Amy LaVere-Runaways Diary-CD-FLAC-2014-THEVOiD | Music | FLAC | 231.13 MiB
Folk-Rock | English FLAC 810 kb/s VBR
DRIFT INTO THE VOID Info Artist | Amy LaVere Title | Runaway's Diary Genre | Folk-Rock Format | Album Source | CD Time | 38:21 Label | Archer Records Store | 2014 Catalog | ARR-31961 Rip | 2021 Bitrate | 814 kbps Size | 241.37 MB Freq | 44.1 kHz Encoder | FLAC 1.3.1 Tracks 01. Rabbit 5:00 02. Last Rock N Roll Boy To Dance 3:08 03. Big Sister 4:09 04. Self Made Orphan 3:57 05. Where I Lead Me 3:26 06. Snowflake 2:31 07. How 3:43 08. Don't Go Yet John 2:05 09. Lousy Pretender 3:30 10. Dark Moon 2:38 11. I'll Be Home Soon 3:30 12. Reprise 0:44 Notes While Amy LaVere's voice may have the high, breathy tone of a young girl, she brings to her music the emotional peaks and valleys of a grown woman who has certainly seen her share of the world, and it's hard not to believe that her adventurous life has informed her work. LaVere was born Amy Fant, in a small town near the border of Texas and Louisiana to parents who were part-time musicians. Her family's nomadic life led LaVere to live in 13 different places before she finished high school, and when her folks finally settled in Detroit, she rejected the classic country sounds they doted on - Johnny Cash, Dolly Parton, and Willie Nelson were their favorites - in favor of punk rock. LaVere played drums and sang in a Motor City punk band called Last Minute, but after graduating she grew restless and headed back to Louisiana, which turned out to be a brief stop on the way to a job in Nashville, working for a music management company. Since she began recording, singer, songwriter, and bassist Amy LaVere has been adept at turning the stuff of her autobiography into fine songs. On 2011's "Stranger Me", she detailed her own loss, grief, and heartbreak in one of the finest breakup albums in recent memory. With "Runaway's Diary", she goes back to the well, but with a storyteller's twist. This is a road album. It deals with the various kinds of gritty events that occur along the highway in the life of a soul with a desperate need to keep moving. LaVere wrote eight of this set's 12 songs and enlisted Luther Dickinson to produce. He and Will Sexton play guitars; Sharde Thomas and Shawn Zorn are her drummers (often simultaneously); she handles the bass, and Tim Regan plays various keyboards. Her music is deeply rooted in Memphis rockabilly, folk, country, and retro pop. Among its finest songs are the tender, poetic "Rabbit," that uses the life of Steven Gene Wold (aka blues singer Seasick Steve) for source material - though LaVere ran away when she was younger, too. Its sparse snare and tom-tom drumming, fingerpicked electric guitars, atmospheric Mellotron, and Wurlitzer piano buoy her bowed bassline and mournful voice with empathetic supporting vocals from Thomas. Jim Sparke's baritone sax plays a key role on the shuffling, sultry, minor-key strut of "Last Rock N Roll Boy To Dance," a rootsy teen rebellion song from a woman's point of view. "Self-Made Orphan" is strolling rockabilly with twanging Telecasters and honky tonk piano. It's a heartbreaking rebel's anthem about the unwillingness - and inability - to accept unconditional love. The deep well of loneliness in "Snowflake," with its single tom-tom, piano, and interwoven acoustic guitars is as wrenching as it is militant. The slippery old-world pop in "Don't Go Yet John" reveals the intimate consequences of being unable to trust. Even LaVere's covers are so seamlessly well-chosen they intersect with her theme. She uses the grimy blues in Townes Van Zandt's "Where I Lead Me" and transforms it into swaggering Sun Studio-style rockabilly blues. Her reading of Ned Miller's "Dark Moon" is a jazzy, honky tonk ballad. LaVere's take on John Lennon's "How?" is a relatively faithful version, but in her crooning alto it wraps itself naturally inside her narrative arc. "Runaway's Diary" is the rarest kind of concept record: one that wears the seriousness of its topics like a light jacket, and whose inventive musical savvy counters the restlessness of the soul at its subject's core.
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