JOINED LIKE NOTES 
JOINED LIKE NOTES is Daniel Gannaway's first release since 2007's HEADING FOR COUNTRY and is the musician's 10th solo release.
Daniel's solo material is stylistically recognisable, well established and mature. To one familiar with the breadth of his work, the title of this latest effort accurately positions it as a note in an overarching composition.
While perhaps not as musically adventurous or barbed as some former albums, such as SUMMER STORM or OP-ED respectively, JOINED LIKE NOTES carries through elements of both and marries them with the artist's signature style of intimate, melody led storytelling.
A Babe In My Mamas Arms is classic Gannaway and could be seen as a stylistic exemplar of his artistry. Likewise, Hurricane Proof and Save Trestles continue this thread. In the first instance, however, Daniel weaves in an edgier view of the human condition made apparent by the tragedy that unfolded following Hurricane Katrina. In the second, he highlights the often-unquestioned sacrifice of our shared heritage at the egregious altar of progress.
The album's title track, Joined Like Notes, gleams - both musically and lyrically. In it, Daniel has tapped the source of his creativity and touched the fullness of his talent. It also reinforces the album's moniker in that it hearkens back to the melody and fullness of darling one year - though the interceding years have made the artist more refined and creatively confident. Truly, an artistic hammer blow...
Though Daniel no doubt intended the title of the album to signify our mutual connection, it also serves to contextualise his artistic efforts to date. The harmonic ebbs and flows of individual songs, the creative provenance and progeny of albums, they're all joined like notes in a chorus.
Since the release of FINE BY ME in 1998, Daniel has been a strident proponent of independent music. As time and albums have passed, Daniel's music has stylistically ebbed and flowed - at one point pared back and raw, at another full-bodied and polished, but at all times potent and inspired. Bound and Suburban in 2001, for example, was a composition of stories and recollections that provided a beautiful counterpoint to the poignant simplicity of Bootlegged at the Temple, recorded the previous year. Daniel's 2004 release - darling one year - was perhaps his most musically confident effort, traversing a broad range of personal experiences and heart-felt issues, wrapped in some truly quixotic melodies. 2005's SUMMER STORM | a collection of ukulele ditties, on the other hand, was a wonderfully light composition which often belied the intensity of the lyrical content.
Daniel's most recent album, JOINED LIKE NOTES, continues this tradition and marks another waypoint on what has become a musical odyssey spanning more than a decade.
"... Perhaps politics might actually catch on if Gannaway were doing the singing [OP-ED], instead of John Ashcroft's barbershop quartet. It's a thought. But until the Republican or Democratic National Convention is converted into a Broadway musical, we'll have to make do with Daniel. And that's going to be just fine for fans of indie folk pop with a message." - Indie-Music
"...The great aspect of the album [SUMMER STORM] is that each song's arrangement maintains a minimalistic nature, which shows a discipline and a depth of understanding on Gannaway's part. Underneath the ukulele, the cruising drums and harmonic supporting bass grooves provide an all around easy and easily recommendable listen..." - NZ Musician Magazine
"...Down to earth and laid back, it has none of the musical tension of trying too hard or the injection of false emotions. Suburban folky and bohemian chic, it [darling one year] ties up agreeably layered and distorted vocals into an angst-ridden, quirky pop as catchy as The Strokes but easily as mysteriously engaging as James Keenan Maynard..." - Indie-Music
"...like [Bound and Suburban] walking alone on the beach at night and seeing Jim Morrison and Jeff Buckley strumming and singing at the water’s edge..." - Indie-Music
"...Herein lies the essence of Bootlegged at the Temple: simply an audience, a musician, and a quiet venue... - no hype... In context with Daniel's previous two albums - FINE BY ME and flashback* - and subsequent release 'Bound and Suburban', 'Bootlegged' is a departure, which provides the listener a greater perspective on all of his work. Bootlegged is a great live album, which, over time, becomes as much a voyage of discovery and inspiration for the listener as for the musician himself." - Justin Walsh
Review of JOINED LIKE NOTES @ The Log Book
Another EP-sized collection of tunes from indie singer/songwriter Daniel Gannaway, Joined Like Notes brings us a few numbers that either came after his last releases, Summer Storm and Heading For Country, or didn’t quite meet those two collections’ stylistic parameters. With no such limits placed on it (i.e. a “country” feel or every song involving ukulele), Joined Like Notes is a bit more free-form.
Songs such as “Mail Order Catalogue” and “A Babe In My Mama’s Arms” harken back to his earlier works - sparse and yet atmospheric and moody - while “Hurricane Proof (Katrina)” and “Save Trestles (Sediment Flow)” take the opportunity to get topical. “Save Trestles” graced the artist’s MySpace page for quite a while before finally getting this release, and it’s aways been a catchy, toe-tapping number; getting the opportunity to hear it more clearly reveals it to be this CD’s standout. “A Slip In The Grey” and the title track are also stripped-down marvels of mood, with the former sporting some really interesting vocal work in the chorus. “Joined Like Notes” is more uplifting and mesmerizing in its own way.
Despite a thematic or stylistic angle to the songs on Joined Like Notes, it’s a nice breath of fresh air and a relaxing listen - even with the slightly soft-pedaled protest songs in (though they join a long tradition of folk protest songs in that regard). Highly recommended.