In The Groove EP.7: Jake Xerxes Fussell - What in the Natural World
G’day – I’m Garrick from Studio 1 Vintage Guitars. Welcome to another instalment of In The Groove, brought to you in conjunction with our good friends over at OnVinyl.co.nz. This week we’re exploring What in the Natural World by Jake Xerxes Fussell—a modern troubadour who’s redefining traditional American folk music for a contemporary audience. This is an album I’ve listened to a lot, especially during the COVID lockdown period, and with a young child in the house it has become quite formative. There’s something incredibly soothing—almost lullaby-like—about these songs. When you watch videos of Fussell performing, you see what a chilled-out entertainer he is, riding the rhythm with his foot tapping, cycling through fingerstyle guitar arrangements, and singing these old tunes. His music just vibes. Fussell is something of an ethnomusicologist—a historian of old folk songs. His father catalogued various folk traditions, ranging from blues music to basket weaving, and it’s through this lens that Fussell has curated a vast collection of traditional tunes from America and Europe. When he reinvigorates these songs, they remain faithful to the original lyrics and musical forms, yet they are infused with a fresh, urgent energy that makes them feel entirely relevant and current. What in the Natural World is Fussell's second album and the production is deliberately minimalistic, focusing on capturing the raw, natural sound of Fussell’s voice and guitar. Recorded with an emphasis on authenticity, the album’s sound is as close to a live performance as you can get—no frills, just pure, unfiltered music. He plays a 1976 vintage Fender Telecaster with an ash body through a Fender Deluxe Reverb, giving his music that warm, resonant tone with a sometimes electrifying stab from a well-placed note on a hot pickup. The opening, and one of the standout tracks on the album, is “Jump for Joy,” a reimagined version of Duke Ellington’s rebellious song released in 1941. Originally a bold statement of emancipation during a time of racial segregation, Fussell’s version is stripped back, yet it retains the song’s powerful message. With his laid-back vocal delivery and fluid fingerpicking, Fussell infuses the song with a folk-inspired feel, highlighting its timeless relevance. The chord progression is interesting, jumping from C to Em, Am, F, C, D7, G, G7 before leaping up the fretboard to play descending triads back down the neck. Next up is a track that has captivated a lot of listeners, “Have You Ever Seen Peaches Growing on a Sweet Potato Vine." On the surface, it seems to ask a profound existential question about botany—like asking if pigs can fly, or as Marcus Aurelius the Roman Emperor claimed - To look for a fresh fig in winter is the act of a madman. When this song was written, they clearly didn’t know about genetic modification just caught the news this week that New Zealand is deregulating gene editing, so who knows? Maybe over at Zespri—the overlords of New Zealand’s kiwifruit production, there's a mad scientist who might be up for this sort of challenge. But I digress… The song is actually about unrequited love. It’s about falling in love with someone you can’t ever have—another man’s woman whom the protagonist loves, all the while being trapped in a relationship with a big-legged woman who’s literally holding him down. Marcus Aurelius was right - it's enough to drive a man to madness, and there's a sense of this at the fore in the lyrics. Fussell’s connection to this song runs deep. His father worked alongside the documentarian, who recorded Jimmy Lee Williams’ 1977 version - which you can check out on various streaming platforms. Fussell’s rendition of "Peaches" stretches out to just over six minutes, carried by a serene, droning quality that could easily sustain it for hours. His take on the song is softer than Williams’ electric original, with a buoyant, unbroken flow - like a buddhist monk endlessly circumambulating an ancient temple contemplating the path to nirvana. The song is played in traditional Vestapol (or Open D) and Capo'd up at the 2nd fret. Originally a European tuning popular in the Victorian era, it became a staple among blues legends like Elizabeth Cotten, Charlie Patton, Blind Willie Johnson, Mississippi John Hurt, and Robert Johnson. I wanted to learn this track for a while, and because I couldn’t find any tab for the track, we’ve worked it out from one of Fussell's live solo sessions and made it available for download on our website—check it out here. What in the Natural World is more than just an album—it’s a journey through the landscapes of American folk music, brought to life by an artist who deeply respects and understands the traditions he’s working within. Jake Xerxes Fussell has crafted a record that is both a tribute to the past and a vibrant, living piece of art that resonates with today’s listeners. Whether you’re a fan of folk, blues, or country, or simply appreciate beautifully crafted acoustic music, this album is a must-listen. Be sure to check out What in the Natural World at Studio 1 Vintage Guitars and OnVinyl.co.nz, and stay tuned for more deep dives into the music we love.