Spring Hill is the latest solo record from Tim Barry and, to be up front, I took the last couple records off after the first few were starting to sound a bit “samey.” But it only takes a few notes on Spring Hill to see that Barry has righted that ship and really developed into a solo performer. The first records were heartfelt and have a lot of classics, but they tended to blur together over time. Here, most songs rely on acoustic guitar, but we get banjo, violin, harmonica, and even electric guitar at times, all adding mood and texture to roots-inspired folk music. The production fits it perfectly: it’s clean, minimal, and basic -- sometimes leaning lo-fi, but without any interfering grit or static.
Barry, like the traditional folk musicians, is really a storyteller. And Spring Hill gives us 13 stories: some about misfits and working folk, some about the land and the culture of Richmond, VA, a primary character in his work. The songs are often deeply personal, but not exclusively, and the perspective always makes it approachable regardless of who receives the narrative attention.
I really hear growth in his voice and delivery, with songs like “Corner Store,” “Swann Song,” and Glorious,” showcasing impressive vocal range that hits the mark without being showy. He’s always been a powerful vocalist, dating back to Avail’s active years, but now he’s singing. A couple of the standouts are “Corner Store” and “Swann Song.”
We get a lot of variety on this record, nullifying my earlier concerns. The dominant tone is balladry, but there are countrified songs, singalong foot-stomping folk, and some minimalist lo-fi elements that highlight the intimacy. Barry’s uniquely personal approach connects it all. He is forthright and down-to-earth, and that makes it work, whether he’s talking about the lessons of past relationships or turning idioms like “howdy-do” and “Too Ra Loo Ra Loo Ral” without pause.
Barry released a companion 7”, Carolina’s RV in November from the same recording session.
