ACROSS THE BORDER
Where the banned are
Selected by @Walkerinthesun
Pleased to hear you’re enjoying it Scott.
If you’re ready to be heartbroken give ‘No.5 Hurricane’, a listen. From the ‘Sweet Kind Of Blue‘ album, but there’s also an excellent solo recording available too.
Loved it. Seemed a tad more country than the Murmuration album—which itself had more than a bit of country, of course—but the bridge reminded me of Jackson Browne, musically, for some reason. Which, again: awesome.
Never even heard of Emily Barker, much less heard her music. But I'm halfway through and utterly enchanted. As others said, she's got a certain Nick Drake vibe, but with the occasional chord change that feels more Joni Mitchell than Drake. And while her vocals can get more assertive than Drake ever seemed to, she's got a certain whispery, mysterious quality that harkens back to him--and for me, that's nothing but wonderful.
I'm absolutely loving this, and so glad you introduced her to me.
Even more reason to love Emily Barker. I’ve asked her to put a couple of signed bags to one side for me at the Stroud show this Saturday.
You doing anything Saturday night @whispered secret ? Ridiculously, considering its a(n adopted) home-town gig, there are still tickets available. Treat Mr J!
I would love to, but sadly I am helping on the bar at a local theatre. I hope you enjoy it.
I think I could fall in love with this album/artist but life's a tad hectic just now and the scope for leisurely listening just isn't there.
I'd like to sit down and imbibe this uninterrupted, undisturbed with a glass of something.........opportunity has not yet arisen.
I've been occupied lately writing my Springsteen 2016 reviews, so haven't been able to properly play this, or the Killers album. Sorry about that. I'll make sure I get both listened to this week, I think I need to because I believe I'm up next week?
@klavallee next, then you.
This is not a critique, I believe it's the opposite... And it"s probably me, my listening habits or caprice, but some musicians are only digestible in small doses. I think the reason is intensity, which can be of different sorts.
They demand a pause and a deep breath after an album is finished. She is one of them.
Yeah, I can understand that response to intensity. However I tend to jump back in over and over, especially if there is lyrical complexity: Rough & Rowdy Ways being a recent example. I need to orientate myself in some way, build familiarity.
Different strokes for different folks I guess.
Need to find my ‘phones and Mojo amp to play music off my iPhone. All this talk about the record is killing me. No immediate prospect of getting the full hi-fi rig up and running……
That 4 track covers ep came out as an early RSD release, 2013 or 14 I think. Tracked down a mint copy eventually, but they seem to be pretty thin on the ground. Black discs sound so much nicer!
Was listening to Shadow Box yesterday. She covers one of my favourite Tom Waits songs.
For those unfamiliar with the brilliant, spine tingling original:
I listened to most of Shadow Box this morning.
The guitar melody on Strange Weather reminds me very much of Steve Earle's Ft. Worth Blues.
It's tough for me to pluck a few favorites from this album, because I love it as a whole from first track to last.
I would put The Woman Who Planted Trees, Machine and Strange Weather on a playlist if I could only choose three songs.
I’m really pleased you guys are enjoying this, whether for the 1st time or on a return visit.
It‘s a record that, for me, acknowledges its roots in folk, addresses themes of belonging, home and identity, and is unafraid to place these in the context of wider environmental and political concerns that are very much of the moment.
Fabulous vocal performances, sparse but effective instrumentation and superb songwriting throughout. The recording is immaculate too, close-miked and intimate, which suits the material to a ‘t’. (Does anyone else get a buzz from something as simple as the drawing of a deep breath before Return Me begins?) Vinyl pressing by Optimal is spot-on too.
Tough to pick out a favourite track, as the quality is so consistently high. Sonogram intrigues and puzzles by turn, Geography perhaps, but probably the outlier musically: Machine. Perhaps that’s why I am drawn back to it - it is so at odds within its setting which only serves to make it all the more powerful. The 3 version ep of this song is an essential companion, as Steve suggests.
First gig after C19 restrictions started to lift was EB & her husband Lucas Drinkwater in a tiny hall in Newbury. Couldn’t have been more than 50 folks there and it was outstanding. Drew heavily on this record, with a sprinkling of earlier material. If you’ve enjoyed it and you have a chance to catch a live show please don’t pass it by.
Anyone seen @Bosstralian recently? I’m curious as to how well known EB is in her native Oz.
There is an EP of the track Machine which includes an alternate version and a solo acapella version that is pretty damn brilliant.
Top recommendation from Steve. I was going to mention that in my next instalment.
I hope one day you hear the acapella version live mate. It was one of ‘those’ live music moments that you know you will never forget. Staggeringly good.