Witchcraft

Debut albums are always difficult to critique because generally there isn’t an earlier effort to contrast and compare. With the music of Kim Fox, I don’t know where to begin.

Operatically trained during her time at college and self-taught in both piano and guitar, Kim was signed to Dreamworks in 1996 and released her debut, Moon Hut, the following year. The album spawned the radio-friendly single, ‘I Wanna Be A Witch,’ but listeners may be surprised with the rest of the album’s content, as Kim seems to travel to darker places on other songs (such as the lyrically strange ‘Flowers Have O’s’). And ‘Say Anything’ is a humorous and well-written ode to standing by a loved one who can’t keep his mouth shut.

The entire album features Kim’s playful voice and unyielding songwriting and even boasts a remarkable cover of Bruce Springsteen’s ‘Atlantic City.’

Fast forward six years later, and the arrival of Kim’s second album, Return To Planet Earth is released. I’m not sure what Kim has been up to in the space between albums, but based solely on the samples I’ve heard, she’s gotten better at her (witch) craft. The songs here seem a bit more ready for radio (which depending on your view, could be both good or bad). Either way, they seem more accessible and immediately likeable. Be sure to listen to the samples made available via Kim’s section at CDBaby (most notably ‘Baby, I Want You Back’ and ‘I’ve Got Music’).

And while you’re there, you might as well purchase the album. She’s just that good.


Downloads:

Say Anything
I Wanna Be A Witch (radio edit)
Flowers Have O’s

Soul Music

When I initially listened to Morley’s music, I knew I was listening to something special.

I discovered her quite by accident. Her song, ‘When I Love You,’ was featured on a promotional compilation for Sarah McLachlan’s Lilith Fair back in 1998. The song immediately caught my ear as her music blends experimental pop and folk with subtle lacings of jazz. Needless to say, I needed to hear more.

A native of Queens, New York, Morley began her performing career as a dancer, but an injury made her diverge to making music. After a few years of writing songs, she was eventually signed to Sony and released her first album, Sun Machine, in 1998.

Sun Machine (which features the late Jeff Buckley on guitar) was a solid debut by anyone’s standard. Each of its eleven tracks are marked with Morley’s rich, soulful voice and the music’s cool sophistication and emotion, easily inciting comparisons to Joan Armatrading, Joni Mitchell and Sade. Time Magazine has even been quoted by saying, “Somewhere between Sade and Portishead, there’s Morley.”

Morley took some time off after the release of Sun Machine and spent her time teaching music to the elderly and terminal ill while writing material for her follow-up, 2002’s Symphonic Sky, an even more spiritual affair than her debut. ‘Time’ and ‘Raison D’ Etre C’est L’Amour’ can both be found here and the album is available for purchase through Morley’s official site with her third album expected later this year.

Although she regularly sells out shows throughout the New York area, her talent seems as if it has yet to see a wider audience. Let’s hope that changes.


Downloads:

When I Love You
Slingshots
Raison D’ Etre C’est L’Amour
Time

Cover Girls, Vol. 3

Originally released in 1997 on their only album, Slush, the members of Giant Sand and Calexico collaborated with Lisa Germano for a side-project they called OP8. The album served up a great collection of both original songs and cover versions. And while the album is strong throughout, their remake of the classic Lee Hazlewood / Nancy Sinatra tune ‘Sand’ is a definite stand-out. Here, Lisa and co-vocalist Howe Gelb pull a gender switch in the duet, dusting off the scratches for a truly unique interpretation which I’m surprised has not yet seen itself on a Quentin Tarantino soundtrack yet.

Many people have covered Dolly Parton’s big hit ‘Jolene,’ (Paula Cole, the White Stripes and Olivia Newton-John, just to name three), but few have done it quite this way.

Before Dot Allison embarked on a solo recording career, she was the frontwoman for the experiemental group, One Dove. As a b-side to their single, Why Don’t You Take Me, ‘Jolene’ is transformed into a six minute swirl of harps, electric percussion and computer generated sound effects. Mix in Dot’s dreamy voice and you’ve got yourself an original cover.

Although her success has rocketed commericially ever since Eminem sampled one of her songs, it’s difficult to argue that Dido isn’t worth the constant exposure. She’s talented, creates quality music and possesses a great voice. And based solely on the interviews I’ve read, she seems to even be somewhat humble (which is rare among celebrities). She also performed a great cover in the form of James Taylor’s ‘Fire & Rain’ . Recorded live for KCRW last year, Dido’s simplistic take transforms the classic into something soft and sweet.

Last month, Por Vida: A Tribute To The Songs Of Alejandro Escovedo, a benefit album honoring the the musician was released with alt-country artist, Lucinda Williams taking the helm at his song ‘Pyramid Of Tears.’

Lucinda’s gritty delivery turns Alejandro’s original into a new work of art, making it sound as if she wrote the song herself, as it fits well into her own style of rock.

Downloads:

OP8 feat. Lisa Germano - Sand
One Dove - Jolene
Dido - Fire & Rain (live)
Lucinda Williams - Pyramid Of Tears

Cross Reference

Over the years, I’ve been fortunate enough to have people send me musical recommendations from artists I probably wouldn’t have been able to hear of otherwise. Michelle Cross was one of these artists.

I don’t quite remember the year, but I’m guessing it was around the time that her 5-song EP, My Name Is Not Cinderella came out. I remember my friend telling me that if I liked Tori Amos, I would probably like Michelle. And they were right.

Michelle’s music is easy to get lost in. Her piano-work is solid and fluid and she’s got a great voice. Some I suspect will immediately pass her off as a Tori Amos clone, which is easy to do when she can occasionally channel Tori’s unconventional and unmistakable vocal stylings. A song like the Poe-esque ‘Raven’ is a good example of this. It’s a beautiful song that Michelle delivers perfectly, but it loses some spark only for sounding as if it’s not very original.

Other songs have similar shortcomings, but all of them showcase Michelle’s serious talent. ‘Sushi Queen,’ which has won Michelle many accolades already, is one of her strongest songs. It’s upbeat and fluid and allows the proper stage for Michelle’s voice to be heard. I can only imagine that it’s as much fun for her to perform as it is for the listener to hear.

The live versions of ‘Raven’ and ‘Planet Steve’ are taken from a live radio performance from a few years ago. Both exhibit Michelle’s friendly on-stage personality which seem to contrast much of her music’s darker subject matter.

After visiting her website, I’ve discovered that Michelle has also released her first full-length album, Smoke Like Perfume. It’s one I don’t own yet, but am very curious to hear, purely to see how her music has evolved since Cinderella.

More music samples (including the ones featured here) and purchase information can be found at Michelle’s official website.


Downloads:

Planet Steve (live)
Raven (live)
Sushi Queen
Men In Blue

Irish Goods

After spending nearly all of her childhood surrounded by music and learning several instruments along the way, Dublin-born Eleanor McEvoy officially embarked on a musical career in the early 90’s with her self-titled debut. The album would land Eleanor as one of Ireland’s most treasured artists.

Two years later, while major labels were still in hot pursuit for finding marketable female musicians, Eleanor’s second release, What’s Following Me? was released. The album continued to exhibit Eleanor’s strong ability at creating breezy and beautiful folk-rock and possessed a slightly larger recording budget. It also featured ‘Precious Little,’ a live version of which I have featured from a 1996 performance on WRLT’s ‘Nashville Sunday Night.’ The original version remains as her biggest hit in America.

Snapshots arrived in 1999 with Rupert Hine on production and has become my favorite of Eleanor’s catalogue. The track ‘All I Have,’ which was co-written with the talented Caroline Lavelle, is taken from here and is the perfect example of a lush, pleasantly well-rounded pop song.

Admittedly, I had lost track of Eleanor’s whereabouts since Snapshots, but it was after re-listening to that album recently that I decided to do some research on Eleanor through her official site. I quickly discovered that she’s kept herself busy; Her album Yola was released in 2001 and this year saw the release of her latest album, Early Hours.

Her website also features some extra songs that were released on some of her hard-to-find singles. I decided to feature ‘Wilderness’ and the acapella ‘Stray Thoughts,’ but don’t forget to listen to the other songs offered, one of which being the unique take of ‘The Boys Are Back In Town,’ the song made famous by Thin Lizzy.


Downloads:

Precious Little (live)
Wilderness
Stray Thoughts
All I Have