When Greg Harding heard finger-styling guitar in concert, it changed his views on the guitar completely. Indeed the guitar is a more complex instrument then sometimes given credit for. Tonal qualities, playing styles, the type of guitar itself, and so many other factors combine to create a distinctive voice as unique and identifiable as a singer’s. Harding has discovered that when you let your fingers to the walking along the six-string, the sound it creates can carry itself across emotions, moods, and genres.
On his 2009 album, Colour Of My Skin, Greg Harding lays down 12 tracks of elegantly played guitar that drip with love for the instrument he plays. The love not only comes across in the way each note is played, but in the way they sound. Despite their being only two or three instruments on most of the tracks (guitar, modest percussion, occasional “midi instrument”) the sound of the album is lush and full. The guitar fills the space in a beautiful way, akin to Rick Rubin’s production with Johnny Cash and Neil Diamond. Since the star of the album is Harding’s playing, it’s fitting that the guitar be so prominent in the mix. Every note, every squeak along the frets, even some of his breaths comes through clearly.
The sound itself doesn’t vary widely through the album, but the subtlety in the playing does. A song like “The Beggars Daughter” has a more bluesy feeling than something like “Calypso” with its appropriate calypso influence. Despite being wonderful to hear Harding playing solo, it’s even more engaging to hear the interplay he has on some select tracks with other instruments. “Pumpkin’s Final Dance” features violin played by Ose Pedro and hearing it coalesce with Harding’s at once delicate and forceful picking is a true treat. The song falls about midway through the album, a perfect placement since it helps to break up an at times, slightly monotonous recording.
A bit of variety is also added by the two songs that feature vocals from Harding, “Waiting For…No Reply” and “Daydream.” Harding’s voice can be likened to Al Stewart’s in its tone, range, and delivery. “Waiting…” is the stronger of these two songs with Harding singing well within his range of a missed love and a longing to have them return. “There’s smoke in the firewood/when the wind comes to fan the flames”; the imagery is simple yet effective. “Daydream” is still a strong song with its touching refrain of “I find you in a daydream/as I will find myself as well”, sung against an emotional guitar track, though its marred slightly by Harding’s voice. Though he hits the notes, it sounds as if he’s hitting the very top of this range and comes across a little strained.
If there’s anything else that detracts from the album overall, it’s that sometimes the guitar playing is too busy. There are times during the album’s great opener, “Old Rosie”, where there are notes that seem to be just begging to be played out and held, but they’re only there for a fraction of a second before a flourish of notes overwhelmes it. This makes the album no less listenable, but more marks an opportunity for a more diverse sound which can only serve to strengthen Harding’s future efforts.
“Colour Of My Skin” is overall, a very-well constructed album. Though Harding’s record isn’t as varied as it could be, the subtle nuances are enough to keep things interesting. For popular music fans, Greg Harding’s intense finger-styling may be a bit too free-form and lacking a defined structure, but dedicated listeners will surely appreciate Harding’s talent for the guitar and the unique voice he displays on it.
Reviewed By Heath Andrews
