#sam moss

[nofatclips]

Golden Crown by Kris Delmhorst from the album Long Day in the Milky Way

[guy60660]

Sam Moss

[nicelittlethingstoday]

agh i just listened to the children of room 56 and i love it so much!! Heres my fairly unrefined interpretations of the characters (half official art half outfits ive worn) (ignore the bracelets they have friendship bracelets/anklets) that I'll probably ink later. Ignore the ink bleed of Nicky and Freddies drawings agh D: omg though i love freddie so much im stealing him for the he/theys sorry dudes, hmu if you ever wanna add extra debth to the character and you want character quirks or something I'll give you my weird tics and habits (for reference my style also accidently evolved to look like shaggy, i have a mullet and im also a two syllables hard consonant name person, no this is not unhealthy leave me alone) ahh anyways off to re listen to the show for the third time and draw more fanart i love it so much please listen to it I love it so much I cant wait for the first ep

[krispyweiss]

Album Review: Sam Moss - Blues Approved

Sam Moss was a legend in Winston-Salem, N.C., - “our Guru of Groove, the Maharishi of Mojo,” as Rick Miller of Southern Culture on the Skids put it - revered for his club performances and promotion of the blues. He was one of those guys whom everybody thought should make a record.

Turns out, Moss - who died in 2007 - did make a record. In 1977. It’s just been rediscovered, restored and is out as Blues Approved.

But don’t be fooled by the title. While Moss’ music has underpinnings of blues, there is much more. And though the LP can fairly be described as derivative, Moss derived from all the right sources.

“Rooster Blood” finds the sound of Donald Fagen’s the Nightfly even before Fagen did so. “Vida Blanche” rolls like the Stones with “Bitch”-y horns and ribald lyrics. Little Feat could’ve twisted the druggy “My Man Mike” into a Down on the Farm number. And the instrumental “Nightflight Over Berlin” screams Frank Zappa.

Rounded out with a handful of covers from separate sessions - including a lo-fi recording of a teenage Moss playing Buck Owens’ Act Naturally” in a church basement, plus takes on the Monkees’ “Pleasant Valley Sunday,” Doc Pomus and Mort Shuman’s “Can’t Get Used to Losing You” and the Stones’ “Who’s Driving Your Plane?” - Blues Approved is the sound of memories for those who were there and what could’ve beens for everyone else.

Grade card: Sam Moss - Blues Approved - B-

2/3/22

[room56pod]

CHARACTER ART!!!

Sam Moss (She/Her)

Evan Pearce (He/Him)

Calliope Morris (She/Her)

Nicky Dixon (He/Him)

Freddie Shaw (He/Him)

Chip Romero (He/Him)

These are the main six characters in The Children of Room 56! All art by @/vaugehumanoidshape on Instagram!

[dustedmagazine]

Sam Moss — Shapes (Lost Honey)

Shapes by Sam Moss

Sam Moss is a heck of a guitar player when he’s in the mood, fluent in folk, jazz, blues and country styles, able to toss off wry six-string complications without as much as a twitch. He plays locally in a country and western covers band called Rear Defroster, whose raucous good-time vibe erupts periodically in a display of technical virtuosity. Yet Moss also has the gift of restraint. His latest album Shapes is pared down to smoke and shadows, the instrumental parts reticent, the melodies strong but tremulous, delivered in a thread-worn, murmurous tenor, the backing band kept to a minimum, drums bass, occasional strings and not much of them. Much like Richard Buckner and Damien Jurado and other soft-spoken artists, Moss has the ability to make much of few inputs and to land a devastating punch with hardly any force at all.

The opening track, “Shapes Out of the Dark,” is just Moss himself, voice and guitar, the light and air into the spaces between notes. Here Moss puts a jazzy, Django-ish bounce into his guitar ramble, but keeps the volume low. The tone is rueful, the melody curves in gentle ways, as he observes, “You were unprepared for the way the world came down on you/with a dull heavy blow, that youthful glow is knocked out of you.”  

Elsewhere a small ensemble fills out these deft, spare songs. Moss himself plays guitar and sometimes violin, Honeysuckle’s Benjamin Burns is on drums, Michael Siegel plays bass and Stephen Ambra, very occasionally, as on the subtly driving “Ways,” adds some cello. Of the dense, full-band cuts, “Talkers” is perhaps the strongest, with its reeling three-based rhythm, its deep toned guitar and cello sound, its fluttery, emotion-laded vocals. A particularly fine instrumental break bisects the tune, allowing for rich, vibrant interplay between electric guitar, bass and cello.

Moss’ lyrics are rather good, too, full of the quiet contemplation of aging and death, but not at all freaked out by them. The mostly upbeat, lattice-picked “Morning Light” considers the pleasant surprise of waking up with a loved one. It finely balances contentment with existential angst in the line, “Our days will not be long enough to say I had known your touch enough as to be satisfied, I wonder what is next?”

Shapes is a funny album, in that it shrinks a little from you as you listen. It insists on slipping into the background. It deflects attention from itself. Yet if you listen to it for a while, you realize that it’s quiet but resonant, like a tuning fork you can barely hear, but that vibrates with all the sounds around you. Lean in a little. It’s worth it.

Jennifer Kelly

[doomandgloomfromthetomb]

Rob Noyes & Sam Moss / Joshua Massad & Dylan Aycock

Bandcamp Monday! Today, we’ve got two excellent new cassette duets from the always reliable Scissor Tail Records. First up: guitarist Rob Noyes and fiddler Sam Moss (Sam is also a great singer-songwriter) communing harmoniously. Dusty trails, deep forests, untold thickets — Noyes and Moss sound absolutely perfect together wherever they go, listening closely to one another and leaving plenty of space for the listener to fill in with his or her own imagination. Really beautiful stuff. Next! It’s Scissor Tail head honcho Dylan Aycock improvising on 12-string with Joshua Massad adding tabla and sitar. A flowing river of sound, a meeting of the minds. In fact it makes me think a bit of A Meeting By The River, that great Ry Cooder / Vishwa Mohan Bhatt collab. The little touches that Aycock adds (bits of synth and percussion) really sweeten the deal as well. Fantastic ... 

[nofatclips]

Horses in the Sky by Kris Delmhorst from the album Long Day in the Milky Way