A Richly Layered Journey Through Fingerstyle Guitar and Fine Acoustic Instrumentation
Dog Eared Days is the new album from fingerstyle acoustic guitarist and composer James Filkins. The all-instrumental album also features violin, cello, viola, fretless bass, whistles, accordion, flute, harp, and percussion. This is his 5th release.
When you look at the cover art, it reminds you of a bright fall day on the lake with man’s best friend. That is a great way to start listening.
With a new-age concept and acoustic elements, this album gives flashes of brilliance on the six-string while creating softer, mellow tones for the listener. Occasionally, if you listen closely, you will also hear elements of blues or jazz mixed in.
“A Place in the Sun” begins with crisp, clean, bright picking from Filkins’ guitar. The title of the track delivers a message to the listener clearly-your time in light is right here in the music; listen. The guitar tones and colors resonate exquisitely throughout, with several movements and transitions all layered for a complete sound.
“Gratitude” starts with a simple tempo picking style as the other rhythm parts start to weave into the mix. This is simpler than the opening track but very soothing, and the six-string shines.
“House Cleaning” takes on a different flavor; after just hearing a guitar solo, a cello and violin are added for more shading within the composition. The track title can mean a literal domestic chore, or it can apply to an individual's need to take stock of life and get rid of what's in the way to move forward. The atmosphere has a darker edge, so I read it as a more serious message. While the guitar notes held an entirely different tone, it still sparked emotions through the music.
“Cat Head Bay” picks up the pace, with the rhythmic guitar and whistle giving it an airier feel. This felt more like a nice walk on a sunny day than the previous track, which felt more inward and reflective. The accordion added another element, giving it a little more spice and flavor.
“Gravity & Inertia” brings things back down to earth with echoing tones and interesting finger work on the acoustic guitar. They keep the eclectic approach and continuity of change intact; the sounds are very engaging. As you move through each track, you recognize just how gifted a player Filkins is.
“Dog Eared Days” features the extraordinary bass playing of Michael Manring. This was a great choice, especially as the title track. His bass has a very distinctive sound. It is the second longest track at 4:02, but just right. As the guitar moves through its transitions, the bass is the perfect partner, laying down a path to the top of the musical mountain. Beautiful.
“Rose & Hummingbird” takes you on a nice nature walk, with the flute’s beauty weaving its patchwork quilt of sounds as the acoustic guitars flow and rhythmic picking takes you one step further into the journey. What I have enjoyed most so far is how Filkins' fingerstyle sounds like more than one person playing.
“Purpose” is a meaningful word. It’s a mover, something with energy. The guitar would need to reflect that flow of thought, and it does so quite nicely. There are moments when you pause to hear how one tempo overlaps the other. Crisp note fluctuations and the underlying bass tone for support complete it. Just guitar, and it's all covered.
“Leelanau Lullaby” has a sound you'd expect when you add strings to the guitar's transitory nature so prevalent in each composition. A lot is going on here for a lullaby, and musically speaking, it ends up being one of the most colorful and lovely tracks.
“Joie De Vivre” is a French phrase often used in English to express a cheerful enjoyment of life, an exultation of spirit, and general happiness. The lighthearted guitar says it all, with the strings echoing that sentiment perfectly. The energy level and tempo are medium, and the guitar playing, as it has been consistently, is poignant and measured, delivering the intended message.
“Witch Hazel” carries a flowing rhythm, with the picking as the bass strings hum below the sharper notes. Kind of a smooth jazz feel on this one, very nice.
“Arboreal Glen” closes out with emphasis coming in at 4:10. The whistle takes its place as a main instrument, following the picking and strumming of the acoustic guitar. Its significance cannot be overstated here, as it adds a layer that helps tell the story. With its nature theme and distinct new-age vibe, this music is enjoyable to listen to and take in, or it can support a more relaxed, meditative state you are seeking. Either way, the recording shows the guitar's flexibility in the capable hands of an artist like James Filkins.
Dog Eared Days elevates James Filkins' acoustic guitar artistry to new heights, offering a dynamic and engaging listening experience for both musicians and fans. Each track reveals a fresh facet of the instrument's expressive range, making the album a rewarding journey from start to finish.
MUSICIANS:
James Filkins-Guitar All Tracks
Stephen Wake – Lead Guitar(1)
Katie Larson –Cello (3,9)
Sav Madigan – Violin (3,9)
Christina Karakos –Viola (9)
Zak Leger – Whistles and Accordion (4)
Michael Manring –Fretless Bass & Ebow (6)
Jeff Haynes – Percussion (7)
Luis Vilca - Flute (7)
Aaron Dolan – Whistle (13)
Alice Roberts – Harp (12)
Tommy Berre – Nylon String Guitar (10)
Keith “MuzikMan”
Hannaleck-NAMR Founder
September 4, 2026
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