I thought Pratt’s On Your Own Love Again was the best album of 2015, and I am feeling confident her new album, Quiet Signs, out Feb. 8, will be a strong contender for best album of 2019.
What strikes me about the material I’ve heard so far is how she has used the canvas of a recording studio to make something even more intimate and gossamer-like than her previous 4-track work.
Like if you opened your eyes while listening to it, it would end the way a dream does.
Anyway, very strongly encouraging you to pick up her new album when it comes out, especially since RTI is pressing it, so it should be flat, centered, and quiet, which almost describes her music.
I used to frequent thrift shops, yard sales, and swap meets, looking for my next great vinyl fix.
Often, sellers would ask me ‘what are you looking for?’
The question annoyed me.
Because I never had an answer for it.
So I would always answer ‘I won’t know until I find it.’
Even then, I didn’t always know what I had found.
A few years ago, I stumbled on an album called Cameo by Marian Henderson.
It was released on Coral Records, an MCA imprint, in 1970:
If you look her up, you’ll find her referred to as the ‘Queen of the Australian folk revival,’ which is fine, as far as it goes, but it is a bit limiting, if only because she clearly was influenced by and had a strong appreciation for jazz, which comes through in this recording.
There are 11 tracks on Cameo (I had thought the original Australian version had 12, but it’s been hard to confirm), and they range from traditional and contemporary folk to classic pop to a rather spirited take on Leonard Cohen’s Stranger Song:
Continue reading “Sweets from a stranger”