Posts Tagged ‘2010s’

My original plan was to review this album alongside the disposable camera I ordered from Mikaela Davis’ web store, but the camera was delayed…and then processing the film took two weeks. (Are there no more one-hour photo shops in this land?) And then…well, I didn’t want to rave about this while damning that. It didn’t seem fair.

Make no mistake: Delivery is a superb set. Echoes of the Day-Glo 1970s can be heard throughout the grooves of the full-length debut of the Rochester, N.Y., singer-songwriter (and harpist!). She stirs a sumptuous sonic stew that, somewhat similar to the Staves-branded brew, is spiced by sounds that are simultaneously retro and modern. Her recipe, however, is a tad more funky than theirs. 

And, like theirs, it’s quite addictive.

The title track is a good example. The opening chords conjure Bill Withers’ “Lean on Me,” but morph into a Dylanesque parable about self-doubt (“I’m not in control/I’m not cut out for this/So I took it back to New York/and cried to my mom, oh/I thought I’d know me by now…”).

I’ve featured it before, of course, along with the propulsive “Get Gone.” In another era, both would be getting played to death on radio.

The deceptively breezy “In My Groove” is another highlight. A strong undertow flows beneath its seemingly gentle current. “I’m not the one who’s gonna change the world/or change the way you want to live.”

Here she is in the Paste Studios performing it:

“All I Do Is Disappear” explores love and self-doubt, of pulling away instead of leaning in to commitment. (“My love is like the setting sun/It doesn’t wait for anyone/But how can I make myself clear when/All I do is disappear?”)

Since I mentioned the Staves up top, I’d be remiss if I didn’t mention that the sisters Staveley-Taylor lend their angelic harmonies to two songs. The stark “Emily” explores what happens when a broken heart leads to a broken mind. The sublime “Pure Divine Love,” which closes the album, features a George Harrison vibe alongside Mikaela’s swirling harp.

In short: Seek out Delivery. I’ve been enjoying it since its July 13th release, and enjoying it more with each listen – always the mark of a strong album.

 

So, as I’ve noted before, I fell for Mikaela Davis’ music in March 2017, when she opened for the Staves at the World Cafe Live. After the show, I purchased her five-song EP, ripped the songs to my library, and enjoyed them off-and-on over quite a few months. I liked it enough, in fact, that I pre-ordered her new album, Delivery, without a second thought despite having an Apple Music subscription.

Here’s one highlight from the album:

Here’s another: 

And here’s a third:

At her best, she reminds me a bit of Stevie Nicks, as her songs are at once airy and intense. They float like feathers, yet are weighted by way-cool melodies and vocals.

In addition to the album, however, I picked up a “premium” item from her Web store. To quote from said store, “Mikaela will take ten disposable cameras on the road. The camera will be shipped to you, undeveloped. This is your chance to own an exclusive photo set – one of a kind.”

I assumed, as perhaps only I would, that the photos would be as interesting and cool as her music. Maybe shots of a few cities visited, touristy sites seen, venues played, and rehearsal/concert shots, with Mikaela in most of them. But I was wrong. A handful are good and one’s funny, if profane, but most are dreck – a proverbial finger given to whoever dared to purchase the camera.

Live and learn.

Here’s the entire roll (as developed by CVS):

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What a wild and wacky week it was. Without dwelling on the details, which would bore most folks, I’ll share this: It was somewhat prophetic that Paul Weller released “Movin On,” a track from his forthcoming True Meanings album, on Wednesday, August 1st.

The press release for the album says, “Paul’s 26th studio album is a record unlike any he has ever made before, characterised by grandiose-yet-delicate, lush orchestration: an aesthetic to which Paul’s better-than-ever voice, singing some of his most nakedly honest words, is perfectly suited.”

Released into the wild a day earlier, Anna Calvi’s “Hunter” is as mesmerizing as it is restrained. Just when you think it’s about to explode into rapture, it pulls back. On Twitter, she explained that “I wanted simplicity, I wanted something quietly brave, quietly defiant. I wanted there to be intimacy. I wanted to find a place between beauty and ugliness.”

Neneh Cherry’s “Kong,” which was produced by Four Tet and Massive Attack’s 3D, is a stirring response to Europe’s refugee crisis. 

Jamie Lin Wilson – “The Being Gone.” So I don’t know much about Jamie Lin, but a few folks that I follow on Twitter retweeted this song, about returning home after an absence, and I liked what I heard. The bio on her website refers to her “honeyed tenor twang,” which I think is quite accurate.

First Aid Kit – “Running Up That Hill.” The sisters Söderberg covered the Kate Bush classic for a recent Spotify Singles session, and here they are performing it in concert… 

There’s no denying it: I’ve been in a Shelby Lynne frame of mind for the past few weeks. How could I not? But that doesn’t mean there hasn’t been time for new music…

One of my favorite young acts, Hannah’s Yard, released a delightful four-song EP this weekend. Titled Revelations, it features renditions of the Beatles’ “Blackbird,” Jack Johnson’s “Better Together” and Randy Newman’s “Feels Like Home,” as well as their own “Never Gonna Say I’m Sorry” (from their 2017 Beginnings album). “Blackbird” is beautiful.

 

Hannah’s Yard hails from Olney, Buckinghamshire, the small British town that gave birth to “Amazing Grace.” About two hours south, in Surrey, lies Paul Weller’s Black Barn Studio, where the R&B/soul-infused Stone Foundation and assorted friends, including Weller and his former Style Council mates Mick Talbot and Steve White, recorded their forthcoming Everybody, Anyone album. The latest teaser track is “Carry the News”…

The singer-songwriter Amanda Shires released her self-made video for “Parking Lot Pirouette,” from her forthcoming album To the Sunset, last week. It features Shires on vocals and violin, husband Jason Isbell on acoustic and electric guitar, Dave Cobb on bass, Peter Levin on Wurlitzer and synthesizer, and Jerry Pentecost on drums.

Karrie O’Sullivan – “I Love You the Most.” Here’s another tantalizing track from the Irish singer-songwriter. It was released back in May, and I’ve enjoyed it since – but I was unaware that there was a video for it until just now. Like last summer’s single, “I Don’t Here You,” it’s quite addictive…

And because I am in a Shelby frame of mind…  here’s “Off My Mind,” one of the songs from her movie Here I Am. It was released back in April…and was a song we’d hoped to hear her perform in Ardmore.

Finally, one bonus… Shelby again, this time from just last night in Knoxville, Tenn., where she performed an a cappella version of Dusty’s “You Don’t Have to Say You Love Me”… “hypnotic” doesn’t begin to describe it.