to my own singing and recordings.

What’s the point of going to all the trouble of writing, playing and learning a bunch of songs; spending many hours and a large wad of money recording and producing these songs; then manufacturing the physical product in the form of actual CDs, only to end up with a finished album of that no-one can understand? No point at all – in my opinion. Therefore, I’m pleased to say that like his guitar playing, Ray’s voice is also crisp, clear and dynamic.

As much as I enjoyed the songs Ray covered on this album, I was particularly interested in listening to Ray’s own original compositions. Particular favourites include: Yvonne, and Debbie’s Song.

Writing a meaningful song about the death of a loved one (whether family member, friend, or partner, etc), is always a difficult exercise. It’s hard to write something that will have universal interest to the casual listener (especially when the casual listener doesn’t know the deceased person in question). And it’s particularly difficult to write something that won’t seem maudlin, and over-sentimental.

Thankfully, Ray’s song to Yvonne, a deceased friend, manages to walk that fine line between sentimentality and universality. Given that at almost eight minutes, this is the longest song on the album, this is a great relief. In fact, right now, I’d have to nominate it as my favourite song on the CD.

Yvonne

Yvonne. What have you done, where have you gone?

Who did you leave to carry on?

What are these clouds that blind your eyes?

Yvonne. I hear you won’t be back again,

Your star has fallen like the rain,

Like these tears that fill the skies.

But still, I remember how your laughter filled the air,

Sometimes I think I’ll turn around and find you there…

© 2005, Ray Koffman.

Another genre that often falls into the trap of cliché, sentimentality, and mawkishness is the love song. Some of the worst offenders are songs written specifically to wives, husbands, partners, or significant others – to use a more all encompassing term. I’ve heard some doozies over the years. The worst offenders are overlong, mushy songs that should never have left the privacy of the couple’s bedroom.

I’m delighted to report that at 2:47 minutes, Ray’s love song to his wife, Debra, does not fall into this category. There are some lovely sentiments expressed in Debbie’s Song, and I particularly liked this verse:

Like children at play,

Like birds on the wing,

The start of the day,

The promise of spring.

The things that you say,

The songs that I sing,

To you my road runs true.

© 2005, Ray Koffman (Debbie’s Song).

With this recording, Ray Koffman is making a very bold and brave statement on his own behalf. Unlike most modern albums, with their extensive multi-tracking, and overdubbing of additional voices and instrumentation, Ray presents just one guitar and one solo voice across the whole album. If his guitar work is not up to scratch, or if his voice and selection of music let him down, Ray has left himself completely exposed, giving him nowhere to hide.

Happily, Ray Koffman can take his place in the spotlight knowing he has delivered a debut album he can be proud of.

Ray Koffman CD Review: Moving On by Geoff Hastwell. Written for SCALA NEWS, official publication of: Songwriters, Composers And Lyricists Association.

CD Review – ‘MOVING ON’

The flying fingers of Ray Koffman move pretty darn well in his debut album, ‘Moving On’. Beware, my Lord, of jealousy, says Iago in ‘Othello’, but I can’t help just a tinge of green coming on as I listen to Ray’s picking on every one of the thirteen tracks!

Yes, with his acoustic steel-string guitar and seven original numbers, Ray impresses mightily. I’ll mention the cover songs quickly, then discuss Ray’s own lyrics/melodies at more length. That’s only fair for a SCALA article, isn’t it?

With Donovan’s early song,’ Try For the Sun’, Ray begins in excellent form. Lovely picking flows well, and there is noticeable passion in lines like: I dare a man to say I’m too young/ But I’m goin’ to try for the sun…

In a lower key, ‘Buddy Can You Spare a Dime’, by Haburg and Gorney, offers haunting glimpses of a world – and an individual – down on luck as Depression and war flail the planet. A solid cover of a classic.

‘Blues Run the Game’ by Jackson Frank, has a typically deft intro, and Ray stretches his range very well in this cover.

When ‘Early Morning Rain’ began, my wife Noelene (passing by) immediately commented: ‘Lovely – he’s doing a good job of it!’ and I can only concur. Voice and guitar on Lightfoot’s signature song are in total fusion – great!

The traditional folk song ‘Can’t Keep From Crying Sometimes’ I am not familiar with, but its (deliberate?) mix of singular and plural verbs points clearly to a rustic authenticity. Excellent picking again.

Ray concludes the album with Sean O’Riada’s perfectly lovely instrumental, ‘Women of Ireland’ (Mna Na H’eirann). It is a keening, lamenting tune so very Irish in its deep sadness. Beautifully done.

The second track of the album, ‘Standing By the Highway’, is the first of Ray’s own offerings. The song is bluesy, about a ‘hard travellin’ man’ who (naturally!) misses his beloved as he heads out on the windy highway. The odd awkward rhyme pops up – throw of dice rhymed with paradise for example, and there is an over-reliance on ‘lonely road’ images. But Ray’s guitar work is a treat, and it is well-recorded on this CD.

‘Baby You’re On My Mind’ owes more than a token nod to Bob Dylan’s ‘Mama You’ve been On My Mind’, especially in the chorus. But Ray’s tenor voice suits the yearning note intended in this song, and the bridge break is terrific.

‘I’m Moving On’, the title track, comes over as a ‘trouble overcome’ lyric. By leaving for grasses green the singer hopes to find his place in the sun… But I always worry about images like these, unless they are deliberately tongue in cheek – such similes or metaphors are just so over-used… (George Orwell’s advice: be very wary of employing a phrase if you have seen it in print or heard it used often…)

‘Black Hill’, Ray’s own instrumental track, is expressive and totally catchy. Predominant bass runs work well, and make this an ‘acoustic gem’ of relaxed, bluesy guitar.

While straining on occasion for the higher register in ‘Yvonne’, Ray succeeds in evoking memories of a relationship and time past. I am reminded of McKuen’s ‘Seasons in the Sun’ by the song’s nostalgic feel. Again, however, the clichéd dark before the dawn might easily be deleted to improve the lyric.

I am very much impressed, though, by Ray’s reference to a wedge-tailed eagle in ‘You Don’t Write Me Anymore’. For the girl the lyrics revolve around has senses that fly, then dip and then they soar like the majestic bird itself. This epitomises the vicissitudes of the relationship and sadness for the singer that the woman writes no more. A simple melody, but yet again the lovely picking just makes this song.

The last of Ray’s own compositions on ‘Moving On’ is ‘ Debbie’s Song’. Borne on the stylish guitar work we have come to expect, lines such as to you my road runs true are honest and direct. I like the internal rhyme of you and true.

For folks who like folk, particularly the finger-picking variety, Ray Koffman offers much. ‘Moving On’ has super guitar work and a wide range of material. If you’d like to check out the background to songs and the CD in general, go to www.raykoffman.com or email Ray direct on ray@raykoffman.com

Geoff Hastwell