Muruch

In anticipation of their upcoming acoustic tour of the U.S., Irish band Bell X1 is offering a series of tracks from a new digital Acoustic EP (which you can hear at Reverb Nation). The first mp3 is a live, acoustic rendition of “The Great Defector” from their Blue Lights on the Runway album. You can download the mp3 and check out their tour dates below. The live shows will include songs from the band’s entire catalogue and some new tunes from their forthcoming 2011 full-length album.

Bell X1 – The Great Defector (live)(mp3)*

*mp3 provided by & posted w/ permission of Yep Roc Records

Bell X1 2010 Acoustic Tour Dates:

10/6 Philadelphia, PA@ Tin Angel
10/7 New York, NY @ Le Poisson Rouge
10/8 Cambridge, MA @ Brattle Theater
10/9 Northampton, MA @ Iron Horse Music Hall
10/11 Ann Arbor, MI @ The Ark
10/12 Toronto, ON @ The Drake Hotel
10/14 Chicago, IL @ Schuba’s
10/15 Louisville, KY @ Zanzabar
10/16 Pittsburgh, PA @ Club Café
10/17 Vienna, VA @ Jammin’ Java
10/20 Los Angeles, CA @Hotel Café
10/21 San Francisco, CA @ Swedish American Hall

Buy @ Amazon

The following cover of Bo Diddley’s “I’m A Man” is a brilliant churn of noisy garage rock and blistering harmonica blues by L.A. band The Morlocks. The Morlock’s new album The Morlocks Play Chess features covers of twelve songs originally released by classic blues label Chess Records – home to such legends as Chuck Berry, Bo Diddley, Buddy Guy, Howlin’ Wolf, Etta James, John Lee Hooker, and Muddy Waters. The album will be released on August 24th.

The Morlocks – I’m A Man (mp3 removed)*

*mp3 provided by & posted w/ permission of band’s PR rep

You can also stream the entire album at the label’s site. I especially like their funky rendition of Chuck Berry’s “You Never Can Tell.”

The album is not yet available for purchase, but should be at the links below closer to the release date…

Pre-order @ Amazon

The Morlocks MySpace

Ukranian singer Lana Mir will release her self-titled debut on August 24th. I would’ve liked the album anyway, but it was truly a breath of fresh air after hearing another atrocious promo (which shall remain nameless, but was described in its press release as “psychedelic folk and speed rapping”)! But I digress. Lana Mir has a smooth, warm voice and the music on her album is mostly airy, mellow acoustic pop with occasional hints of jazz and bossa nova. The centerpiece is a trippy cover of Stone Roses’ “I Wanna Be Adored.”

Lana Mir – I Wanna Be Adored (mp3 removed)*

*mp3 provided by & posted w/ permission of artist’s PR rep on behalf of label

Buy @ Amazon

Lana Mir MySpace

I never thought of the harp as a versatile instrument until now. Even in classical music, the harp often seems to be used more for embellishment within an orchestra rather than as the focal point of an arrangement. Canadian harpist Valérie Milot showcases the hidden depths of this celestrial instrument on her exquisite new album Revelation. This lovely collection includes works by Dieudonné–Félix Godefroid, Henriette Renié, Carlos Salzedo, Maurice Ravel, and a work composed specifically for Valérie Milot by her former teacher, Caroline Lizotte. It is a serene and beautiful album.

I was not granted permission to share an mp3, but you can hear samples of each track at the links below…

Buy @ Amazon

Valérie Milot Official Site
Valérie Milot MySpace

Provenance is the fifth solo album by cellist Maya Beiser. If Maya’s name isn’t familiar, her cello is. Maya played on the soundtracks to M. Night Shyamalan’s The Happening, Denzel Washington’s The Great Debaters, and Edward Zwick’s Blood Diamond. Maya’s own multi-cultural collection Provenance features an exotic array of compositions from Armenia, Iran, Israel, and America. The album took its inspiration from the co-existence of Muslim, Christian, and Jewish art and culture during medieval Spain’s Golden Age.

Provenance opens with the four-movement “I Was There” by Iranian composer Kayhah Kalhor, which is based on a melody by legendary Kurdish poet-musician Ziryab. The arrangement and instrumentation have a darkly evocative and rhythmic flow about them.

The deep, mournful bellow of Maya’s cello ushers in Armenian composer Djivan Gasparian’s somber two-part “Memories.”

The powerful voice of Etty Ben-Zaken stands alone for the haunting acapella intro to “Mar de Leche” before Maya and her band delicately began to play its beautiful, intricate melody. The four-movement piece by Israel’s Tamar Muskal sets an ancient Ladino (Hebrew-Spanish) love song to a contemporary arrangement.

A thunderous, swaying instrumental rendition of Led Zeppelin’s “Kashmir” closes the album. You have to love a classical artist who covers Zep.

I was not granted permission to share an mp3, but you can hear samples at the links below.

Buy @ Amazon

Maya Beiser Official Site

Cover albums are very tricky projects to undertake, as Wreckless Eric & Amy Rigby’s new album Two-Way Family Favourites clearly shows. The duo is comprised of singer-songwriter Wreckless Eric (a.k.a. Eric Goulden) – best known for his 1977 Stiff Records single “(I’d Go The) Whole Wide World” – and his singer-songwriter wife Amy Rigby (a.k.a. Amelia McMahon). He’s British, she’s American, and they live in France. Their sound is a mix of low-fi pop and quirky acoustic folk with dualing male/female vocals. Two-Way Family Favourites is their sophomore release, and features interpretations of classic songs by Tom Petty, Abba, and the Beach Boys among many others.

This is one of those albums that I initially loved, but subsequent listens revealed one major flaw – a terrible lack of variety.

The good news is that Eric & Amy’s mellow, bare bones approach and off-kilter harmonies work beautifully on their lovely renditions of Jackie DeShannon’s “Put A Little Love In Your Heart,” Abba’s “Fernando,” and The Beach Boys’ “In My Room.” And their tender rendering of Tom Petty’s “Walls” is especially lovely.

Unfortunately, they weakened the rest of this diverse selection of melodies with identical, lackluster arrangements. Coupled with their signature drowsy vocals, this results in an overall impression of monotony. So I’d definitely recommend the aforementioned individual tracks, but listening to the album as a whole just may put you to sleep.

I was not granted permission to share an mp3 (cover songs almost always have too many licensing issues to be offered as legal mp3s), but you can hear samples at the links below…

Buy Mp3s @ Amazon

Wreckless Eric Official Site
Amy Rigby Official Site
Wreckless Eric & Amy Rigby MySpace

The Wailing Wall – Song to the Siren (mp3 zip file)*

The Wailing Wall (a.k.a. Jesse Rifkin) gives a lovely, very respectful rendition of this classic by folk singer-songwriter Tim Buckley – for the younger kids, Tim was Jeff Buckley’s dad. The Wailing Wall’s new album The Low Hanging Fruit will be released on June 4th.

Buy @ Amazon

*mp3 hosted by & posted w/ permission of artist’s PR rep

******************************

Wilson’s Reservoir – Bullets (mp3)*

Raw, bluesy Americana from Wilson’s Reservoir’s new self-titled album, to be released June 25th.

Pre-order @ Amazon

*mp3 hosted by & posted w/ permission of artist’s PR rep

******************************

Colour Revolt – Our Names (mp3)*

Gently soaring rock from Colour Revolt’s sophomore album The Cradle, to be released August 10th.

Pre-order @ Amazon (not yet available)

*mp3 hosted by & posted w/ permission of band’s PR rep

I first posted a song from Sing Me To Sleep: Indie Lullabies in January, and recently received the gorgeous limited first edition from indie label American Laundromat Records. The compilation benefits the non-profit childrens’ charity The Valerie Fund, and features a wide variety of charming, serene covers by various indie acts – including Stars, Jenny Owen Youngs, The Real Tuesday Weld, Dean & Britta, O+S, Tanya Donelly, Trespassers William, and Laura Gibson. Sing Me To Sleep will be released on May 18th.

The entire Sing Me To Sleep album flows together to create a lovely, gentle mood. Though the soft arrangements fit well with the “indie lullabies” theme, these are songs originally recorded and just as enjoyable for adults.

Some of the highlights are: a pretty, femme transformation of The Smiths’ “Asleep” by Stars, The Real Tuesday Weld’s crackling “Little Boxes” (originally recorded by Malvina Reynolds and used more recently as the theme for Weeds), an eerie take on The Beatles’ “Dear Prudence” by Ohbijou’s Casey Mecija, Dala’s languid cover of “Dream a Little Dream of Me,” Telekinesis’ haunting version of ELO’s “Can’t Get It Out of My Head,” and former Belly frontwoman Tanya Donelly’s jazzy croon of “Moon River.”

Snowbird’s stunning rendering of “The North Wind Doth Blow” is my absolute favorite track and is one of the few that was actually a nursery rhyme, but there isn’t one song on the disc that I feel compelled to skip.

Sing Me To Sleep‘s quiet mood could certainly lull you to sleep, but then you’d miss some of the most beautiful covers ever recorded.

The limited edition first pressing includes several bonus tracks, including a somewhat creepy cover of “You Are My Sunshine” by Peter Broderick, an atmospheric cover of Don Henley’s “Boys of Summer” by Papercuts, and Laura Gibson’s signature low-fi style on Rodgers & Hammerstein’s “Edelweiss.”

Dean & Britta – Making Me Smile (mp3) *

*mp3 hosted by & posted w/ permission of label

You purchase the limited first edition (w/ alternative artwork, bonus tracks, bonus 7″ vinyl, free digital download, promo pins, poster & more) at the American Laundromat Records, and the regular CD is available at Amazon…

Pre-order 1st Edition @ Label

Buy @ Amazon

Allison Crowe‘s new CD Spiral finally arrived! I posted mp3s from it last November and last month, and the entire album was released digitally on March 17th. But the physical release was delayed due to printing issues, so I didn’t receive my copy until this week. It was well worth the wait. Spiral is Allison Crowe’s best album since Live at Wood Hall (one of my Best of the Decade picks), and is possibly her best studio album ever.

I don’t know what is wrong with everyone,
but I guess I don’t even know what’s wrong with me,
& I won’t try to be judgemental, I won’t try to be holier-than-thou,
but I don’t get this & I’m not going to pretend I do.

Spiral is a prime example of why I will always prefer physical albums over digital ones. The beautiful gold and silver embossed cover has a lovely peacock painting by Tara Thelen. Cover art and liner notes enhance the listening experience, and mp3s can never capture a moment in time the way holding an album in your hands does. An old album can conjure up the same sense of nostalgia as a photograph.

Onto the music…Spiral opens on a somewhat lighter note. The twangy “Dearly” and “Double-Edged Sword” have a buoyant folk-pop style akin to Dar Williams. But the meat of the album is Allison’s voice and piano, both of which take a more prominent position in the third track.

Allison is probably best known for her astounding rendition of Leonard Cohen’s “Hallelujah,” which has become one of my favorite songs of all time. This time around, Allison tackles Cohen’s “Chelsea Hotel No. 2.” Her emotive vocal gives the usually sedate song a whole new sense of desperation.

Yet it’s the acoustic transformation of Annie Lennox’s “Why” that proves to be the album’s most captivating cover. Allison’s heartfelt voice drives the song with some help by a lovely, subdued string arrangement. The album includes two bonus alternative versions of “Why” and the album’s other cover of Hunters & Collectors’ “Throw Your Arms Around Me.”

The stand out track “I Don’t Know” is one of those Allison Crowe stunners. Her voice flawlessly flows between the most pristine soprano and gut-wrenching, full-bodied wails. Her intimate, emotional lyrics are layered over a soul-stirring piano melody.

The album’s title track is just as haunting, but has a more frenetic energy to the instrumentation. Allison’s frenzied piano playing is juxtaposed with fiercely low vocals that give the song a murky, seething mood. I bet it’s particularly chilling and spectacular live.

I hear so much music these days, too much for one person really. I’m inundated with such a flood of sounds both good and bad that I sometimes forget what it feels like when a song literally produces chills on your arms.

Then I hear Allison Crowe sing, and I remember the effect music is supposed to have on you. That awe-inspired rush, that indescribable feeling of communion between artist and audience. The gratitude that someone gifted has expressed through their art an emotion you personally lack the talent to articulate. To quote Allison: “Why music? Why breathing?“

Allison and her manager are exceptionally generous when it comes to sharing mp3s, so I have three free, legal mp3s from Spiral for you. Please support this extraordinary artist by purchasing her album at the links below.

Allison Crowe – I Don’t Know*
Allison Crowe – Oceans *
Allison Crowe – Going Home Tonight **

*mp3s posted w/ permission of artist’s manager
**mp3 hosted by & posted w/ permission of artist’s manager

Buy @ Amazon

Allison Crowe Official Site (Buy directly from artist)

Allison Crowe Reviews

The 5 Browns have an unfortunate band name and their new album In Hollywood has a very cheesy cover photo, but the music turned out to be terrific. The 5 Browns are a piano virtuoso quintet comprised of classically trained siblings from Utah. With In Hollywood, the family band transforms movie music into classical piano instrumentals with elements of jazz and pop.

From the amusingly buoyant yet still somewhat thunderous piano rendition of Darth Vader’s theme from Star Wars through a classical medley of Disney songs to the dramatic Hitchcock medley finale, most of the scores covered are from well known classic films. But also included are recent scores from Atonement, The Hours, and Catch Me If You Can.

My personal favorite is, of course, the Wizard of Oz medley.

I was not granted permission to share an mp3, but you can hear samples at the links below.

Buy @ Amazon

The 5 Browns Official Site

Remember Katharine McPhee? Not the post-American Idol pop princess that so many (including myself) dismissed, but the vivacious brunette with the big voice who wowed us with her original audition of “God Bless The Child.” Well, she’s not a brunette anymore, but she’s still got that voice and this time around she’s put it to very good use. Her sophomore album Unbroken was released in January, and features an excellent mix of infectious pop melodies and singer-songwriter acoustics. Katharine co-wrote several of the songs with such talented singer-songwriters as Paula Cole, Ingrid Michaelson, Jason Reeves, and Rachael Yamagata.

The album opens strong with “It’s Not Right,” which layers pretty multi-tracked vocals over a sprawling piano melody. The catchy refrain “Had It All” was written by American Idol judge Kara Diogardi, the album’s title track was penned by Paula Cole, and Katharine co-wrote “Keep Drivin’” with Rachael Yamagata.

“Surrender” is the stand out. Katharine co-wrote this nearly flawless pop ballad with singer-songwriter Ingrid Michaelson. It and the post-breakup anthem “Last Letter” are the kind of songs that used to make successful romantic movie soundtracks.

The production is a little too smooth for my taste at times, but otherwise this selection of songs is perfectly suited to Katharine’s elegant and tightly controlled vocals. Her multi-faceted voice effortlessly flows from impressive Divaesque acrobatics to a warmer, relaxed charm reminiscent of classic Carole King. Perhaps a better comparison would be Melanie, since the album closes with a fun cover of “Brand New Key.”

It’s a shame this wasn’t her debut. Judging from some of the bizarrely negative reviews I’ve seen, I fear her reality show past is deterring people from taking her music seriously now. But Unbroken is the kind of album that can make Katharine McPhee a true star if given the chance.

I was not granted permission to share an mp3, but you can hear samples at the links below.

Buy @ Amazon

Katharine McPhee Official Site
Katharine McPhee MySpace

Muruch and Filter Magazine are giving away a copy of The Bird & The Bee’s new CD Interpreting The Masters Volume 1: A Tribute To Daryl Hall And John Oates. You can read my review by clicking here and the contest details below.

The Prize:

One U.S. winner will receive:
1 copy of The Bird & The Bee’s new CD Interpreting The Masters Volume 1: A Tribute To Daryl Hall And John Oates

The Rules:

Comment to this entry with the name of your favorite guilty pleasure artist or your favorite cover (or both) and your email address. All new comments are moderated to avoid spam (which is why you must include the required text in your comment), so it may take a day for your comment to appear if you haven’t commented on Muruch before.

Note: This contest is only open to U.S. residents, and all contestants must enter with a valid email address and the name of the artist in order to qualify. The winner of the contest will also be required to provide me with their full name and postal address for shipping purposes.

The Deadline:

The contest will end on Friday, March 26th. The winner will be chosen at random and contacted via email.

Go now go! And tell others.

Album Review

Buy @ Amazon

The Bird & The Bee Official Site
The Bird & The Bee MySpace

The Bird & The Bee’s new album Interpreting The Masters Volume 1: A Tribute To Daryl Hall And John Oates will be released by Blue Note Records on March 23rd. The Bird & The Bee are singer Inara George and multi-instrumentalist/producer Greg Kurstin. Their tribute to 1980s pop icons Hall & Oates is no parody, instead this is a sincere and happy homage to one of my favorite guilty pleasure bands.

The opener “Heard It On The Radio” is the sole original on the album. Considering the concept, I think the song should have been placed at the end of the album. Regardless, the airy pop tune does go very well with the covers.

The selection of Hall & Oates covers includes pop hits like “I Can’t Go For That,” “Kiss On My List,” and “Maneater” (feat. Garbage’s Shirley Manson on backing vocals), but it’s the inclusion of “Rich Girl,” “Sara Smile,” and “She’s Gone” that proves the band’s songwriting talents were worthy of tribute.

“Sara Smile” has always been my personal favorite Hall & Oates song, and The Bird & The Bee do a superb job of capturing the sultry jazz tone of the original. And the clap happy true-to-original take of “Private Eyes” reminds me why the song was such a big radio hit in the ’80s.

As I said in my review of last year’s Ray Guns Are Not Just The Future, Inara George “possesses a lovely, effervescent voice that melts beautifully into the lightest of melodies.” While these are genuine odes to Hall & Oates, most of the songs have been reworked in The Bird & The Bee’s signature electro-pop style.

The Bird & The Bee’s Interpreting The Masters Volume 1: A Tribute To Daryl Hall And John Oates is the perfect soundtrack for summer. I only hope that The Bird & The Bee will record a tribute to Olivia Newton-John for Interpreting The Masters Volume 2.

I was not granted permission to share an mp3, but you’ll be able to hear samples at the links below closer to the release date…

Buy @ Amazon

The Bird & The Bee Official Site
The Bird & The Bee MySpace

If you watched this year’s Grammy Awards, then you’ve already seen and heard Irish singer Imelda May. Imelda was the spitfire who sang the “How High The Moon” tribute to Les Paul with guitarist Jeff Beck. The Dublin native’s album Love Tattoo features a similar retro rock-a-billy sound.

What sets Imelda apart from other rockabilly acts is her incorporation of traditional Irish and jazz instrumentation into her rocked out arrangements. Imelda herself plays bodhrán while her band members contribute trumpet, flugal horn, and piano.

The jazz influence is most apparent in the upbeat horns of “Feel Me” as well as Imelda’s sultry vocals in the torch songs “Knock 123″ and “Meet You at the Moon.”

The real driving force behind the album is unquestionably Imelda’s growl and those revved up guitars – such as in the sizzling opener “Johnny Got a Boom Boom,” “Big Bad Handsome Man,” “Smotherin’ Me,” and especially the wailing chorus of “Smokers’ Song.”

Imelda wrote every song on the album except the traditional “Wild About My Lovin’” and “It’s Your Voodoo Working.” Both covers are fun, but it’s originals that stand out most.

Love Tattoo ends with a bang thanks to the hyperactive Latin horns and punk attitude of “Watcha Gonna Do.”

I was not granted permission to share an mp3, but you can hear samples at the links below.

Buy @ Amazon

Imelda May Official Site
Imelda May MySpace

On his new album Irish Classics, pianist John O’Conor transforms traditional Irish songs into classical compositions with the help of the Irish Chamber Orchestra.

Among the Irish tunes that John O’Conor and the Irish Chamber Orchestra remake with serene, classical arrangements are “I’ll Take You Home Again Kathleen,” “She Moved Through the Fair,” “Cockles and Mussels,” and “The Rocky Road to Dublin.”

My personal favorite is O’Conor’s beautiful cover of “The Last Rose of Summer.”

I was not granted permission to share an mp3, but you can hear samples at the links below.

Buy @ Amazon

John O’Conor Official Site

Bounce Back is the upcoming release by singer-songwriter and actor Creed Bratton. The former lead guitarist of The Grassroots, Creed is probably best known now for his quirky character on The Office. Whether you heard his previous self-titled album or not, I recommend checking out Bounce Back. With the help of his backing band The 3DVB’s and his The Office co-star Ed Helms, Creed has made an unusual, funny, funky, and all around awesome album. The promo he sent me included the note “Hi Victoria, Hope you dig it!” Indeed I do.

The catchy single “Rubber Tree” (which I posted last December) features Ed Helms on banjo and is a good representation of the album’s blend of folk, pop, and rock.

A psychedelic cover of “Let’s Get Lost” follows. After hearing Creed croon the Chet Baker tune during our phone conversation two years ago, I kinda wish he’d recorded a straightforward jazz rendition. But this trippy, pedal steeled duet with singer Tara Holloway is pretty awesome.

“Love Me Like You Dance” is a fun Hawaiian Honky-Tonk ditty, while tracks like “Then I Think of You” and “Matters Like This” are more sincere ballads.

The vocals and instrumentation on the album are seriously good, but the lyrics are often pure comedy. My personal favorite lines are “You’re a warm piece of jerky” from the Alejandro Escovedo meets Talking Heads guitar grinder “Change that Channel” and “You had crimson jeans covered in spam” in the wonderfully nonsensical finale “My Heart’s an Open Book.”

But it’s the bizarre, bluesy Western stomper “Driving the Drags” that really steals the show.

Creed Bratton – Rubber Tree (mp3) *

*mp3 hosted by & posted w/ permission of artist

The album’s release date has been pushed back to March. It will then be available for purchase at the following links.

Pre-order @ Amazon (not yet available)

Creed Bratton Official Site

In The Indigo is the debut album by jazz singer Nancy Harms. The Minnesota native has been singing since the age of four, but she was not exposed to jazz until her college years. Her delayed jazz education did nothing to hinder her ability to croon like the classic jazz divas. Her voice falls somewhere between the smooth quality of Jane Monheit and the interesting inflection of Madeleine Peyroux.

In The Indigo features a selection of originals and a wide variety of covers. Nancy successfully tackles classics like “Bye Bye Blackbird,” “On A Clear Day (You Can See Forever),” and “Cry Me A River.” Most notably, she transforms the bland John Mayer tune “Great Indoors” into a sultry jazz ballad. Her warm, lovely voice can apparently make any song beautiful.

I was not granted permission to share an mp3, but you can hear samples at the links below.

Buy @ Amazon

Nancy Harms Official Site
Nancy Harms MySpace

In addition to my usual year end lists, I’ve also compiled Best of the Decade lists. Following are my favorite albums that were released between 2000-2009…

25. Muse: The Resistance

This is one of those albums that has classic potential, and I expect to move its way up the list as the years go by. A quote from my review: “Integrating classical and opera music into their theatrical electro-rock sound, Muse have created one of the most exciting song cycles I’ve ever heard.”

Buy @ Amazon

24. Gaba Kulka: Hat, Rabbit

It was difficult to narrow how Gaba’s releases to just one, but I think her latest is her strongest to date. As I said when I named it #4 on my Top Albums list, it is “probably the most unusual and creative album” of 2009.

Buy @ Amazon

Buy @ Artist’s Site

23. Soundtrack: Once

The soundtrack to the Irish independent film Once features The Swell Season’s Glen Hansard and Marketa Irglova. I said in my 2007 review that Hansard’s “lyrics are deeply poetic, his music is heart-wrenchingly lovely, and his beautifully raw voice conveys emotion as if the man were literally ripping his own chest open as he sings.”

Buy @ Amazon

22. Antony & The Johnsons: Antony & The Johnsons

Instead of a best of 2005 list, I deemed it The Year of the Bird and that post says everything about how Antony’s music made me feel when I first heard it. While I Am A Bird Now was their more popular release, I’ve always favored their self-titled 2000 album.

Buy @ Amazon

21. Pina: Quick Look

Pina sadly remains my best kept secret. I discovered her in the early aughts when a French pal shared mp3s of “I Loved the Way” and “Bring Me a Biscuit.” I also love Pina’s 2005 release Guess You Got It, but the rougher edges of Quick Look‘s production fit better with her “Gothic folk” style.

Buy @ Amazon

20. Kasey Chambers & Shane Nicholson: Rattlin’ Bones

My 2008 review summed it up: “The flawless beauty of this album is almost beyond my comprehension.“

Buy @ Amazon

19. Hem: Funnel Cloud

I like this album even more now than when I called it a “nearly perfect album” in my 2007 review.

Buy @ Amazon

18. Damien Dempsey: To Hell or Barbados

As I stated in my 2007 review, the album is a “genre-hop through folk, rock, electronica, and reggae…but the genre gymnastics still take a back seat to the stunning quality of Dempsey’s voice.”

Buy @ Amazon

17. Anais Mitchell: The Brightness

My 2007 review said: “Like the greatest of classic literature, the compositions on The Brightness are the kind that softly seep through your skin and slowly make their way into your heart and mind before exploding in dazzling display of amazement.”

Buy @ Amazon

14. Xavier Rudd: Dark Shades of Blue

Xavier has quickly become my favorite male artist in recent years, and as I said in my 2008 review: “the astounding quality of his songs make me wonder if future generations might consider Xavier Rudd to be the greatest artist of this era.”

Buy @ Amazon

15. Mavis Staples: Never Turn Back

I’m almost ashamed not to put this at #1, because in many ways this is the greatest album of the past two or three decades. I simply don’t listen to it often as the albums listed below. I suppose this is because the weighty subject matter requires a certain mood. But as I said when I reviewed it two years ago: “We’ll Never Turn Back is what music should be. Gut-wrenching blues, earth shaking beats, hip swaying rhythms, deeply moving lyrics, and a rich voice that defies description.“

Buy @ Amazon

14. Luminescent Orchestrii: Too Hot to Sleep

I deemed 2005 “the year of the bird,” but that’s only because I didn’t hear Luminescent Orchestrii until 2007 when I said: “there’s a definite connection between their frenzied, violent approach to orchestral instruments and the punk cabaret of The Dresden Dolls, but neither description fully captures their unique and unearthly sound.“

Buy @ Amazon

13. Flogging Molly: Swagger

This album ushered in the Celtic Punk craze of the decade. There’s no such thing as a bad Flogging Molly album, but this one was definitely their best.

Buy @ Amazon

12. Vienna Teng: Inland Territory

In my review I called Inland Territory a grand “display of Vienna Teng’s brilliance, grace, and talent.” I continue to fall more and more in love with this album with each listen.

Buy @ Amazon

11. Kurt Vonnegut & Dave Soldier: Ice-9 Ballads

My #1 album of 2009. As I said in my review: “I can’t imagine a more perfect score for my favorite novel of all time.”

Buy @ Amazon

10. Mary Timony: Mountains

I had never heard of former Helium singer Mary Timony until a friend sent me this album shortly after its 2000 release. Mary’s unusual mix of Medieval folk, chamber pop, and indie-rock was unlike anything I’d heard before, and it remains one of the most strangely beautiful recordings I’ve ever heard.

Buy @ Amazon

9. Reverend Peyton’s Big Damn Band: The Whole Fam Damnily

My #1 album of 2008. In my review, I called it an “inebriating concoction of swamp stomp and backwoods pluck.” But in subsequent listens I’ve found myself drawn more to The Rev’s lyrics, which accurately capture the perils of modern rural life.

Buy @ Amazon

8. Allison Crowe: Live at Wood Hall

Oh that voice! Still gives me chills. I’ve posted about Allison Crowe so many times over the years that I consider her Muruch’s musical mascot. As I said in my 2007 review: “there’s really no way to convey through mere words how much the music on Allison Crowe’s Live At Wood Hall moves me” Forget Susan Boyle, Allison sang the definitive cover of “I Dreamed a Dream.” (mp3)*

Buy @ Amazon

7. Soundtrack: Buffy the Vampire Slayer: Once More With Feeling

I always call it the “Buffy Musical” rather than its proper title Once More With Feeling.” Years before Dr. Horrible, Joss Whedon wrote a hilarious, poignant, and very catchy musical for an episode of Buffy The Vampire Slayer. I don’t know how well the songs translate if you never watched the Buffy series, but I still love singing along to the soundtrack. The album features vocals by actors Sarah Michelle Gellar, Allison Hannigan, Michelle Trachtenberg, Nicholas Brendon, James Marsters, and Anthony Stewart Head. This is an example of why file sharing works – I and several friends burned our own soundtracks from mp3s recorded directly from the televised episode long before the soundtrack was released, yet we all purchased the official album once it became available.

Buy @ Amazon

6. Xavier Rudd: White Moth

I could easily include all of Xavier Rudd’s albums on this list, but I tried to limit myself to just two. My 2008 review said: “Rudd deems the album his “proudest work” and it’s easy to understand why.” But it’s really only been with repeated listens over the past two years that I’ve grown to love and truly appreciate its magnificence. And nothing speaks to the greatness of an album like having a panic attack when you think you’ve lost it and knowing you must replace it immediately. Fortunately, I found my copy!

Buy @ Amazon

5. Damien Rice: O

Unlike most Americans, I heard and fell in love with O when it was originally released in Ireland in 2001. My clothbound first edition of the album is a collector’s item now, but I wouldn’t part with it for anything. Rice seems to have faced some post-hype backlash in recent years, but that doesn’t erase the brilliance of this album. Most remember it for Lisa Hannigan’s delicate harmonies, but Rice’s use of strings and opera music were also very unique at the time. And the album as a whole has withstood changing trends in music over the years.

Buy @ Amazon

4. Fiona Apple: Extraordinary Machine

This is another example of why file sharing can have a positive effect on album sales. Remember “Free Fiona”? If you don’t, Fiona recorded a version of this album with producer Jon Brion and her label initially refused to release it. Mp3s of the demos were leaked online, the fans loved them, and a huge campaign called “Free Fiona” was launched in hopes of getting the album released. It worked, though Fiona re-recorded most of the album for the official release. I was one of many who purchased the album even though I had the demo mp3s. My 2005 review also shifted the focus of this site from simply sharing music to encouraging people to purchase albums. It has since become one of my favorite albums ever, and I hope Fiona decides to grace us with another release in the near future.

Buy @ Amazon

3. Soundtrack: Hedwig & The Angry Inch

Among the 2000-04 archives of this site that have been lost were my reviewes of the movie Hedwig & The Angry Inch (which I saw in a double bill with The Anniversary Party at a local film festival) and its soundtrack. Whether or not you’re familiar with John Cameron Mitchell’s awesome musical about a German transgender rocker, the soundtrack is one of the best rock albums of all time. There are thunderous punk rock numbers like “Angry Inch” and heart-melting ballads like “Origin of Love.” Why Mitchell continues to act instead of record music is a mystery to me.

Buy @ Amazon

2. Old Crow Medicine Show: Big Iron World

In my November, 2006 review, I said “I don’t believe I’ve ever said this about an album before, but I think Old Crow Medicine Show’s Big Iron World is just about perfect.” I stand by that statement. I’ve played this album more than any other released in the past three years, and only one band could keep it from the number 1 spot…

Buy @ Amazon

1. The Dresden Dolls: The Dresden Dolls

Anyone who knows me or has been a longtime reader of this site knows that The Dresden Dolls are/were my favorite band. My posts about their self-titled debut (and the live A Is For Accident album that preceded it) were also lost with early archives of this site, but I’ve raved every other Dresden Dolls release since then. After “Over the Rainbow”, The Dresden Doll’s “Girl Anachronism” is my favorite song and this is possibly my all-time favorite album. Amanda Palmer proves without a doubt that – in the right hands – the piano is the most punk rock of all instruments.

Buy @ Amazon

*mp3 hosted by & posted w/ permission of artist

Violent Soho – Son of Sam (mp3) *

It’s so refreshing to hear a chunk of solid, noisy rock like this. From Australian punk-rock band Violent Soho’s new album We Don’t Belong Here.

Buy @ Amazon

*mp3 hosted by & posted w/ permission of artist’s PR rep

*********************************************

Jer Coons – I Want You Back (mp3 expired) *

Jer Coons covers The Jackson 5. A little sugary for my taste, but nice. I posted his “Legs” mp3 in September, when his album Speak was first released.

Buy @ Amazon

*mp3 provided by & posted w/ permission of artist’s PR rep

*********************************************

Why Write? – Burning Holes (mp3) *

Why Write? is a new project by Danish songwriter Jacob Faurholt. This song has a kinda mid-1990s alterna-rock sound, which I like.

Buy @ Amazon

*mp3 hosted by & posted w/ permission of artist

The November 16th show of Mountain Stage featured Vagabond Opera, Brett Dennen, Eric Bibb, Madison Violet, and Sister Hazel.

I was most excited about seeing Vagabond Opera, and they were fantastic! As expected, the kooky cabaret band put on a fun and dazzling set of songs from their new album, The Zeitgeist Beckons. Their colorful costumes and theatrics were fit for Vaudeville, and lead singer Eric Stern’s voice was astounding live. Their set was as entertaining for the eyes as it was the ears.

After the show, I introduced myself to saxophone player Robin Jackson and singer Ashia Grzesik. Ashia certainly is a multi-talented entertainer. She played the cello, sang a splendid rendition of “Ganef” (my favorite song from the album), and did a little Burlesque dancing during the other songs.

Considering the demented circus nature of their act, I was curious if they were fans of The Dresden Dolls. Jackson informed me that Vagabond Opera had performed with The Dresden Dolls and that Amanda Palmer was a big inspiration for them. No wonder I love them!

Scottish-Canadian duo Madison Violet followed with some melodic folk-country tunes from their new album No Fool for Trying. Their soft sound was a slight letdown after the sideshow act of Vagabond Opera, but their harmonies were even prettier live than on the album. The girls led the audience in a sing-a-long of “The Small of My Heart” and shared the tragic true story behind “The Woodshop.”

Eric Bibb was only recently added to the lineup before the show. I looked forward to seeing him perform live, since I loved his Get On Board album so much. Despite an audience member yelling a request for “Spirit I Am,” Bibb instead played songs from his upcoming album, Booker’s Guitar. The new songs were a mix of blues and soulful folk, and the highlight was his almost a capella (he was accompanied by a harmonica player) cover of Blind Willie Johnson’s “Nobody’s Fault But Mine.” Bibb’s voice was beautifully rich in person, and his guitar work called to mind classic blues musicians. He earned the first standing ovation of the night.

Brett Dennen was another artist I was interested in seeing. He played songs from his latest release Hope for the Hopeless, as well as one tune from his previous release So Much More (I’d hoped for “The One Who Loves You The Most,” but it didn’t happen). Dennen’s set was a straightforward presentation of his signature pop-folk acoustics, but I enjoyed it thoroughly. He was such a hit with the crowd that he was granted an encore, during which he sang “Heaven.”

I was unimpressed by the country-pop direction of Sister Hazel’s new album Release, but I liked them a lot in the 1990s (particularly their song “Your Winter” from the 10 Things I Hate About You soundtrack). So I really hoped they’d win me over at Mountain Stage. They didn’t.

From the beginning, the band seemed out of place at the venue to me. For one thing, they wheeled in their own big amplifiers and the extra loud volume just didn’t seem to mesh well with the Mt. Stage sound system. Also, I couldn’t tell if the lead singer was sick or if he simply couldn’t compete with those amplifiers, but his voice cracked painfully when he attempted the high notes of “Your Winter” and “All For You.” That was particularly disappointing since I actually like those two songs.

I’ve seen and enjoyed plenty of other rock bands at Mountain Stage, so my dissatisfaction with Sister Hazel’s performance had nothing to do with the style of their music. And it was certainly an example of how subjective musical taste can be. The majority of the audience responded enthusiastically to the band, while other rows emptied out before the end of their set.

I will say that, despite the weaknesses of their performance, the members of Sister Hazel were very personable and self-deprecating between songs. And I heard several people raving about them after the show (though many said Vagabond Opera and Brett Dennen were the best of the night), so to each their own…

All of the artists returned to the stage for the group finale, a cover of Creedence Clearwater Revival’s “Lodi.”

Muruch Mt Stage Reviews

Six-piece Portland ensemble Vagabond Opera is a new addition to my demented circus genre. But despite some similarities to twisted bands like The Dresden Dolls and Tiger Lillies, Vagabond Opera’s new album The Zeitgeist Beckons centers on a more traditional cabaret sound (akin to Camille O’Sullivan) with elements of opera, Eastern European folk, jazz, swing, and klezmer. Led by operatic tenor and accordion player Eric Stern, the band features a wide selection of instruments and styles with a revolving cast of female vocalists.

The cabaret style is omnipresent throughout the album, but front and center in “Welcome to the Opera.” The song introduces the musicians, showcases their eclectic stylistic madness, and finishes with a sample of Verdi’s “Traviata.”

Songs like “Chimaeras Be Met” and “Farewell Kabarista” are heavier on the jazz and swing. The manic cover of Tom Waits’ “Tango ‘Til They’re Sore” can’t compete with Holly Cole‘s interpretation, but it’s not really trying to anyway.

“Milord” is a torchy homage to Edith Piaf that I love, but the sultry snarl of “Ganef” is probably my favorite track on the album. So much so that I was tempted to share it (the band was kind enough to let me choose the mp3), but I feel this track is a better introduction to the band…

Vagabond Opera – Welcome to the Opera (mp3 expired) *

Buy @ Amazon

Vagabond Opera will perform at Mountain Stage next month, and I think it’ll be a very entertaining set.

Vagabond Opera Official Site

*mp3 posted w/ permission of the band

The recently released Serenade: A Mario Lanza Songbook features a collection of popular recordings and seven previously unreleased tracks by the golden voiced American tenor, who died in 1959 when he was only 38. Lanza enjoyed a successful career as an opera tenor in the 1950s. His voice was often compared to the great Enrico Caruso (whom Mario portrayed in 1951′s The Great Caruso) and each member of the famous “Three Tenors” (Josè Carreras, Plácido Domingo, and Luciano Pavarotti) name Mario Lanza as their inspiration.

I was personally introduced to Mario Lanza’s astounding voice by the Kate Winslet film Heavenly Creatures and he has since become my favorite male opera singer. I think his may be the most accessible voice for those who are hesitantly curious about opera. I could easily imagine hearing him sing tunes from any genre, because the beauty of his voice was as strong as its magnificent range.

Among the previously unreleased tracks on Serenade are the title track by Toselli, “Dicitencello vuie”, “Fenesta cue lucive”, and the resplendent “Because.” Many of the songs were recorded for Lanza’s early ’50s radio show.

Mario’s most exquisite and soaring vocals of the album can be found in “O sole mio” and “Granada.” Also of note are Lanza’s lovely croon on Tosti’s “‘A vucchella” and “Besame Mucho.” The album closes with “Arrivederci Roma”, presented here in its entirety for the first time on CD.

Mario Lanza – O sole mio (mp3 expired) *

*mp3 posted for 2 weeks w/ permission of Crossover Media on behalf of Sony Masterworks

Buy @ Amazon

Devine’s Jug Band will released their new album Terrible Operation Blues on November 17th. Led by singer and jug player Pete Devine with vocals by guitarist Meredith Axelrod and fiddler Mayumi Urgino, the band plays jaunty old-fashioned jug band music reminiscent of The Jim Kweskin Jug Band. I especially love the plucky buoyancy of “The Dallas Rag” and the languid blues dance number “Hop Scop Blues”.

Devine’s Jug Band – The Dallas Rag (mp3 expired) *

*mp3 provided by record label

Pre-order @ Amazon

Devine’s Jug Band MySpace

Muruch is giving away Joshua Bell’s new CD At Home With Friends, which features collaborations with Regina Spektor, Sting, Chris Botti, Kristin Chenoweth, Josh Groban, Tiempo Libre, and many more. See contest details below.

The Prize:

One U.S. winner will receive:
1 copy of Joshua Bell’s new CD At Home With Friends.

The Rules:

Comment to this entry with “Joshua Bell” and your email address. All new comments are moderated to avoid spam (which is why you must include the name of the artist in your comment), so it may take a day for your comment to appear if you haven’t commented on Muruch before.

Note: This contest is only open to U.S. residents, and all contestants must enter with a valid email address and the name of the artist in order to qualify. The winner of the contest will also be required to provide me with their full name and postal address for shipping purposes.

The Deadline:

The contest will end on Friday, October 30th. The winner will be chosen at random and contacted via email.

Go now go! And tell others.

Album Review

Buy @ Amazon

Nouvelle Vague – Master & Servant (mp3 expired) *

Sultry Depeche Mode cover from Nouvelle Vague’s new album 3, to be released October 20th.

Buy @ Amazon

*mp3 provided by & posted w/ permission of Daffodil Publicity on behalf of Peacefrog Records

Nouvelle Vague MySpace

**********************************

Thao w/ TGDSD – Know Better Learn Faster (mp3) *

Title track from the new album by indie-rock darlings Thao with the Get Down Stay Down (I reviewed their debut two years ago. To be released October 13th.

Buy @ Amazon

*mp3 hosted by & posted w/ permission of Toolshed Media

Thao w/ TGDSD MySpace

**********************************

Ronin – Meandro (mp3) *

Rhythmic guitar driven instrumental by Italian band Ronin. From their new album L’Ultimo Re, to be released October 9th.

Buy @ Amazon

*mp3 hosted by & posted w/ permission of Ghost PR

Ronin MySpace

After I posted my review of SonoSings, I was granted permission to share an mp3 of their “Everything In Its Right Place” cover. I’ve edited the review to include the mp3.

Buy @ Amazon

Muruch Album Review

Six-piece vocal ensemble Sonos perform a cappella covers of songs by popular indie artists. But this is no bland choir. Thanks to the presence of human beatbox Ben McLain and the innovative way their male and female harmonies are arranged, their covers are often more interesting than the originals. I was introduced to the group last April when they performed live at Mountain Stage. Their debut full-length SonoSings will be released by Verve Records on September 15th.

The album quietly begins with the Bon Iver cover “Re: Stacks.” I think a stronger song may have been a better choice for the opener. But whether humming in such hushed tones or belting to the rafters as in latter tracks, there’s an elegance to each note the sextet sings.

The cool, vibrating rendition of Radiohead’s “Everything In Its Right Place” that follows is more impressive, and Sara Bareilles herself joins Sonos for a rhythmic a capella recording of her song “Gravity.” I personally prefer both of these covers over the originals.

However, the studio version of “Again and Again” (originally by The Bird & The Bee) doesn’t translate as well as it did in their live performance. Sadly, this is somewhat true of the album in general. The fault obviously lies in the smooth production, which dampens the dynamics of the individual vocals. I know from hearing them sing unaccompanied in concert that these six voices need no such help or effects.

Still, the studio polish is only a minor irritation in most cases. The delicately atmospheric takes on Imogen Heap’s “Come Here Boy” and Bjork’s “Joga” are much more successful.

Sonos save their most stunning cover for last. To say their vocals on Fleet Foxes’ “White Winter Hymnal” are gorgeous and chill-producing may be cliché, but it’s true.

Sonos – Everything In Its Right Place (mp3 expired) *

*mp3 posted for a limited time w/ permission of ThinkPress PR on behalf of Verve Records

Buy @ Amazon

Sonos MySpace.
Sonos Blog

Here’s a YouTube video of Pianafiddle‘s Adam DeGraff warming up before a concert with a solo violin cover of “Sweet Child O’ Mine” (originally by Guns ‘N’ Roses):

Adam DeGraff – Sweet Child O’ Mine (YouTube Video)

Muruch Pianafiddle Reviews

At Home With Friends is the new collection of instrumental and vocal duets by Grammy winning violinist Joshua Bell, who is joined by an eclectic mix of guest musicians and singers. Among Bell’s collaborators are Sting, Regina Spektor, Kristin Chenoweth, Josh Groban, Chris Botti, and Tiempo Libre. The album will be released on September 29th.

The covers that Bell selected for At Home With Friends are as varied as its performers, beginning with a tender rendition of “I Loves You Porgy.” The sweet strings of Bell’s violin blend beautifully with the lonely jazz of Botti’s trumpet on the Porgy and Bess ballad.

Sting lends his voice to the sixteenth century love song “Come Again,” a version of which appeared on Sting’s The Journey & The Labyrinth. I preferred the simpler lute rendition on Sting’s album, but Bell’s arrangement is also very pretty.

Josh Groban’s voice makes a good companion for Bell’s violin in the theme from “Cinema Paradiso.” However, it’s my Cuban boys Tiempo Libre who steal the show with “Para Ti.” The song alternates between peppy brass coupled with rhythmic Latin percussion and soft orchestral interludes.

Kristin Chenoweth’s operatic soprano is lovely, but seems an ill fit for “My Funny Valentine.” And while Bell’s instrumentation in “Eleanor Rigby” is flawless, I think the cover would’ve been more effective had he chosen a different singer or recorded it sans vocals. Frankie Moreno’s voice is nice, just not strong enough to tackle this particular Beatles classic. A better choice may have been Nathan Gunn, whose powerful baritone follows in “O, Cease Thy Maiden Fair.”

Thanks to the wonders of technology, you can hear Rachmaninoff himself play piano in “Grieg: Sonata No. 3.” Bandoneon player Carel Kraayenhof joins Bell on two of the album’s instrumental tracks, most notably the theme from “Il Postino.” And Chris Thile’s mandolin gives the elegant melody of “Look Away” a plucky boost.

Unfortunately for me, Regina Spektor’s “Left Hand Song” is missing from the Sony advance. But it will be included in the final cut of the album. Until then, the hauntingly exotic “Variant Moods: Duet for Sitar & Violin” makes up for its absence. Written by Ravi Shankar, the piece features his daughter Anoushka.

I personally prefer Bell’s classical works – such as his previous release Vivaldi: The Four Seasons – but it is refreshing to hear him experiment with style and play with such a diverse group of musicians.

I was not granted permission to share an mp3 and there are no audio samples available online yet, but there should be streams added at the links below before the release date.

Joshua Bell Official Site

Pre-order @ Amazon

Loving Takes This Course: A Tribute To The Songs Of Kath Bloom is a beautiful two-disc set featuring new covers of Kath Bloom songs by Devendra Banhart, Scout Niblett, Josephine Foster, Corrina Repp, and The Concretes among others. The second disc in the set contains the original recordings by Kath Bloom, an excellent bonus feature that I wish other tributes would include.

This review has unfortunately been gathering dust in my draft folder since April, forgotten until I began writing about the new Judee Sill tribute. Strange how changing trends bring such brilliant, but obscure artists to light. I’m sure I’m one of many who was introduced to the music of Kath Bloom through her work with Loren MazzaCane Connors and the use of “Come Here” in Richard Linklater’s film Before Sunrise. But when I posted about Bloom’s music years ago (relevant posts here and here), I don’t recall seeing any mention of her elsewhere. Yet this tribute album has been all over the place in recent months – I would be remiss if I did not direct readers to the wonderful reviews of this album to be found at Cover Lay Down and My Old Kentucky Blog.

The covers selected for Loving Takes This Course are much stronger than those on the Judee Sill tribute. Whether this is due to the quality of Blooms’ songs or the talent of the artists covering them varies from track to track.

“Come Here”, for example, is such a pretty and uplifting love song that it would be difficult to ruin. But I definitely prefer the version by Marble Sounds that opens the album to the one by The Concretes that closes it. Both bands make some interesting, though vastly different, changes to the arrangement that give the song a fresh perspective. But Marble Sounds manage to do this while staying true to the delicate sweetness of the original.

I’m so thrilled this tribute includes “When I See You” (originally titled “When I Feel You Coming”), which is my absolute favorite Kath Bloom song and one of her collaborations with Loren MazzaCane Connors. There’s really no way to improve on Kath’s haunting original, but Laura Jean’s cover is still very good.

Devendra Banhart livens up the music of “Forget About Him”, and the song also seems to give the freak-folk singer’s voice new life. I love Scout Niblett’s voice, but miss the mandolin in her sparse rendition of “I Wanna Love”.

There are three covers on this album that I might like even more than Kath’s originals. Bill Callahan transforms “The Breeze/My Baby Cries” into a forelorn country tearjerker, Mark Kozelek paints “Finally” with an eerie shade of Nick Drake, and Corinna Repp’s fragile wail carves new shivers into “Fall Again”.

Track list for Loving Takes This Course: A Tribute To The Songs Of Kath Bloom:

Disc One: The Covers:

1. Come Here – Marble Sounds
2. The Breeze/My Baby Cries – Bill Callahan
3. When I See You – Laura Jean
4. Finally – Mark Kozelek
5. Window – Mick Turner (Dirty Three) & Peggy Frew
6. Forget About Him – Devendra Banhart
7. I Wanna Love – Scout Niblett
8. Biggest Light Of All – The Dodos
9. Look At Me – Josephine Foster
10. Ready Or Not – Mia Doi Todd
11. Fall Again – Corrina Repp
12. It’s So Hard To Come Home – Marianne Dissard & Joey Burns (Calexico)
13. In Your School – Amy Rude
14. If This Journey – Tom Hanford
15. There Was A Boy – Meg Baird (Espers)
16. Come Here – The Concretes

Disc Two: The Kath Bloom originals:

1. Come Here
2. The Breeze/My Baby Cries
3. When I See You
4. Finally
5. Window
6. Forget About Him
7. I Wanna Love
8. Biggest Light Of All
9. Look At Me
10. Ready Or Not
11. Fall Again
12. It’s So Hard To Come Home
13. In Your School
14. If This Journey
15. There Was A Boy
16. Come Here

Bill Callahan – The Breeze/My Baby Cries (mp3) *
Kath Bloom – Come Here (mp3) *

*mp3s posted w/ permission of Forcefield PR

Buy @ Amazon

Crayon Angel: A Tribute To The Music of Judee Sill features Beth Orton, Ron Sexsmith, Final Fantasy, Marisa Nadler, Frida Hyvönen, and Daniel Rossen of Grizzly Bear among others covering the songs of folk singer-songwriter Judee Sill. The album will be released on September 22nd.

With the exceptions of Ron Sexsmith’s performance of the album’s title track and The Bye Bye Blackbirds’ take on “There’s A Rugged Road” (my personal favorite of Sill’s songs – Shawn Colvin‘s version is also great), it seems Sill’s music is much better suited to female voices. The other male covers seem flat to me, and I’d much rather listen to Judee’s soft coos and operatic trills. But Beth Orton’s recording of “Reach for the Sky” and Frida Hyvönen’s rendering of “Jesus Was A Cross Maker” (my other favorite Sill song) are particularly good. And the stand out track is “The Kiss” by Marissa Nadler & Black Hole Infinity.

Track list for Crayon Angel: A Tribute To The Music of Judee Sill:

01 Ron Sexsmith: “Crayon Angel”
02 Beth Orton: “Reach for the Sky”
03 Daniel Rossen: “Waterfall”
04 Frida Hyvönen: “Jesus Was a Cross Maker”
05 Shalants: “Lopin Along Thru the Cosmos”
06 Final Fantasy: “The Donor”
07 Nicolai Dunger: “Soldier of the Heart”
08 Trembling Blue Stars: “Lady-O”
09 Colossal Yes: “The Phoenix”
10 Marissa Nadler & Black Hole Infinity: “The Kiss”
11 Princeton: “Down Where the Valleys Are Low”
12 The Bye Bye Blackbirds: “There’s a Rugged Road”
13 Meg Baird: “When the Bridegroom Comes”
14 Bill Callahan: “For a Rainbow”
15 P.G. Six: “Til Dreams Come True”

Daniel Rossen – Waterfall (mp3) *

*mp3 posted w/ permission of Forcefield PR

Buy @ Amazon