The dedication on the back of Amoskeag reads, āFor those who can no longer tell the old stories.ā It suggests an attitude towards the past that manifests on each of the albumās six tunes. If Liam Grant had something to say about mid-20th century literary criticism, he might suggest that you take your copy of The Anxiety Of Influence and use it to stop a door that needs to stay open. Heās not paralyzed by the notion that all of the good ideas have already been stated. No, works of the past animate him, and heās keen to return them the favor.
Amoskeag offers raga-inspired fantasias and old time-steeped invitations to kick up your hoofs, balancing winding reverie with convivial celebration. Which is not to say that Grant is a strict revivalist. Admittedly, Grantās antecedents are easy to name. If you have spent some time tuned into the Takoma School guitar resurgence of the aughts, youāll know that heās working with a tumbler full of Jack Rose poured over the rocks of Glenn Jones, with some of their inspirations and successors stirred in to make a brew that is pungent, familiar and satisfying. The opener, āStratton-Eustis,ā has the same light out for parts unknown vibe as āCross The North Fork,ā and āLast Night On Dead Riverā sounds like a half-remembered rendition of āDark Was The Night, Cold Was The Groundā laid over āSundogs.ā
Not only does Amoskeag echo the sounds that Jack Rose drew from wood and wire, half the LP features the playing of Mike Gangloff, who played with Rose in Pelt and Black Twig Pickers. But Rose is over a decade gone, and thereās still a big hole that needs filling, so if Grant does that job for a while, letās just say that he does a good job. And since heās in his early 20s, itās possible that the what he sounds like now is not where heāll end up; consider how far Cian Nugent and Daniel Bachman have traveled from their first efforts. He might find some more personal stories of his own to add to the ones he recounts so well.
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This is one of three single-phase transformers being installed at Amoskeag Hydro Station. Getting these 3,000-pound transformers to their new home on the opposite side of the powerhouse building was a formidable task. After removing part of the buildingās brick exterior wall, workers rolled each transformer into position on railroad rails. Today, a large crane would be used to simply reach over the building to lift a transformer up and over the powerhouse. If fact, that was done in 2017, when these three were replaced with one modern three-phase transformer. The original units lasted reliably for 80 years, which is a testament to the technology and engineering capabilities of that time.
Special thanks to Bill Smagula for all the detail on this one!
Here is Manchesterās Amoskeag dam under construction with a portion already completed. The wooden boards you see served as the form for pouring the concrete to finish the dam. Inside is a tunnel used to inspect the dam and connect the power house to the stationās gatehouse.
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This is a photo of Manchester's old Amoskeag Dam on the Merrimack River. Here's a 1936 photo of ice breaking over the current hydroelectric station that was built in 1924.Ā
