Hello Cruel World - Gretchen Peters

Gretchen Peters

Hello Cruel World

Tracks: 11

So, finally, here we are.  The long anticipated new CD from revered singer songwriter Gretchen Peters.  Those of us who saw her on tour last year were given little teasers and have thus known, rather than suspected,  that this would be up there with her best.  Just how good it is, we had no way of knowing.

The intriguing title is ostensibly a pun on the famous exit line, but in actuality, it is so much more than that.  Gretchen has always been inspired by experiences and people, and just as Burnt Toast and Offerings came from her divorce, Hello Cruel World, came from the juxtaposition of global and personal experiences.  She states, ‘“In 2010 the universe threw its best and its worst at me. Some was personal and some was global. All of it seemed to demand that I redefine my ideas of permanence and re-evalute what I believe in, to literally rethink what is real.’ Not least in all of this were environmental catastrophes and the revelation that her child is transgender.  Thus, the resulting CD came from a deep, personal and sometimes dark place.

Interestingly, over the years, Gretchen has become increasingly open with her fans about her experiences; at shows, through articles she has shared, facebook, stories she shares behind the songs, and more and more, through her songs. Coupled with this, I feel, is a revelation.  Gretchen is a remarkable songwriter, no matter what she is writing about.  When it comes from her life and the things deep inside her, it is impossible to put into words the  beauty of what comes from her pen. It is no longer lyrics, it is secrets and experiences shared, pain articulated, realisations made, healing made possible.  All of this is conveyed through Gretchen’s haunting vocals and Barry Walsh’s stunning piano. Exactly as it should be.

The title and opening track of the CD is, simply, brilliant, with just a touch of attitude. The opening line, ‘Haven’t done as well as I thought I would, I’m not dead but I’m damaged goods..’ in many ways could describe each and every one of us. Amid metaphors and references to fate, she concludes, ‘I’m a very lucky girl...’

Saint Francis refers to the well known patron saint of ecology, friend of all animals and lover of nature; asking, very articulately, what he would think of the current state of the environment.  This song contains some of the most beautiful lyrics I’ve heard.

Along with Barry Walsh’s very Spanish sounding accordion, The Matador  paints a clever picture of love, in which the matador himself somehow comes to feel like a metaphor rather than a reality.

Dark Angel is a duet with Rodney Crowell; their harmony is stunning. Their voices blend effortlessly to sing of the old souls who fall into our lives, questioning the existence of angels, heaven and hell, and if maybe in this crazy world, we become each other’s angels.  They say there are angels all around us. I wonder...

Paradise Found  takes on a blues sound to create a fascinating look at spirituality and religion.

Natural Disaster  cleverly intertwines the ideas of natural disasters and relationships and how we look for meanings in all of it which may not even be there.

Camille appeared on the Wine Women and Song – Sewanee Sessions EP. A co write, it was also recorded by Matraca Berg on her new CD.  Fascinatingly, they both interpret the song completely differently, Gretchen adding a subtle hint of trumpet to tell this woman’s story of shame and violation. ‘The sins of the fathers are not meant for daughters.’ Haunting.

It is incredibly difficult to favour any of the songs on this CD; however, there are some which from the first listen took hold of me and have refused to let go. Idlewild  is one of the most visual songs I’ve heard in a long time; the words just create images. Sung in the first person, there are moments, or elements, of Gretchen’s early life, memories and family within the lyrics. Along with this is the realisation that some things never change. Reading her blog entry for this song took my breath away as the song gained a new layer of meaning.

Five Minutes could equally be Gretchen’s finest moment. Its protagonist, in many ways, is a little of every one of us; reflecting, struggling, finding a way to move forward and survive. The reference to her memories as ‘ghosts inside my dreams’ and to how ‘in five minutes your whole life can change’ are particularly stirring as so many people will relate.

Woman on the Wheel  was the first song Gretchen previewed on tour and one I loved from first hearing it.  Gretchen then referred to it as  ‘the sequel to Circus Girl.’  The idea of the ‘woman on the wheel’ could have several meanings within the lyrics of the song. ‘You see it ain’t your fears but what your fears reveal’ encompasses the meaning of the whole song.

The CD ends with Little World;  considering how we create our own little oasis, with things and people who matter to us, so we can close the door on the madness of the world around us.

Overall, this is a slower, more thoughtful, introspective collection; destruction, hurt, chaos, yet despite this, full of hope – maybe acceptance that the world, and life, are what they are and all we can do is hold onto that wheel and make the best of it. That is certainly made easier with music like this in the world. My advice?  Get the CD, cry your tears, find some hope and join Gretchen in saying Hello Cruel World.

www.gretchenpeters.com
www.barrywalsh.com
www.fatea-magazine.co.uk

Goodbye to Austin's beloved Joe Gracey

Goodbye to Austin’s beloved Joe Gracey

Fort Worth native Joe Gracey was known to many as just ‘Gracey.’ Somehow this  always seemed to me to sum him up.  Having lost his voice to oral cancer back in 1977, there was something about him that I can only describe as a quiet grace.  He made you feel good just by smiling at you.

Since first meeting Gracey when he was playing in his wife, Kimmie Rhodes’ band, I have come to learn a lot about the hidden talents of this man; a man who never once appeared boastful about his achievements.

Gracey was, and indeed still is, considered a legend in the Austin Music Scene; he was first heard as a disk jockey on Austin Radio in the 1970s, where he was noted for his mixing of country music with rock.  Following this, he worked on other radio, including Koke FM.  In fact, I have been told, his radio catch phrase was  "Another day in paradise." That, to many, is how he seemed to view life.

His time as a rock critic for  the Austin American-Statesman during the early days of  the ‘Outlaws,’  gave him the opportunity to draw attention to such talents as Willie Nelson, to whom Gracey has been known to refer as the Bob Dylan of country music. Perhaps it is no coincidence, then that he and his wife have become good friends with Nelson over the years, and Gracey has recorded several of his albums, including a duets CD with Rhodes.

He started a music recording studio, Electric Graceyland, which hosted some big names, including Stevie Ray Vaughan; this was just the beginning of his involvement in music recording.  He played a significant role in the creation of  Austin City Limits, which in turn played a significant role in making Austin "the live music capitol of the world." Gracey was the original talent coordinator for the series, a role which allowed him to introduce the world to such greats as Townes van Zandt and Asleep at the Wheel.Longtime friend Dan O’Shea said."All of the gifts that he brought and shared to Austin to make Austin what it is are things that I and others and our broader community will carry with us for the rest of our lives,"

He met Kimmie Rhodes when she was recording at the studio and they married in 1979. The couple have one daughter, Jole Morgan Goodnight Gracey and Gracey has two stepsons, Gabriel (Gabe) and Jeremie Rhodes.

 Gracey continued to play bass in Kimmie's band and to record. One of his last projects is the Ray Price/Willie Nelson CD Run That By Me One More Time.  He continued to write – one of my unequivocal favourites is Contrabandistas, which not only shows his songwriting capability, but also his sense of fun.

He had a blog  on which he write about life, music, food, often very candidly, always with his unique sense of humour.  Indeed, when his new diagnosis came through in January, he simply stated  "But as I have said before, you do what you must do to survive."  It can be found at  http://graceyland.blogspot.com/ He was also a frequent contributor to Saveur magazine.

In recent years the couple had been doing the renovations on a stable in the South of France.  For both Kimmie and Gracey, it became their pride and joy. I recall skyping with Kimmie one night as she showed me around the house via webcam, and as she told me about each nook and cranny, I could see Gracey beaming with pride in the background as I told them how beautiful I thought it looked.  It really does. In late September, the pair took a break from his chemotherapy and radiation treatments to spend time at this house, visiting with family and friends and watching the fall wine harvest. Tests showed his cancer had reduced. .In an email, Kimmie told us "He drove again for the first time in a year," "He bought a grill and made fajitas for friends who came to visit from Spain. He had a good time. He won."

Then he fell ill again and the couple flew back to Houston and the hospital where Gracey passed away, aged 61.  Despite this, I feel that Gracey would want us to share his view that he won – he got to go back to the house he loved and be happy, one last time.

There has been a large memorial service in a theatre in Austin and I’m sure all of us who knew him have taken time to remember him in some way.

So much could be said about Gracey but one thing is for sure; he will be missed for a long time to come.  When Kimmie next plays here I know I’ll be looking at the space on the stage that will always be his, confident that he is smiling that smile as we sing along to Contrabandistas.  As Kimmie sings in one of her songs, Heaven feels the touch of each and every one of us...

Several years ago, Kimmie recorded a song called Rich from the Journey. As soon as I heard that Gracey had passed, that song came into my head. Why?  I am certain that he left this world richer from his journey and all of us lucky enough to have met him are richer for that experience. 

Godspeed, Joe Gracey.

blogspot.graceyland.com
www.kimmierhodes.com
www.fatea-magazine.co.uk

Wine, Women and Song - The Sage, 2011

Wine Women and Song

The Sage, Gateshead, June 12^th 2011

For the uninitiated, Wine, Women and Song is the name given to the collaboration between three of the most talented singer songwriters you will ever encounter; Matraca Berg, Suzy Bogguss and of course, Gretchen Peters.  Rumour has it that their name, ‘Wine, Women and Song’ stems from Luther.  This was their third visit to The Sage, Gateshead and Hall 2 was a sell out for the occasion; a joy to see.

Once again, Gretchen sat in the centre, with her esteemed “songwriting sisters” either side of her, each with easy access to that important part of the evening; the wine.  The evening began with as much humour as it ended, as Suzy came on stage then suddenly ran off again, maiing guitar actions to indicate she had forgotten hers.  Suzy cracked jokes while the others tuned and all three teased each other mercilessly whilst bantering with the rest of us.  Then there was the story of the DVD recording where they ended up in a tornado shelter in Leiper’s Fork, Tenneesee!  Matraca later had to leave for new batteries and the most hilarious moment  of the night came courtesy, once again, of Suzy, when her custom made brush drum failed to make the correct sound.  Clearly quite mystified, she had it this way and that, plugged and unplugged, until she stopped and a strange sound prompted the question, ‘Wait, did my boob just do that?!’  By this point the audience were hysterical, Gretchen and Matraca were crying with laughter  and Suzy was then left trying to sort it out through her tears of laughter.  The point of me sharing that story?  To demonstrate how totally at ease these three are, with each other and their audience.  They would far rather things go a little awry and us all have a good giggle together, than everything seem perfectly rehearsed and polished.  That is part of the magic they have created together.

Starting with Gretchen, they took turns to perform songs from their extensive catalogues; old favourites and new material.  Gretchen started with Sunday Morning (Up and Down my Street), which seemed fitting since this is the first time we had seen her since her October 2010 wedding to partner and pianist Barry Walsh.  This was  the tip of the iceberg; the stunning Tom Russell song, Guadalupe,made even more stunning with the others’ vocals, On a Bus to St Cloud saw her play Barry’s part on the piano, leaving everyone in awe, and talking about how she has played in the North east since those forty people went to see her at the Ropery in 1996, how special this part of the world is to her, she treated us to a stunning song, Five Minutes, from her upcoming album.  Just when you think Ms Peters can’t get any better, she does!  This was followed by The Secret of Life and Waiting for The Light to Turn Green,  a co-write with Suzy.  She then, appropriately, chose To Say Goodbye as her final solo song, again, completely transformed by the harmonies.

Suzy’s solo offerings also took us through old and new and as with Gretchen’s, they were made all the more powerful  as a result of the harmonies provided by the others. She began with the Lowell George classic, Heartache, moving on through  a fabulous version of the first song she and Matraca wrote together, Hey Cinderella  and a fabulous version of Shenandoah from her new CD of folk songs.   She then cpmpletely changed track to the classic Outbound Plane to up the tempo and allow Matraca to add the Mouth Organ.

Matraca started out with the tongue in cheek  Your husband’s cheating on us, then took us on a musical trip through the Dreaming Fields; her new CD, that is, with achingly beautiful performances of Oh Cumberland, about being homesick and the title song about the mother of a soldier away at war, inspired by family.  As she sang this song , her voice cracking with emotion, it occurred to me not only how lucky we are to actually have the chance to see this lady do what she does best, thanks to Gretchen and Suzy getting her on board, but also, how much she has grown in confidence since the first Wine Women and Song tour.   If I had Wings followed, a co write with Jessi  Alexander (who wrote Miley Cyrus’ hit  The Climb)  before Gretchen added mandolin  -  new for her – to Black Ribbons, a striking new song written by the three of them on their last writing retreat. 

The other thing which is lovely to watch is the expressions on their faces as they listen to each other sing,  and the smiles and silent feedback that pass between them.  They clearly think the world of each other, both as friends and fellow musicians. It is lovely to sense that connection, however, that when one is singing, the other two join us for three minutes, as music lovers, trying to find a way to bottle the moment.  Music really does bring people together in an incredible way.

The evening ended with two collaborative songs; an unusual choice, inspired by Suzy’s son Ben, was the Tom Waits ballad Hold On.  With each taking a verse and uniting for the chorus, they gave it a whole new lease of life.  I sincerely hope it will be recorded one day as it really suits their voices and their sound.  The trio let go of the reins one last time to deliver a stirring version of the Rolling Stones’ Wild Horses, one of the best on their Sewanee Sessions CD.

Gretchen had pre empted the sentiment well, as nobody in Hall 2 was ready to say goodbye after a magical night of music.  Much chatting and mingling and laughing took place at the CD table, after the show.  In the words of that Tom Waits song, we will just have to Hold On and maybe the trio will find themselves on an inbound plane sooner rather than later!  In the meanwhile, we have a DVD and new Suzy and Matraca CDs to keep us going, a new Gretchen CD which promises to be her best yet and a new Barry Walsh CD in the works.  The latter two will be back in March 2012 and Suzy may be returning before then. We can hope and after all, they all know they will receive a warm welcome anytime they come to play!

Steve Earle with The Dukes and Duchesses (Featuring Allison Moorer) - The Sage, Gateshead. October 2011

Steve Earle with the Dukes and Duchesses – Featuring Allison Moorer –

Hall 1 – The Sage, Gateshead

26^th October 2011-11-15

It seems a long time since Mr Earle graced the stage of our beloved Sage, but back he was and this time he brought with us his band – the Dukes and Duchesses; Will Rigby provided drums, Kelly Lewing from Nashville, Tennessee played bass, fiddler Eleanor Whitmore (who herself had a stunning voice), and Chris Masterson played a variety of guitars.  Steve himself played guitars; oh and did I mention that the piece de resistance was the inclusion of Steve’s singer songwriter wife Allison Moorer  in the band? She last played at The Sage as part of February’s Transatlantic Sessions.  I will admit that I had high hopes that she would open the show, but in many ways I guess it was a compliment to her that she didn’t. 

Instead, Steve and the band took straight to the stage, where they played two sets over the course of over two hours.  What immediately strikes you about Mr Earle is that he just doesn’t look how you imagine, yet from the outset his humour and candour are evident.  He says it like it is, no doubt about that, but is also very open when talking of his past problems with drugs, and what his son Justin has been through.  Neither did he hold back from exchanging smiles and a few sneaky kisses with wife Allison; an unlikely, but clearly very compatible couple.  As he talked about politics and the history of mining; he is one of several American singer songwriters to have a vested interest in the subject, he demonstrated how incredibly articulate he is, not to mention passionate, when speaking of a subject he believes in.  I think we could all learn a lot from him.  This was again evident when he spoke of his involvement in the New Orleans based HBO series (which has been shown in the UK, I have since learned) and of his dismay at what has, or rather hasn’t been done since Katrina hit the city.  I have to say, having recently fulfilled a dream in seeing New Orleans, I understand one hundred percent why he is so besotted with the city of jazz.  Apparently we both left a little of our souls there. 

During the course of the evening, Steve played us the new songs he has written for Treme, including one since he has been on tour here – This City and City of Immigrants.  We were treated to asome beautiful new ballads he sang with Allisoon Moorer; Days Aren’t Long Enough and Heaven or Hell and some other new songs; Waiting on The Sky, Every Part of Me being some of the ones that stood out, from his new CD, I’ll Never Get Out of This World Alive. Well loved songs were more than delivered from across his back catalogue; Comin’ Around, The Revolution Starts Now, Guitar Town, Taney Town, Galway Girl, Christmas in Washington, Hillbilly Highway and of course, Copperhead Road.

Throughout the set, Steve invited each member of the band to step forward and perform, allowing them all a chance to shine; in most cases, he played guitar for them, which was a nice twist.  Allison, of course, had the longest slot, performing a few of her songs, including a stunning version of Sam Cooke’s A Change is Gonna Come.  In fact, I enjoyed her version of this so much, I ceased to mind that she hadn’t sung any of her older songs, or Carrickfergus from Transatlantic sessions!

Speaking of which, it didn’t escape my attention that, whilst Steve and the band still rocked out during the course of the evening, he seemed just a bit mellower than last time.  There is certainly more of an acoustic, folk, blues sound creeping through; is this the influence of his wife who started out that way and again seems to have mellowed since Transatlantic Sessions, having had a rockier spell herself, or the experience of Treme, blurring his musical boundaries?  Whatever it is, I hope it continues.  I love watching Steve rock, but when he sings a ballad, the hairs on my neck stand to attention.

Suffice to say, it was a wonderful evening of music and Steve, Allison and the wonderful band all played a huge part in that.  Their dynamic is certainly powerful as well as productive.  There is something about Steve Earle that you cannot fail to love, although it is hard to put your finger on just what it is; you just warm to him instantly.  Maybe that is his charm.   The same charm that along with wonderful music left us wishing as soon as they left the stage that they’d hurry back.  With any luck the  Hillbilly Highway will lead him back to us via Copperhead Road and another night of music shared with these people will be Comin’ Around sooner rather than later!

Sam Baker - Live Theatre, Newcastle. 16.9.11

Sam Baker – Live Theatre, Newcastle

16^th September 2011

This was the first time I had been to a gig at The Live Theatre since its renovation and I was immediately impressed at how great a venue it now felt.

The opening act was an artist from Austin, Texas, about whom I had heard a little; Betty Soo, a good friend of Sam Baker’s from Austin, Texas.  She played with Doug Cox, from Canada, whom she met in Alaska. Such connections could only be made in the music world! 

Vocally, Betty Soo reminds me of someone, I just can’t quite place who it is; she has quite a soulful voice, and at times it takes on a blues sound.   During her  short set, she took us through some of her own songs, some she had recorded with Doug and some by friends, including Butch Hancock and Guy Clark, which proved she can interpret a song as well as she can write one. More than once Doug wowed with his guitar playing.  The standout song for me was ‘Never The Pretty Girl, which I could imagine her fellow Texan Kimmie Rhodes singing, and a song about being Crazy contained a line that was genius; You think I’m crazy but that depends, I don’t seem that crazy to me.

I for one was impressed with what I heard of Betty Soo and from talk around the Live Theatre, I don’t think I’ll be alone in looking up more of her material.

Sam Baker took to the Stage, immediately saying how great it was to be back.  The thing with Sam Baker?  You know without question that he means it.  Accompanied by a wonderful musician  named Chip Dolan, he immediately showed us he was indeed back.  Taking us through a varied set, he played  such songs as Jacob’s Ladder and Slots before taking us to ‘the religious part.’  Telling us a fascinating story (which I won’t repeat as he tells it much better than I ever could!) he segued into Mnemonite, the preceeding story making the song mean something totally different.  His lyrics are so clever, especially when you consider this was a story he had been told.  Boxes followed and I have to say I love his articulation of the word ‘something.’

He then stated he was going to play us some new material, which of course is always exciting. He told us the first one was a love song, quipping, ‘I don’t do many of those, though maybe you can find a thread in all of my songs...’ This then sparked one of the infamous Sam Baker rambles where he went off tangent talking about the meaning of love in songs and left everyone laughing.  When Sam gets to talking and telling stories, he could clearly go all night and I think most of us present would happily listen all night. As he talks his infectious smile lights up the room and the audience is left in no doubt that this is a man who loves what he is doing.   A few more new songs followed, during which we also got to see what an amazing pianist Chip Dolan really is; he reminded me very much of Barry Walsh and believe me, I can give no higher compliment than that!

Bringing his tour manager, Rebecca Kemp on stage, he had her sing Iron with him; wow, I’ve known Rebecca a good while now and had NO idea she could sing.  Obviously Sam spotted something he needed us all to see; we were very impressed.

Snow followed, with one of my favourite Sam lyrics, Talk about Forgiveness, help me understand. Looking back at his life experience, we could all do well to carry that line with us; the world would be a better place.  As the song ended, Sam himself was clearly caught up in the beauty of the piano ending Chip had created.  Again, it brought to mind Barry Walsh and his piano part in Gretchen Peters’ On a Bus to St Cloud; exquisite.

Joking that if he stopped talking and hurried it up we might get to see his friend Betty Soo again, more favourites followed in the form of Odessa, Juarez, Pretty World, and his fantastic cover of the great Mickey Newbury song, Just dropped in (to see what condition my condition was in)

Inviting Betty Soo back up on stage with Doug Cox, and immediately demonstrating the great rapport between them, he commented how lovely it is to bump into good friends when you’re on the road.  It made me smile to think that to him, Newcastle, England, can feel as much a part of ‘the road’ as somewhere in America.

Some deliberation followed as Sam wanted to play a song they hadn’t rehearsed...there was a little reluctance but he got his way, in his typical ‘We’re among friends here’ attitude. Treating us to Waves and a stunning version of both Cotton, with Betty Soo taking on the Hallelujahs, and Orphan, with her adding the ‘sweet chariot’ parts, their harmony was quite remarkable.  The evening ended all too soon with an intriguing choice; Long Black Veil, which the audience found themselves singing along with... another of those magical moments where everyone in the room was connected by music.

The thing with a Sam Baker gig is you actually don’t want it to end.  He makes you feel you have been in the company of a friend  and you want to listen to more  his songs and stories and share a little bit more of his world, his charm and his magic.  It is definitely safe to say that whilst in the presence of Sam Baker, you get a glimpse into a more Pretty World and leaves you counting down the days until he comes to hang out with us again.

Barry Walsh - Paradiso

Paradiso – Barry Walsh

Tracks: 12

Barry Walsh has been busy recently producing albums for Gretchen Peters and Tom Russell, but is best known as  a professional musician for more than three decades; in this time he has performed with Roy Orbison, Jimmy Webb and Al Green, and he's written songs that were recorded by Waylon Jennings, Jessi Colter and the Amazing Rhythm Aces.  He has played keyboards for years for The Box Tops and all of this is in addition to touring extensively with singer-songwriter Gretchen Peters (over twelve times since 2001)  During this time he has mesemerised UK audiences with his piano playing, both accompanying Gretchen (his introduction to A Bus to St Cloud, is enough to make a grown man cry) and during his now highly anticpated solo piece during her shows.  I’m not sure he’d now be able to leave The Sage, Gateshead, without playing Leaving Newcastle, for us, from his first CD, The Crossing.

Barry’s second CD, Paradiso, has been a long time coming, but mark my words, it is worth the wait!  Produced by esteemed Producer-guitarist Doug Lancio (Patty Griffin, John Hiatt, Gretchen Peters, among others) the album comprises twelve pieces of music, all composed by Walsh. Lancio adds his guitar prowess to There’s Been an Incident, which is further enhanced by a stunning choral arrangement by Gretchen Peters. Rob Ickes of Blue Highway adds some dobro to Marathon Motor Works and, in a total twist, Peters who plays piano while Walsh adds guitar on a track theyco-wrote, called  Seven Weeks.  This will be less of a surprise to fans of Gretchen, who have been seeing her play guitar at shows for a while now!  Walsh’s son Brennan co-wrote and accompanies his Dad on guitar, for Youth and Age; perhaps two generations playing this piece together adds a certain poignancy. Finally, esteemed musician Dave Henry adds his cello to several of the pieces on the CD.

North Platte debuted on the Gretchen Peters/ Tom Russell collaboration; One to the Heart, One to The Head, where it appeared in two parts, and I am happy to see it also made it’s way onto this collection.  It is such an atmospheric piece that it takes you away in your mind, to the place it ‘describes.’ Again demonstrating his admiration for French composer Eric Satie, we see one of his compositions, Son Binocle, covered to great effect here. The music conveys the humour in the piece, without any need for words.  This then reappears to close the CD...there is a reason...

I admitted that before hearing Barry’s first CD I had always struggled to ‘get’ music without lyrics.  The Crossing changed that for me...so much so that I spent a week in New Orleans and fell in love with the jazz music that surrounded me there.  I was able to relate to it, to catch the emotion in the music and infer its meaning and the story it was telling me, without any need for words.  It gave me a new appreciation of music I’d never had previously.  Paradiso, in one listen, took me on a musical journey, to somewhere I had never been before, but I know that every time I put the CD in the player, I will go back. A place where music tells its own stories and stirs your emotions.  That is Barry Walsh’s talent and that talent is the reason why every one should own Paradiso.  While you’re at it, pick up The Crossing, if you don’t already own a copy.

Madison Violet - The Good in Goodbye

The Good in Goodbye – Madison Violet

Tracks:11

This is Canadian duo Madison Violet’s fourth CD; a follow up to 2009’s No Fool For Trying  and I have to confess I have been looking forward to this one for a long time.  Madison Violet are Brenley MacEachern and Lisa MacIsaac and they will be known to many Americana fans due to several tours here in the UK over the past few years.

They have said, since the release of this album, that it is an album born from their growth, both together and apart, The Good in Goodbye is an open diary of their personal and professional experiences together as friends and musicians, two very unique relationships that affect each other in profound ways.  The result is an articulate, touching and very thoughtful collection of songs, which again illustrate their vocal skills individually and together; when their harmonies invariably make me think of those great harmonies of The Judds.  Can there be a better compliment?

Stand out tracks include the bluegrass infused Cindy Cindy, Home, Come as You Are, Emily, and the heartbreakingly beautiful Christy Ellen Frances.  The story it tells is exquisite but the song needs to tell you, not me.

Suffice it to say that I think Madison Violet have done it again; this is a great collection of music with their own unique sound.  They are playing in the UK and Europe in January 2012; I will be making sure I have tickets to hear them sing these songs live and suggest you do the same.