Unlike many contemporary guitar soloists, Green doesn\u2019t spotlight fretboard acrobatics or extended techniques like right-hand tapping and body percussion. His palette of tunings is pretty restrained too\u2014five of the 11 pieces are in standard, and most others are in fairly common open and drop tunings, like open D, D minor, and CGDGBE. Rather than pushing the envelope of technique, he delivers a satchel of well-constructed, well-played original pieces\u2014most clocking in at just two to three minutes.<\/p>\n\n\n\n The album opener, \u201cThe Journey,\u201d sets the mood, with a bright, summery melody fingerpicked in open D. \u201cReina de La Noche,\u201d one of the standout solo tracks, is a graceful waltz that takes full advantage of the open strings in Dmaj7 tuning (D A D F# A C#). \u201cAfter the Rain\u201d (played with the second string tuned down to A) starts off with a Michael Hedges<\/a>\u2013esque rhythmic texture of fast hammer-ons and open strings, but soon a melody takes over, played up the neck and in harmonics. Green\u2019s playing throughout is crisp and clear, with attention to the fine details of tone and articulation.<\/p>\n\n\n\n Green\u2019s main guitar on the album is a Takamine P7DC<\/a> dreadnought, plus he plays a Lakewood M-14<\/a> custom grand concert and a custom dreadnought built by the late amateur luthier Beth Mayer, to whom he dedicates the solo piece \u201cSong for Beth.\u201d To bring out the warmth and low-end fullness of the guitars, Green says he mixed the direct pickup signal with microphones.<\/p>\n\n\n\n Green does sing on three tracks: \u201cOff and Running,\u201d \u201cAfterlife,\u201d and \u201cI Fell,\u201d which bring to mind the indie folk-rock style of Nickel Creek\u2019s Sean Watkins. But the instrumental pieces feel like they\u2019re cut from the same cloth\u2014just sung by guitar rather than voice.<\/p>\n\n\n\n![\"Off](\"https:\/\/i0.wp.com\/acousticguitar.com\/wp-content\/uploads\/2024\/07\/RDG_CoverArt.jpg?resize=1024%2C1024&ssl=1\")
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