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Iron & Wine is the stage name of singer/songwriter Sam Beam. I first heard of Beam when his great cover of The Postal Service’s “Such Great Heights” was featured in the 2004 indie film Garden State. The song really grabbed my attention, and I quickly tracked down Iron & Wine’s debut album, The Creek Drank the Cradle. What I heard blew me away.
The album was recorded very simply, with stripped down instrumentation and lo-fi equipment. But what really stands out is Beam’s voice. His hushed style makes it seem like he’s whispering the songs into your ear, lending all of the songs an incredibly intimate quality. The album sounded fresh, yet also like it could have been recorded 30 years earlier.
Beam’s next album, Our Endless Numbered Days was recorded in a real studio, with more modern equipment, so the first thing you notice is the increased quality of the sound. But the essential qualities of The Creek Drank the Cradle remained. The whispering vocals and evocative lyrics are there, but this time they are bolstered by expanded instrumentation. It’s a natural progression from the first record, and it shows that Beam was no flash in the pan.
The next progression of Iron & Wine came when Beam decided to collaborate with indie rockers Calexico on In the Reins. The album masterfully combines Beams songwriting with Calexico’s southwestern influences. The albums serves as a transition into Beam’s next solo album, The Shepherd’s Dog.
Hitting shelves on September 25th, The Shepherd’s Dog is Beam’s finest work. It’s the rare album that has no weak songs. It’s a cohesive album, but with songs that can stand on their own. It shows Beam stretching out musically, using more instruments and effects. And doing so masterfully. On top of it all it’s a beautifully produced album, with plenty of breathing room left in the mix.
The songs below are featured on The Shepherd’s Dog, but the recordings are from a live show at the Pabst Theater in Milwaukee. SubPop asked me nicely to take down “Boy With a Coin” when I posted it before, so I decided to give you live versions instead of the ones from the album. Go buy the album!
Iron And Wine - Love Song Of The Buzzard
A subdued song reminiscent of “Naked as We Came” from Our Endless Numbered Days. This live version doesn’t truly do it justice, as the harmonies really make the album version. Nonetheless, this is an excellent song, both musically and lyrically.
Iron And Wine - Carousel
This live version is good, but the version on the album is spectacular. There’s a great effect on Beam’s voice (which sounds like a rotary drum and horn effect, though I could be wrong), and many layers of instruments. It’s the high point of the album for me.
Other Fun Sam Facts:
- His stage name, Iron & Wine is taken from a dietary supplement named “Beef Iron & Wine” he found in a general store while shooting a film. He enjoyed the name, but decided to drop the “beef.”
- Beam graduated from the Florida State University Film School. He even taught Film and Cinematography at Miami International University of Art & Design.
- His sister Sarah sings backing vocals on many songs
BONUS VIDEOS
Performing a bunch of songs, including several from The Shepherd’s Dog, live at Messiah College (mouse over the video to scroll through the different songs)
Performing “Naked as We Came” live (that’s his sister Sarah singing backup)
Links:
Buy The Shepherd’s Dog
Official Site
Note: Today’s Sunday Music Spotlight is delayed by our good friends at American Airlines, who managed to get me back home only three hours later than scheduled. And they held fast, and didn’t try to make up for the delays by dropping their policy of charging for snacks (no free peanuts on this airline!). Great Job AA! I’ll never fly you again!
