Music

Album Review: Soccer Mommy – Clean (2018, Fat Possum)

Posted on by halley in Albums | Leave a comment

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“I choose to blame it all on you/’Cause I don’t like the truth.” Oh.girl. Say no more.

While Sophie Allison, aka Soccer Mommy, confirms her genius in these words alone she does say more – much more – and much more that is great in her latest album Clean. Clean will calm, empower, befuddle, and enlighten you. It is somewhere between a journal, a manifesto, and an unexpectedly delightful “thinking about you” card in the mail from a long-lost friend.

Allison’s wisdom-filled lyrics and growing success is all the more impressive due to her DIY-approach to music and her young young age (only 20!). She garnered attention on Bandcamp based on her own recordings – specifically the self-released hit “Songs for the Recently Sad.” Allison’s precocious achievements lead to an album deal in 2017 that has propelled her even further down the path of commercial success.

But Allison’s foray into the mainstream limelight has done nothing to compromise her commitment to authentic, soul-searching tunes. Clean has so many strong tracks it’s difficult to decide which ones to highlight (ahem – just listen to it – ahem)… but if you insist: “Your Dog”, “Scorpio Rising” and “Wildflowers” rock my socks.

Bonus: she’s touring! Check her out online, in person, any way you can.

The Lost Art Of Liner Notes: Country Chart-Busters Volume 5 (1974, Columbia Records)

Posted on by Paul in Albums, Classic Albums | Leave a comment

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After a lengthy break from writing about liner notes written on the back covers of random old LPs, our Lost Art of Liner Notes series returns as I make my way through a bounty of ten cent records I acquired on a recent record shopping expedition.

Today we take a look at a record which featured a minimal amount of liner notes – the fifth edition of a country music compilation series entitled Country Chart-Busters. So why write about the liner notes when they don’t really say that much, you may ask? Well folks, they do say that a picture is worth a thousand words but for the picture that accompanies the liner notes on the back cover of this album … well, really there are no words. See for yourself:
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Can’t sleep … clown will eat me.

Why someone though it would be a good idea to include a grainy photo of some creepy-as-hell clown on a collection of country hits I have no idea. While the front cover is a jovial, old timey depiction of three country musicians somehow managing to ride a horse simultaneously while standing up and holding guitars, the back cover is pure nightmare fuel from way out of left field. Is he supposed to be a rodeo clown or is he some ghoul who will murder you in your sleep while the sounds of Johnny Paycheck and Barbara Mandrell play softly in the background? Or worse yet, is he Crazy Joe Davola?

Anyways, read the liner notes below while trying to figure out who thought this was a good design idea and whether they got to keep their job after this was released. And then try to scrub this horrific image from your memory forever. The sweet sounds of Lynn Anderson may help in that regard.

The most amazing thing about Country Chart-Busters, Vol. V is that all of these songs are on one album. ten of the biggest stars in the World of Country performing the classics that have made country music what it is today. Songs like “Kids Say The Darndest Things” by Country Queen Tammy Wynette, Lynn Anderson’s “Fool Me” and “Nice ‘N’ Easy” by the fastest rising star in country music, Charlie Rich. Stars like Sonny James, Freddy Weller, Connie Smith, Barbara Mandrell, Jody Miller, David Houston and Johnny Paycheck make Country Chart-Busters Vol. V an album worth writing home about. There’s only one way you’ll ever hear such amazing talent performing material of such outstanding caliber and you’re holding it in your hands.

SxSW Review: Gordi, March 16, Blackheart

Posted on by Gary in Music, Reviews, South By Southwest | Leave a comment

Gordi, March 16, 2018

Listening to the demo from Sophie Payten, AKA Gordi, you may jump to the conclusion that Gordi relies on a lot of voice modulations and overlay. And you may then surmise she was trying to cover something with technology. I am glad that I was of course completely wrong on this count. Having listened to her live, one would have to be a deaf, luddite curmudgeon to insist otherwise.

While not a soprano that would wow at first blare, her contra-alto is forthright and firm. Coupled with similarly solid and varied songwriting and a slightly stern yet forgiving stage presence, her performance at Blackheart was a convincingly complete package. I daresay no one expected to be transfixed in a sandy pit as she worked through most of the tracks from her 2017 album Reservoir. And yet there we were, fighting the oddly melancholy and triumphant melody with what lingered from the last. If that is what she can do with an outdoor set for 80 people at 5pm over a not insignificant hint of refuse wafting through the air from the adjacent apartment, imagine what she could sound like in the Presbyterian or Moody Theater.

I find “Can We Work It Out” and “Bitter End” to be two stand-outs. Check out the “Bitter End” video for some normal feelings – I find it comforting that these feelings still resonate with 24 year olds in this day and age.

SxSW Review: SYML, Low, March 13, St. David’s Sanctuary

Posted on by Gary in Everything, Music, Reviews, South By Southwest | Leave a comment

SYML, March 13 2018

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After overcoming some sound interference troubles, Brian Fennell (formerly of the indie rock band Barcelona) quickly began in the church pulpit as SYML, which means simple in Welsh. Just as the name implied, it would turn out to be a straightforward singer-songwriter concert that has come to be St. David’s Sanctuary’s signature.

Over the years, it has also become clear that if you can’t sing, St. David’s is not a place to showcase your talents. SYML is, fortunately, not in that latter category. While I find it a bit distracting to have the cello and violin backing to his one man show, there was little hestitation in his delivery for passages. That said, the songwriting itself isn’t always clearly original. It isn’t hard to see that the opening of “Ghosts” neatly paraphrased Coldplay’s “In My Place.” While refreshing, his “Mr. Sandman” cover was not just a little creepy, and self-admittedly so. The lyrics were twisted into a lament about loneliness that might make Tim Burton jump. Even with all its idiosyncracies, this is still a first-rate set, ending with the promotional piece “Where’s My Love.” I would recommend the above tracks as well as “Wildfire.”

Low
If the previous set was “simple”, Low’s performance is its quantum entangled pair. How can we put more symbolism into a show? “I know! Let’s have two stern-faced, practicing Mormons sing nearly monotonic verses against a backdrop of ascending drum beats for 40 minutes in a dimly lit church, and conspicuously display their drinking of red soda and chomping of apples. That way, no one will think we were being serious!”

To be fair, Low has had a long career of minimalist excellence. It’s really not surprising that they managed to make the seemingly simple and monotonic music beautiful. And to be honest, it was a completely different experience if you were willing to stay the course. Problem was, it did not engender that will in most of the audience on this night. If St. David’s Sanctuary monitored their doors, they would have registered the exodus in between every track played. It was rare to see a concert hemorrhage audience throughout. I think a masochist mindset definitely came to the fore – and many just wanted to derive some type of reward having stayed with the performance. And as if they understood implicitly, Low did eventually open up the format for a number of more flowing pieces.

As for me, I felt like I had been party to some ritual to which I did not submit, but perhaps I did sign up for it. After all, SxSW is about getting a dose of the weird.

Low, March 13, 2018

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