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Philadelphia City Paper - Top Philadelphia CDs 2003

Having previously revealed hook-laden, lo-fi fixations on their favorite old sounds -- the Stones' blues bluster, XTC's harmony-filled art-pop and the squalid garage primitivism of The Velvets ---- singer/songwriter Shai Halperin and the rest of the Cap Years unleashed the "60s-So-Cal-psy-C&W"-sounding Pussyfootin. It'd be easy to say the CD, recorded in 2000 and '01, simply reveals a softer side, what with its loose-structured tunes filled with slide guitars, swirling acoustics and cooing harmonies. But the ragged grunginess of its production and intent keeps Pussyfootin's most beautiful melodies hard and stark.
- A.D.A.
 
Babysue.com

The missing piece of the puzzle is, perhaps, the best of the puzzle pieces. Up until this point, The Capitol Years' short but illuminated career yielded but two releases (Meet Yr Acres & Jewelry Store EP). Pussyfootin' was, for the most part, recorded in between the two but never officially released. Very interesting...because this is where some of the band's meatiest tunes reside. Subtlety is the key here...with most of the tunes resonating with a folky feel that is particularly appealing. [... ] But even more importantly...these tunes make it clear that this man is truly a songwriter to be reckoned with for many years to come. This album is chock full of fantastic little gems. Particularly entertaining cuts include "Old Crow," "It's the Law," "Tumbleweed Prayer," "Here Comes..." (possibly the band's best song yet), and "Talk Walk." We've been entertained by The Capitol Years in the past...but Pussyfootin completely blows us away... Highly recommended.
(Rating: 5++)

Lost at Sea

When Bob Dylan went electric, dogmatic folkies considered it tantamount to treason. Shai Halperin can breathe easy. Nobody’s going to hang him for unplugging his amps to record an album of weary, dust-caked acoustic folk-rock reminiscent of George Harrison’s solo material or Tom Petty’s Wildflowers. Still, Pussyfootin’ takes some getting used to, especially for those who love the raw, buzz-saw guitars and scruffy melodies of The Capitol Years’ 2001 debut Meet Yr Acres and 2003’s Jewelry Store EP.

Full of wistful, yearning melodies that sway like hay fields blowin’ in the wind, Pussyfootin’ is The Capitol Years’ so-called "lost" album; bootlegged copies of it have been circulating among the band’s hardcore fans for some time now. Recorded during the down time between release dates for Meet Yr Acres and Jewelry Store, Pussyfootin’ sees Halperin blowing the joint of his hometown, Philadelphia, to drive down folk’s parched back roads. The scenery is lovely, from lush vocal harmonies to the acoustic brush strokes of "Old Crow" to the intricate finger picking and brushed drums of "Sloppy Train", which give warning of an approaching locomotive coming ‘round the bend. Asthmatic harmonica wheezes throughout the sepia-toned "It’s The Law" and "There’s A Bridge," a fun bit of sprightly finger picking encouraged by a distant cowboy yelling "yee haw" as he fades from earshot. "Those Who Suck Will Blow" veers into Guided By Voices territory; with its obfuscated lyrics, blurred vocals and lo-fi acoustic melody, it could be a transmission from GBV’s Alien Lanes.

Embryonic versions of Meet Yr Acres’ "Faces And Beer" and the Traveling Wilburys-ish "Here Comes..." are included on Pussyfootin’, along with "Tumbleweed Prayer", which sounds like Depression-era folk from that would-be killer of fascism, Woody Guthrie. Austin, Texas musician Mike Taylor actually wrote the song; The Capitol Years collaborated cross-country with him on the version that appears on Pussyfootin’, adding only instrumentation and harmonies to a hand-held recording of the original.

There will never be another Dark Horse. Harrison was a singular songwriting talent responsible for some of the greatest songs in The Beatles’ catalog. But Halperin’s gift for 12- and 6-string acoustic melodies is unmistakable. If there’s ever a Wilburys’ reunion, the boys should give Halperin a call. He’s probably in the book.
(Rating: 8/10)

Entertainment Today

A cliché can be a valuable commandment. The third time, for instance, is my definitive charm. If you're the Department of Water and Power, you'll get your check from me after the third bill. If you're a rock and roller, it will take not one, not two, but three gosh-wow albums for me to add you to my pantheon of favorites. Membership can be revoked at any time (ask Liz Phair), but with Pussyfootin, The Capitol Years pay their dues and show every sign of sticking around for a long while.
Frontman/songwriter Shai Halperin is a major talent who very subtly commands an impressive range of quirk, mood and musical influence. Billed a 'lost album,' having been recorded in between their first two, Pussyfootin eschews the eclecticism of 2000's Meet Yr Acres and the balls-out guitar strut of last year's Jewelry Store for meditative songs steeped in the traditions of folk and haunted country ballads. A brilliant first half is followed by alternate versions of Here Comes...and Faces and Beer, probably the band's best song to date from Meet Yr Acres. Pussyfootin ends on a high note as Halperin's playfully come-hither lyrics on Talk Walk recall the young Bob Dylan. It seems to be only a matter of time before The Capitol Years walk the indie-to-major road. In the meantime, you'll probably only find this unearthed gem at www.capitolyears.com or during the band's next trip through L.A.

ErasingClouds.com

The Capitol Years' Pussyfootin is miles removed in style and demeanor from their recent full-band Jewelry Store EP, a rocked-up mini-extravaganza. Recorded in 2000, before the EP, but just released now, Pussyfootin is a trip backwards in terms of chronology and a longer trip back in terms of musical tradition. It sounds like Capitol Years singer/guitarist Shai Halperin, who at the time was the whole band, holed up in his home in Philadelphia to write and record some old-fashioned country-folk songs. A photo inside the cover shows a handful of old harmonicas laid out side by side; on the album he puts them to good use, along with an acoustic guitar and his rugged but expressive voice. Reminiscent at various times of Bob Dylan, Woody Guthrie and the more recent, similar time-trips taken by ex-Mice frontman Bill Fox, Pussyfootin''s songs feel both old and new; he's tripping through a traditional song style, but the album has a force and sense of presence that makes you feel like you're there. It shares an immediacy and impact with The Capitol Years' recent arena rock songs, even though there's an expanse between them in terms of mood. This is a low-light, late-night-by-yourself album of low-key but haunting songs to fill the empty spaces with. That said, there's traces of both Mick Jagger and Bob Pollard in Halperin's voice on "Those Who Suck Will Blow," and several songs bear a hazy trace of psychedelia that make the album feel like a dream. But even with the predominant folk sound, it never feels like a rocker putting on a musical Halloween costume--these are still honest, raw, affecting songs.
 
Philadelphia Weekly

Anyone familiar with the Capitol Years' furious onstage energy will be surprised by the considerable restraint of Pussyfootin', the Philadelphia band's new "lost album." In the midst of budding from Shai Halperin's four-track project, the Capitol Years experienced a twangy, lethargic spell that was well out of its system by the time the rollicking, nationally praised Jewelry Store EP was recorded. While Pussyfootin' doesn't even feel like the same band--what with those harmonica-kissed, dust-blown ballad-it's an alluring record in its own right. Plus, the quiet power of Halperin's songwriting weirdly informs the twin-guitar anthems that would follow. (Doug Wallen)
 
indieworkshop.com

Pussyfootin is the missing link. Like the half man, half ape those evolutionists Boyd and Richerson have been trying so hard to prove exists. This new “joint” from The Capitol Years is the much-loved bootleg come to life. Diehards of the band will welcome the high fidelity and cover art. New fans will glimpse a stripped down sound that harkens Mellotron, jaded acoustic guitar and something Wes Anderson should put in a movie of his.

This is a loose collection of recordings that fall in place right before their breakthrough, Jewelry Store EP. I found it fascinating and completely visceral from the first listen. I was captured, for use of a better term. It’s the seasons here in the Midwest that leads me to lean on the mellow side when the days get short and nights extra long. Yet, “Tumbleweed Prayer”, a cross-country collaboration for the band, sets a front porch, lemonade sippin’ mood on ya. Makes me want to pull out the lawn darts and have at it! So one minute, it’s whiskey and a smoke, the next it’s dancing around the Maypole. Ok, those are a little extreme, but with out much stylistic change these are the places this release can take you. Subtle yet refined songwriting makes subconscious transitions that remain undiscovered till you’re already there.

Songwriter Shai Halperin captures essence and futility in a graceful and grumbly way. Discontent and doubt are subject matters along with cigarettes and drinking. All the bases are covered then, shall we assume? Less we forget that one man and a guitar can start a revolution. The revolution here is that of the CD that’s been spinning in my player for a week straight. Not the revolution you’re looking for, too bad, you’re going to miss out.

There are stripped down versions of “Faces and Beer” and “Here Comes…” from Meet Yr Acres which long time fans can eat up. Don’t forget a biscuit to sop up some of that sauce cause the record’s overflowing. Distant harmonies, limited percussion, bluesy hooks are all keepers. The conceptual twists and turns of The Capitol Year’s records keep the listener on their toes but the undercurrent of melody, harmony and songwriting is the distinct mark of this band.

In Music We Trust

Philadelphia-based garage-rock band The Capitol Years, lead by singer-songwriter Shai Halperin, recorded Pussyfootin between 2000-2001. But, they kept it under wraps, preferring to focus on their rock songs. However, established as a rock band, including a rave review from Rolling Stone, The Capitol Years felt it was time to show their other side.

Pussyfootin is that other side, their folk-based, rootsy-country side. Stripped away are the loud guitars, the noise, and the energy. In their place comes a relaxed vibe, a gentle demeanor, and an easy-going, carefree style that lingers long after the record is finished.

Sounding as if it was recorded on a porch in the summertime while the band drank and had fun. Pussyfootin is the quiet side to the band known for noise, and it is a welcomed departure, allowing Halperin and his crew to show off their chops, and prove they're just another rock and. They're a band with dimensions and history, and know their music. It just goes to show this band is capable of doing whatever they want.