℗ 2007 Sub Pop Records
 

The Shepherd's Dog

Iron & Wine

Available in MQA and 44.1 kHz / 24-bit AIFF, FLAC audio formats

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1.1
Pagan Angel And A Borrowed Car
Iron & Wine
4:32
1.2
White Tooth Man
Iron & Wine
3:57
1.3
Lovesong of the Buzzard
Iron & Wine
4:26
1.4
Carousel
Iron & Wine
4:02
1.5
House by the Sea
Iron & Wine
4:21
1.6
Innocent Bones
Iron & Wine
3:42
1.7
Wolves (Song of the Shepherd's Dog)
Iron & Wine
4:57
1.8
Resurrection Fern
Iron & Wine
4:49
1.9
Boy With a Coin
Iron & Wine
4:05
1.10
The Devil Never Sleeps
Iron & Wine
2:06
1.11
Peace Beneath The City
Iron & Wine
4:45
1.12
Flightless Bird, American Mouth
Iron & Wine
4:03
Total Playing Time    49:45
Iron & Wine’s 2005 release Woman King, a 6-song EP which distinguished itself from its predecessors with a deepening integration of spiraling, dense opuses with intimate confessionals. On The Shepherd’s Dog this integration is complete.

Sam Beam has confessed to finding spiritual inspiration in Tom Waits’ pièce de résistance, Swordfishtrombones, an album with which Waits upended his previous strategies and forged a new musical language for himself. Recorded by Sam with the assistance of longtime producer Brian Deck and engineer Colin Studebaker, The Shepherd’s Dog succeeds in accomplishing a similar cathartic recasting of the artist’s intentions.

The arrangements here are kaleidoscopic and rich. “White Tooth Man” rocks with a desperate, menacing intensity while “Boy with a Coin,” the album’s first single, is darkly playful with a handclap hook tumbling under its cascading melody. The whole album breathes. Its seductive rhythms percolate and undulate, from the Psych-Bhangra-redux of “Pagan Angel and a Borrowed Car” to the album’s last dance—a waltz—”Flightless Bird, American Mouth.” Compositionally, it is Iron and Wine’s most ambitious and accomplished recording to date. It’s also the most satisfying.
44.1 kHz / 24-bit PCM – Sub Pop Records Studio Masters

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