Uploaded July 2008 | Updated September 2026, 2 weeks ago
timeriksenmusic.com
My first set in Namest nad Oslavou was in an enormous old stable at the castle. The second was in this lovely Baroque church on the town square. The vibe was great, and I love playing late shows without amplification. Towards the end I had the students from the Sacred Harp singing school come make a square. We sang 47t, 39t and 105 and they sounded really good. They definitely got that it's not concert music, and seemed to be excited about it.
My way of singing this song, probably best known as 95 in the Sacred Harp, is heavily influenced by a Boston gospel songster I found in the trash 20 years ago. It almost made it onto the Cordelia's Dad CD "Spine," with Laura Risk on fiddle. For a while we used this to end our festival sets, in part because it was so counterintuitive.
timeriksenmusic.com
My first set in Namest nad Oslavou was in an enormous old stable at the castle. The second was in this lovely Baroque church on the town square. The vibe was great, and I love playing late shows without amplification. Towards the end I had the students from the Sacred Harp singing school come make a square. We sang 47t, 39t and 105 and they sounded really good. They definitely got that it's not concert music, and seemed to be excited about it.
My way of singing this song, probably best known as 95 in the Sacred Harp, is heavily influenced by a Boston gospel songster I found in the trash 20 years ago. It almost made it onto the Cordelia's Dad CD "Spine," with Laura Risk on fiddle. For a while we used this to end our festival sets, in part because it was so counterintuitive.
