MUZ Muziek
Het forum voor 's werelds enige universele hobby! Snaren of toetsen, vinyl of cd, eendagsvlieg of rasartiest, op de radio of op een festival! Hier kun je al je ongebreideld enthousiasme, maar ook je weldoordachte kritische noten kwijt over muziek
Van de week de fantastische plaat 1000 Kisses van Patty Griffin aangeschaft. Griffin is een Amerikaanse zangeres, die schippert tussen folk en country in.
Op deze plaat doet ze ook een duet met Emmylou Harris en een fraaie cover van Bruce Springsteen's "Stolen Car".
Ook vergelijkingen met Beth Orton en hier en daar Tori Amos zijn waar te nemen.
Haar teksten zijn schitterend, bijvoorbeeld in "Making Pies", over een weduwe die om haar verdriet te vergeten de hele week taarten bakt. Nummers als "Be Careful" en "Nobody's Crying" zijn bedrieglijk romantische liedjes. Verder zingt ze over het einde van een passievolle nacht, waarin de verlatingsangst al begint. Haar band geeft haar aan het eind van dit "Tomorrow Night" ook een welgemeend applaus.
Het mooiste is echter wat mij betreft de opener "Rain". Drie dikke lagen kippenvel.
De plaat is vorig jaar al uitgekomen in de VS, maar nu pas hier verkrijgbaar. Een regelrechte aanrader voor liefhebbers van het genre en andere mensen die eens iets willen ontdekken.
ASWH, de trots van de regio
www.thuisuiteten.nl
www.thuisuiteten.nl
quote:wat losse liedjes, ben niet gek op die teksten (vooral niet van de oudere liedjes) maar die stem is natuurlijk fantastisch. Maar qua teksten hoor ik echt liever Emmylou Harris, Gillian Welch, Lucinda Williams..
Op maandag 10 maart 2003 17:14 schreef methodmich het volgende:
Iemand al geluisterd?
I say we line em all up and gun em all down, and we all celebrate when they hit the ground ~Transplants, We trust in you
*schopje*
Ik heb hem nu ook en ben helemaal verkocht. Wat een ongelofelijke stem, echt uniek, en schitterende liedjes. Normaal hou ik altijd van de ietwat ruigere liedjes, maar iemand stuurde me een tijdje terug "Rain" op en ik was er helemaal ondersteboven van. Schitterende tekst en de drama in haar stem komt helemaal tot recht in de liedjes. 'Making Pies', 'Nobody's Crying' zijn allemaal juweeltjes, maar zo is ook haar uit 1996 afkomstige album 'Living with Ghosts' een schitterend album.
Beth Orton vind ook wel aardig, maar allemaal wat te duf, en de link met Tori Amos is wel wat ver, maar soms komt zij wel over als een vrouwelijke versie van de zanger van Counting Crows.
Patty Griffin is een geweldige zangeres met een prachtige stem en zeer varierende liedjes, die hoog in mijn lijstje favo-artiesten staat 
.
It's log, log. It's big, it's heavy, it's wood. It's log, log. It's better than bad, it's good!
Schopje na bijna vier jaar .
PATTY GRIFFIN
CHILDREN RUNNING THROUGH
Patty Griffin's new album Children Running Through (ATO) continues the
remarkable creative evolution that's quietly established Griffin as a
vital and singular musical force. It also belies her persistent
sensitive-singer-songwriter image—a limiting perception that fails to
fully convey the emotional depth and breadth of her songwriting or the
emotive power of her fluid, soulful singing. Indeed, the new disc's 12
Griffin originals maintain a timelessly truthful resonance that echoes a
variety of styles, most notably the classic R&B and gospel music that
have long been a source of inspiration for the artist.
On Children Running Through, Griffin's seamless songcraft is supported
by spare, spacious arrangements and production by Griffin along with
Mike McCarthy (Spoon) that emphasize her effortlessly eloquent lyrics,
her subtly indelible melodies and her sublimely expressive voice, while
making judicious use of such sonic frills as horns and strings. The
artful instrumental settings are perfectly suited to the soul glory of
“Heavenly Day,” the wistful melancholy of "You'll Remember," the
haunting intimacy of "Railroad Wings," the vivid storytelling of
"Trapeze," the rocking "No Bad News," the steely determination of "I
Don't Ever Give Up" and the healing gospel of "Up to the Mountain (MLK
Song)."
"I just wanted to write from the heart and let it be," Griffin says of
the project. "Some of the most beautiful music I've ever heard is when
you catch somebody singing to themselves. I wanted to make music that
had that feeling."
That sort of heartfelt forthrightness has won Griffin a fiercely loyal
fan base that's continued to expand, even as she's retreated from the
cookie-cutter machinery of the mainstream music industry. Among her
higher-profile admirers are the Dixie Chicks, who recorded much-loved
versions of the Griffin compositions "Top of the World," "Truth No. 2"
and "Let Him Fly"; Emmylou Harris, a longtime supporter who's covered
several Griffin songs, and who lends her iconic harmony vocals to the
Children Running Through number "Trapeze”; and Solomon Burke, who covers
"Up to the Mountain (MLK Song)” on his latest record.
The Maine native first became aware of music's capacity to communicate
while growing up as the youngest of seven siblings, listening to her
mother sing hymns, country songs and made-up ditties. She began singing
during childhood, and wrote poems and songs as a teenager, but was too
shy to make much of an effort to perform in public. After a stint living
in Florida, she moved to the Boston area, where she waited tables and
worked as a telephone switchboard operator at Harvard University. It
wasn't until her guitar teacher coaxed her into joining him on stage in
a tiny Cambridge club that Griffin mustered up the courage to begin
performing her songs in public.
On the strength of a set of unadorned acoustic demo recordings, Griffin
won a recording deal with A&M Records. When an attempt at cutting more
elaborate studio versions of the same material proved unsatisfactory,
the label agreed to release the artist's stripped-down original demos
instead. The result was her 1996 debut release Living with Ghosts, which
won widespread critical acclaim and won Griffin the beginnings of a
passionate and devoted fan following. The following year, Griffin defied
expectations by taking a radically different approach on her noisy
sophomore effort, Flaming Red.
After an album she recorded in 2000 went unreleased due to corporate
shuffles, Griffin found a more hospitable home when fan Dave Matthews
signed her to his new, artist-friendly ATO Records. The change in labels
coincided with Griffin's determination to scale her music back down to
its essence, a direction that was reflected on 2002's sparse, mostly
acoustic 1000 Kisses, which earned a Grammy nomination in the Best
Contemporary Folk Album category. It was followed in 2003 by the live
CD/DVD set A Kiss In Time.
2004's Impossible Dream was Griffin's most ambitious and accomplished
effort yet, encompassing a broad range of musical influences while
boasting some of her most ambitious, emotionally complex songwriting to
date. It also netted a second Grammy nomination for Griffin.
As her own releases have continued to win consistent critical attention
and a steadily expanding audience, Griffin has simultaneously become a
popular source of material for other artists. In addition to the ones
mentioned above, Griffin's songwriting has been embraced by a diverse
assortment of performers, including Martina McBride, Bette Midler, Mary
Chapin Carpenter, Reba McEntire and Maura O'Connell, all of whom have
recorded her songs. Also inspired by her work, filmmaker Cameron Crowe
personally selected her to appear in his 2005 feature film “Elizabethtown.”
In addition to raising her public profile, having her songs covered by
other artists has allowed Griffin the luxury of making music on her own
terms, and her iconoclastic approach is reflected throughout Children
Running Through.
"I invested a lot more time in this than anything I've ever done," she
says of the new album. "After Impossible Dream, I had used up all the
songs I'd been carrying around for years, so it was a challenge to find
out if I had anything left in me. It took some time, but it was a
positive thing to be tested that way."
While her new songs maintain the levels of clarity and insight that
Griffin's fans have come to expect, the new album's organic, deeply felt
performances embody an openhearted sense of directness and simplicity.
"The aim," Griffin states, "was to strip everything down and just give
it a few brushstrokes here and there, to come up with something that's
quiet but powerful. I wanted to be a little less wordy, but I also
wanted to make a record where I didn't hold back and let myself sing as
loud as I wanted to.
"A great part of getting older," she adds, "is not caring so much what
other people think. I feel like I'm allowed to be goofy or whatever, and
I'm allowed not to worry about whether something is cool enough or smart
enough. That's pretty liberating."
Children Running Through, was recorded in the artist's adopted hometown
of Austin, Texas, in a makeshift studio set up in a rented house across
the street from her home. In addition to Griffin on vocals and guitar,
the sessions featured a sterling assortment of Austin, Nashville and New
York players, including longtime Griffin collaborator Doug Lancio on
guitar, legendary Faces keyboardist Ian McLagan, and a nine-person
string section conducted and arranged by multi-instrumentalist John Mark
Painter.
"This record was tough, but it was really rewarding," Griffin reports.
"I was more relaxed than I've ever been making a record, and I had a lot
of confidence in the material. But there was also a lot of tension, and
there were definitely moments where we didn't think we were gonna get it
together. But we did.
"One of the most important things to me is avoiding cynicism, and that's
what this record represents to me," she concludes. "For me, the best
songs and the best ideas have always emerged from just thinking, 'Well,
what do I feel like singing right now?' That's always a good, honest
place to start from. For me, this whole record is a little like that."
.
PATTY GRIFFIN
CHILDREN RUNNING THROUGH
Patty Griffin's new album Children Running Through (ATO) continues the
remarkable creative evolution that's quietly established Griffin as a
vital and singular musical force. It also belies her persistent
sensitive-singer-songwriter image—a limiting perception that fails to
fully convey the emotional depth and breadth of her songwriting or the
emotive power of her fluid, soulful singing. Indeed, the new disc's 12
Griffin originals maintain a timelessly truthful resonance that echoes a
variety of styles, most notably the classic R&B and gospel music that
have long been a source of inspiration for the artist.
On Children Running Through, Griffin's seamless songcraft is supported
by spare, spacious arrangements and production by Griffin along with
Mike McCarthy (Spoon) that emphasize her effortlessly eloquent lyrics,
her subtly indelible melodies and her sublimely expressive voice, while
making judicious use of such sonic frills as horns and strings. The
artful instrumental settings are perfectly suited to the soul glory of
“Heavenly Day,” the wistful melancholy of "You'll Remember," the
haunting intimacy of "Railroad Wings," the vivid storytelling of
"Trapeze," the rocking "No Bad News," the steely determination of "I
Don't Ever Give Up" and the healing gospel of "Up to the Mountain (MLK
Song)."
"I just wanted to write from the heart and let it be," Griffin says of
the project. "Some of the most beautiful music I've ever heard is when
you catch somebody singing to themselves. I wanted to make music that
had that feeling."
That sort of heartfelt forthrightness has won Griffin a fiercely loyal
fan base that's continued to expand, even as she's retreated from the
cookie-cutter machinery of the mainstream music industry. Among her
higher-profile admirers are the Dixie Chicks, who recorded much-loved
versions of the Griffin compositions "Top of the World," "Truth No. 2"
and "Let Him Fly"; Emmylou Harris, a longtime supporter who's covered
several Griffin songs, and who lends her iconic harmony vocals to the
Children Running Through number "Trapeze”; and Solomon Burke, who covers
"Up to the Mountain (MLK Song)” on his latest record.
The Maine native first became aware of music's capacity to communicate
while growing up as the youngest of seven siblings, listening to her
mother sing hymns, country songs and made-up ditties. She began singing
during childhood, and wrote poems and songs as a teenager, but was too
shy to make much of an effort to perform in public. After a stint living
in Florida, she moved to the Boston area, where she waited tables and
worked as a telephone switchboard operator at Harvard University. It
wasn't until her guitar teacher coaxed her into joining him on stage in
a tiny Cambridge club that Griffin mustered up the courage to begin
performing her songs in public.
On the strength of a set of unadorned acoustic demo recordings, Griffin
won a recording deal with A&M Records. When an attempt at cutting more
elaborate studio versions of the same material proved unsatisfactory,
the label agreed to release the artist's stripped-down original demos
instead. The result was her 1996 debut release Living with Ghosts, which
won widespread critical acclaim and won Griffin the beginnings of a
passionate and devoted fan following. The following year, Griffin defied
expectations by taking a radically different approach on her noisy
sophomore effort, Flaming Red.
After an album she recorded in 2000 went unreleased due to corporate
shuffles, Griffin found a more hospitable home when fan Dave Matthews
signed her to his new, artist-friendly ATO Records. The change in labels
coincided with Griffin's determination to scale her music back down to
its essence, a direction that was reflected on 2002's sparse, mostly
acoustic 1000 Kisses, which earned a Grammy nomination in the Best
Contemporary Folk Album category. It was followed in 2003 by the live
CD/DVD set A Kiss In Time.
2004's Impossible Dream was Griffin's most ambitious and accomplished
effort yet, encompassing a broad range of musical influences while
boasting some of her most ambitious, emotionally complex songwriting to
date. It also netted a second Grammy nomination for Griffin.
As her own releases have continued to win consistent critical attention
and a steadily expanding audience, Griffin has simultaneously become a
popular source of material for other artists. In addition to the ones
mentioned above, Griffin's songwriting has been embraced by a diverse
assortment of performers, including Martina McBride, Bette Midler, Mary
Chapin Carpenter, Reba McEntire and Maura O'Connell, all of whom have
recorded her songs. Also inspired by her work, filmmaker Cameron Crowe
personally selected her to appear in his 2005 feature film “Elizabethtown.”
In addition to raising her public profile, having her songs covered by
other artists has allowed Griffin the luxury of making music on her own
terms, and her iconoclastic approach is reflected throughout Children
Running Through.
"I invested a lot more time in this than anything I've ever done," she
says of the new album. "After Impossible Dream, I had used up all the
songs I'd been carrying around for years, so it was a challenge to find
out if I had anything left in me. It took some time, but it was a
positive thing to be tested that way."
While her new songs maintain the levels of clarity and insight that
Griffin's fans have come to expect, the new album's organic, deeply felt
performances embody an openhearted sense of directness and simplicity.
"The aim," Griffin states, "was to strip everything down and just give
it a few brushstrokes here and there, to come up with something that's
quiet but powerful. I wanted to be a little less wordy, but I also
wanted to make a record where I didn't hold back and let myself sing as
loud as I wanted to.
"A great part of getting older," she adds, "is not caring so much what
other people think. I feel like I'm allowed to be goofy or whatever, and
I'm allowed not to worry about whether something is cool enough or smart
enough. That's pretty liberating."
Children Running Through, was recorded in the artist's adopted hometown
of Austin, Texas, in a makeshift studio set up in a rented house across
the street from her home. In addition to Griffin on vocals and guitar,
the sessions featured a sterling assortment of Austin, Nashville and New
York players, including longtime Griffin collaborator Doug Lancio on
guitar, legendary Faces keyboardist Ian McLagan, and a nine-person
string section conducted and arranged by multi-instrumentalist John Mark
Painter.
"This record was tough, but it was really rewarding," Griffin reports.
"I was more relaxed than I've ever been making a record, and I had a lot
of confidence in the material. But there was also a lot of tension, and
there were definitely moments where we didn't think we were gonna get it
together. But we did.
"One of the most important things to me is avoiding cynicism, and that's
what this record represents to me," she concludes. "For me, the best
songs and the best ideas have always emerged from just thinking, 'Well,
what do I feel like singing right now?' That's always a good, honest
place to start from. For me, this whole record is a little like that."
It's log, log. It's big, it's heavy, it's wood. It's log, log. It's better than bad, it's good!
Neeeeeeeeeeeee! Dit is niet waar.
Een schop na al die tijd en eindelijk iemand anders die in dit topic post!
Ik voel me als de Heen & Weerwolf in Pluk van de Petteflet, als Pluk eindelijk met hem mee wil varen.
2007 kan nu al niet meer stuk, dank je Massive!
Een schop na al die tijd en eindelijk iemand anders die in dit topic post!
Ik voel me als de Heen & Weerwolf in Pluk van de Petteflet, als Pluk eindelijk met hem mee wil varen.
2007 kan nu al niet meer stuk, dank je Massive!
ASWH, de trots van de regio
www.thuisuiteten.nl
www.thuisuiteten.nl
Ik vind Patty Griffin in één woord geweldig. 1,000 Kisses was het eerste album wat ik van haar hoorde. Ik kende haar niet maar bij een concert van Ilse DeLange zong Ilse 'Rain' van Griffin en dat vond ik zo mooi dat ik meteen haar album ben gaan luisteren. Ik vind dat ze ongelofelijk mooie liedjes schrijft en ze zingt geweldig. Haar overige albums zijn ook zeer de moeite waard. Er is ook een album van haar wat nooit officieel verschenen is, 'Silver Bell', maar daar is wel via minder officiële weg aan te komen. Ik snap niet waarom dat nooit is uitgebracht, ik vind hem erg goed. Ik heb haar in 2005 live gezien in de bovenzaal van Paradiso en dat was fantastisch. Ik kijk erg uit naar haar nieuwe cd.
It's not going to stop 'till you wise up
Leuk van Ilse, dat ze een cover van Patty speelde.
Prima keuze, want Rain is inderdaad een wereldsong.
Prima keuze, want Rain is inderdaad een wereldsong.
ASWH, de trots van de regio
www.thuisuiteten.nl
www.thuisuiteten.nl
Patty is ook heel erg beroemd in singer-songwriters kringen. Iedereen covered haar. Jessica Simpson, The Dixie Chicks, Emmylou Harris.
Zelfs Dolly Parton en Bette Midler coveren haar:
http://www.youtube.com/watch?v=_civiYPVFMQ .
Zelfs Dolly Parton en Bette Midler coveren haar:
http://www.youtube.com/watch?v=_civiYPVFMQ .
.
It's log, log. It's big, it's heavy, it's wood. It's log, log. It's better than bad, it's good!
Jessica Simpson is dan weer wat minder natuurlijk, maar vooruit.
ASWH, de trots van de regio
www.thuisuiteten.nl
www.thuisuiteten.nl
Vond Rain wel mooi, maar voor de rest weet het me niet echt te boeien. Maar goed, de afgelopen maand dan ook 20 van dit soort platen beluisterd. Misschien is het wel heel erg mooi, maar echt bijzonder niet.
Even dit topic weer nieuw leven inblazen: Patty's nieuwe album 'Children Running Through' is uit en ik vind hem prachtig. Wat een schitterende liedjes maakt zij..
It's not going to stop 'till you wise up
Joehoe, is er NIEMAND die Patty Griffins nieuwe album gehoord heeft? Hij is zo mooi!
It's not going to stop 'till you wise up
Heb hem wel gehoord, absoluut prima materiaal. Toch blijf ik 1,000 Kisses haar beste werk vinden denk ik.
ASWH, de trots van de regio
www.thuisuiteten.nl
www.thuisuiteten.nl
Is inderdaad een bloedmooie plaat. De eerste die ik van Patty hoorde. Maar Impossible Dream vind ik ook briljant en Flaming Red is ook een lekkere plaat. Ik denk dat ik Living With Ghosts de minste vind, niet omdat het slechte nummers zijn maar omdat ie helemaal akoestisch is. Dat vind ik op den duur een beetje saai.quote:Op donderdag 29 maart 2007 19:07 schreef methodmich het volgende:
Heb hem wel gehoord, absoluut prima materiaal. Toch blijf ik 1,000 Kisses haar beste werk vinden denk ik.
It's not going to stop 'till you wise up
ook ontdekt! wat een stem....
wat een stem....
Give a man a fire and he'll be warm for a day. Set a man on fire and he'll be warm for the rest of his life.
Geweldig he?quote:Op zondag 22 april 2007 16:15 schreef Abbadon het volgende:
ook ontdekt! wat een stem....
It's not going to stop 'till you wise up
bij toeval...zapte langs een of andere tv-serie...bleef hangen vanwege het liedje...even gegoogled, en wat nummers gedownload...was onder de indruk...nu nog even wachten tot m'n bestelde cd'tje binnen isquote:
Give a man a fire and he'll be warm for a day. Set a man on fire and he'll be warm for the rest of his life.
Welke cd heb je besteld?quote:Op zondag 22 april 2007 22:23 schreef Abbadon het volgende:
[..]
bij toeval...zapte langs een of andere tv-serie...bleef hangen vanwege het liedje...even gegoogled, en wat nummers gedownload...was onder de indruk...nu nog even wachten tot m'n bestelde cd'tje binnen is
It's not going to stop 'till you wise up
Impossible Dreamquote:
Het nummer dat me in eerste instantie aansprak, rowing song, staat nl daar op
Give a man a fire and he'll be warm for a day. Set a man on fire and he'll be warm for the rest of his life.
Prachtige plaat en ik vind Rowing Song één van de mindere nummers op die plaat dus dat belooft wat!quote:Op zondag 22 april 2007 23:14 schreef Abbadon het volgende:
[..]
Impossible Dream
Het nummer dat me in eerste instantie aansprak, rowing song, staat nl daar op
It's not going to stop 'till you wise up
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