Posts Tagged ‘2018’

 

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.

Austin-based singer-songwriter Nichole Wagner delves into matters of the heart, the daily grind, and a little baseball via 10 melodic dispatches on And the Sky Caught Fire, her full-length debut. Her lyrical acumen is deft; she displays a poet’s knack for illuminating the soul. “The Winner Takes All,” which opens the set, is a good example.

With just a few well-placed brushstrokes, she paints a scene that reflects the fading embers of a relationship, or at least the last wisps of an unsettled night. “Too late now, can’t take back what’s been said/And the sky caught fire as the smoke curled around your head.”

“Dynamite,” the second song, is about life in a factory town after the factory’s been shut down: “I can’t see living in a dying town/It’s like I left my soul in the lost and found/Every night I say that tomorrow’s the day/Initiate, detonate, blow it up and walk away.”

Another highlight: “Yellow Butterfly,” about a brief encounter with a winged insect of the nice kind… 

“This Kind of Love,” which I’ve shared before, is another gem. Like many of the other songs, it’s about moving on from a failed relationship: “There was a time I was certain you were what I wanted/Then the feeling faded, it left me haunted.”

Her rendition of Warren Zevon’s “Reconsider Me” is another highlight.

“Sparks & Gasoline,” the closing track, may well be my favorite. It’s about a gal and guy who are “more like Stevie and Lindsey than Johnny and June” yet their love is true. “You and me babe, we’ll continue to sing/Our songs are different but they mean the same thing.” (If you listen, you’ll also hear a funny line about designated hitters in baseball.)

If you enjoy country-flavored folk, such as Tift Merritt, Nanci Griffith or Mary Chapin Carpenter, And the Sky Caught Fire is well worth picking up. It’s a keeper. 

The track listing: 

  1. Winner Takes All
  2. Dynamite
  3. Yellow Butterfly
  4. Rules of Baseball
  5. The Last Time
  6. This Kind of Love
  7. Let Me Know
  8. Fires of Pompeii
  9. Reconsider Me
  10. Sparks & Gasoline

(The album is available from the usual suspects, including Bandcamp, and can be streamed via Apple Music, Spotify or YouTube.)