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At the tail end of last year, Espers' Meg Baird released Leaves From Off the Tree, a collection of traditional English and Appalachian folk songs recorded in a trio with British singer Sharron Kraus and her Espers bandmate Helena Espvall. Casting aside Espers' baroque psychedelia and hushed electricity, Baird and her friends showcased a breathtaking affinity for this traditiona... (展开全部)
At the tail end of last year, Espers' Meg Baird released Leaves From Off the Tree, a collection of traditional English and Appalachian folk songs recorded in a trio with British singer Sharron Kraus and her Espers bandmate Helena Espvall. Casting aside Espers' baroque psychedelia and hushed electricity, Baird and her friends showcased a breathtaking affinity for this traditional material with their spare, homespun arrangements and bracing vocal harmonies. The relaxed atmosphere and spirit of that album now shines through again on Dear Companion, Baird's captivating new solo collection of traditional ballads, unlikely covers, and well-crafted originals.
Recorded in her Philadelphia attic apartment between sessions for Espers II, the album features Baird using only her voice, guitar, and/or mountain dulcimer. For these deeply intimate recordings, Baird has clearly chosen songs that she knows inside and out, and is so able to treat each with an overriding empathy and affection. Her faith in this material helps give Dear Companion its easy air of self-assurance, but most often it is her astonishing voice that draws the attention. At once delicate and earthy, Baird's vocals sound naturally suited to the purpose of breathing fragile new life into these romantic tales of love gained and lost, as she firmly stakes a claim in the folk lineage alongside such 60s-era artists as Shirley Collins or Anne Briggs.
Two of the traditional songs on Dear Companion--" The Cruelty of Barbary Allen" and "Willie O'Winsbury"-- also appeared in different versions on Leaves From Off the Tree. And Baird's stunning performances here amply illustrate several of the reasons why these ballads have been among the most frequently re-interpreted (and dissected) folk songs of the past few centuries. Outfitted with their simple, eternal melodies, each of these songs frames a deceptively oblique romantic narrative that is open to enough analysis and interpretation to fuel a full semester's gender studies curriculum. (Poet and scholar Robert Graves, for example, once even speculated that the poor misunderstood Barbary Allen was in fact practicing witchcraft and murder.) For her part, Baird wisely chooses to let these songs speak for themselves, delivering them simply with a thoughtful, meditative air of eyewitness.
Although several of these traditional ballads do feature some anachronistic imagery and language--including the occasional reference to kings, maidens and lords-- Baird is careful to balance the album with several tracks of more modern origin, skillfully blurring the distinction between the various vintages. The infidelity and loss of the title track--an old Appalachian folk song--is mirrored almost exactly on Baird's stoic version of Jimmy Webb's "Do What You Gotta Do", a song perhaps most memorably associated with Nina Simone. And Baird strikes the album's most sensuous note with her cover of "Waltze of the Tennis Players", which was originally written and recorded by the obscure 70s folk act Fraser & Debolt. "My love for you is an overnight sensation," she sings in a seductive near-whisper, a sentiment which surely echoes the thoughts that fans of exquisitely wrought folk music will have for this lovely and enrapturing album.
Recorded in her Philadelphia attic apartment between sessions for Espers II, the album features Baird using only her voice, guitar, and/or mountain dulcimer. For these deeply intimate recordings, Baird has clearly chosen songs that she knows inside and out, and is so able to treat each with an overriding empathy and affection. Her faith in this material helps give Dear Companion its easy air of self-assurance, but most often it is her astonishing voice that draws the attention. At once delicate and earthy, Baird's vocals sound naturally suited to the purpose of breathing fragile new life into these romantic tales of love gained and lost, as she firmly stakes a claim in the folk lineage alongside such 60s-era artists as Shirley Collins or Anne Briggs.
Two of the traditional songs on Dear Companion--" The Cruelty of Barbary Allen" and "Willie O'Winsbury"-- also appeared in different versions on Leaves From Off the Tree. And Baird's stunning performances here amply illustrate several of the reasons why these ballads have been among the most frequently re-interpreted (and dissected) folk songs of the past few centuries. Outfitted with their simple, eternal melodies, each of these songs frames a deceptively oblique romantic narrative that is open to enough analysis and interpretation to fuel a full semester's gender studies curriculum. (Poet and scholar Robert Graves, for example, once even speculated that the poor misunderstood Barbary Allen was in fact practicing witchcraft and murder.) For her part, Baird wisely chooses to let these songs speak for themselves, delivering them simply with a thoughtful, meditative air of eyewitness.
Although several of these traditional ballads do feature some anachronistic imagery and language--including the occasional reference to kings, maidens and lords-- Baird is careful to balance the album with several tracks of more modern origin, skillfully blurring the distinction between the various vintages. The infidelity and loss of the title track--an old Appalachian folk song--is mirrored almost exactly on Baird's stoic version of Jimmy Webb's "Do What You Gotta Do", a song perhaps most memorably associated with Nina Simone. And Baird strikes the album's most sensuous note with her cover of "Waltze of the Tennis Players", which was originally written and recorded by the obscure 70s folk act Fraser & Debolt. "My love for you is an overnight sensation," she sings in a seductive near-whisper, a sentiment which surely echoes the thoughts that fans of exquisitely wrought folk music will have for this lovely and enrapturing album.
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我来评论这张唱片
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如午后柔软的阳光和温柔的轻风。
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- 沐籽是花卷吖。(立冬了!晒棉被!) 今天是冬至。 我一个人坐在冷清的宿舍里有点无所事事。 翻开一旁看了一半的书,却想起这张专辑。 然后打开来听。 唱片的封面很好看。 一个迎着阳光而站的女子,留给我一个温暖的背影。 我会好奇她长什么样子,是什么表情。 但是我肯定她是个内心温暖的人,因为她有着可以温暖人心的嗓音。 这张专辑,我觉得更适合一个人...... (14回应)
2008-12-21 9/9有用
自由的吟唱吧
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- 非魚&这是个傻B横飞的世界 在淘到Jeff Hanson的唱片时,偶然的翻到了Meg Baird的这张唱片 当然,吸引我的,必定首先是那样的封面 难道你不想知道哼唱这样美妙歌曲的女孩儿长什么样么 撒下些阳光 吹拂些微风 木吉他左右着耳边的空气 我的鼻子和耳朵,一起在吸收着周围的美好 她如Joan Baez 般的拨动琴弦 她...... (10回应)
2007-06-29 13/20有用
简单的美丽,简单是美丽
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- 聰子(整理资料总出错) http://congzigramophone.blogbus.com/ Espers在我眼中完全脱离这个时代的感觉,黑白画格中一群奇装异服的人留着过去的发式,盘踞于一棵巨大树根附近,怪阴森渗人的场景。而且Espers迷幻民谣式的外衣将其中一把“凄厉”的女声过度的掩盖了起来,直到在Dear Companion的温...... (3回应)
2008-03-01 2/2有用
我的心不在这里,我的心在高原
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- 敦彦 从来没听过MEG以前的歌,这次还是在豆瓣推荐的目录里看到这张碟,才去下来听的. 最近听了太多太多的民谣,已经是极度地没有感觉了.可是第一首歌就让我心里"咯噔"了一下. 一开始是表达不出的一种感觉,那么熟悉可是又说不清道不明. 等到我在MEG的真假声转换中陶醉的时候,我才体会到让我迷醉的是苏格兰高原的清风.那里是万物...... (2回应)
2007-07-26 3/4有用
求助:美丽,难以形容.
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- * Fantod(冬天还是来了,能逃吗 ?) 轻轻的 感觉到音乐穿透心扉. 哪里可以找到Dear Companion轻唱的MPS链接 ? 是没有曲子的。 那位豆友知道请豆邮 谢谢了。 ......
2009-08-26
专辑介绍
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- Brother Chow(神是爱,是光) 专辑名称:Dear Companion 歌手名称:Meg Baird 发行公司:Universal/Wichita 语言种类:欧美 发行日期:2007-3-22 专辑介绍: Dear Companion最初是始于Meg Baird(是Philadelphian Sex......
2009-08-17
rayfile .new` 格纹.
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- tony.givenchy(' 格' .永存.) http://www.rayfile.com/files/4fd400ae-5a25-11de-90f3-0019d11a795f/......
2009-07-26
I saw the warm sunshine from the music
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- 藤恩 喜欢女主角清爽而略带慵懒的嗓音 柔和的转弯 好温暖 仿佛随着这音乐一起进入了乡村小镇 看见小河边男子在弹吉他 旁边是美丽女子在阳光下的舞蹈 她的长发在金色的阳光下格外的美丽 ......
2009-06-30
All I Ever Wanted Was Your Loving
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- 已注销(I wonder what my future may be) 这才是真正的“民谣”! 刚注册豆瓣的一段时间,偶遇这张美丽专辑,初听不太适应Meg Baird的嗓音,但听多了才发现是天籁,质朴,不做作,给人以亲切感,前一段时间从网上买了CD,非常的喜欢,一直在听。 正如封面上女孩米色的毛衣,阳光播撒,几根凌乱的发丝飘舞起来,第一感觉是温暖,音乐也正是如此。 虽然形式和...... (1回应)
2009-04-19
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| The Cruelty Of Barbry Allen | 来自卡布奇诺 | 2009-11-02 | |
| Rayfile Download | 来自頂樓未眠 | 9 回应 | 2009-10-19 |
| 其实QQ音乐也能下到 | 来自Cherry仔 | 1 回应 | 2009-10-05 |
| 听上去很舒服 | 来自诗颜 | 4 回应 | 2009-09-16 |
| 武器 | 来自黑比诺 | 2009-08-07 |
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