Lori Mckenna's

Total Page:16

File Type:pdf, Size:1020Kb

Lori Mckenna's Critical praise for Lori McKenna’s The Tree Photo credit: Becky Fluke “In her own work, like her latest album “Even for listeners who may not “One of the great songwriters The Tree, Ms. McKenna’s pleasantly rough- have the context of her earlier work, The of her generation…she is the Bruce around-the-edges voice fits better into Tree is proof that when McKenna says, Springsteen of hearth and home.” the world of folk than glossy commercial ‘Here’s what I know,’ you sit down, listen up country—but the songs are as sharp as and take plenty of notes. And there’s one those she sells to the heavy hitters.” thing McKenna makes clear here that we already knew ourselves: She’s an invaluable “Another batch of pristine compositions… pillar of songwriting and growing ever Over a much-heralded multi-decade career stronger, just like that sturdy oak in your that’s only now hitting its peak, the singer- “McKenna’s latest album as childhood backyard.” songwriter has established herself as not a performer, The Tree, is another typically only one of country music’s most respected superb effort, showcasing her gift for songwriters...but more importantly one of combining precise details and heartfelt its most poignant storytellers.” emotions for universally applicable songs “As a songwriter, McKenna has that feel lifted from reality.” a gift for turning domestic detail into universal truth.” “The Tree is another fabulous, understated record: 10 songs about families and “[‘People Get Old’ is] a heartfelt look at the domesticity, and the tensions of everyday ways in which age, time, and family shape “Those familiar with Lori life, and one (Like Patsy Would) about the people we eventually become.” McKenna’s songwriting style know the aspirations of someone trying to write the beauty is in her details.” about the world as well as Hemingway and sing about it as well as Cline.” For more information, please contact Asha Goodman 615.320.7753, Nick Mallchok 615.320.7753, or Carla Sacks 212.741.1000, at Sacks & Co., [email protected], [email protected] or [email protected]. Continued praise for Lori McKenna’s The Tree “McKenna shows why no one sings her 8.3 / 10 STARS “For those of us who listen tearful songs better than she does. As usual “Her voice is warm and frank, and her and short of breath, with our own loves McKenna’s lyrics are detailed and poignant, understated, mostly acoustic musical and losses passing before our eyes, let’s but it’s her phrasing and delivery that arrangements never overshadow lyrics in hope that last musical testament from makes them truly come to life.” which she almost always manages to say Lori McKenna is far, far away.” the right thing…McKenna’s talent is such that you don’t need to actually know her personally to benefit. It’s all right there in “Though it all, McKenna’s her songs.” “Exquisite new album…McKenna’s greatest empathy shines, as steady and comforting gift: her ability to walk right up to the as a porch light left on…On new album edge sentimentality without forfeiting the The Tree, those creations emerge with the intensity that the moment demands.” vividness and grace listeners have come to “The wisdom she imparts across expect from McKenna’s songs over the the songs that follow is profound in its last 15-plus years.” simplicity, but it still needs to be heard: McKenna’s omniscient narrators are simultaneously understanding toward “…Lori McKenna has made an album their subjects and interrogating toward as big as life itself. It’s her masterpiece… themselves, a generosity of spirit that, If there are better songwriters than Lori when paired with Cobb’s thoughtful, subtle “Equally affecting is Lori McKenna’s McKenna on the planet right now, I bet arrangements, is a quiet yet welcome tonic ‘People Get Old.’ Country music’s go-to you can count them on one hand.” to the current landscape.” songwriter aims that golden pen at father time on her latest, emotionally devastating anthem. Start engraving the woman’s Grammy and bring on The Tree.” “There’s an unrelenting, aching 8 / 10 STARS beauty at the heart of The Tree because “What elevates her material ...can McKenna once again proves just how good be found in her use of particular details she is at capturing the joys and sorrows to reveal layers of emotion and her sweet that fill our hearts and lives.” 8 / 10 STARS soprano voice.” “Lori McKenna’s poetic stanzas are picturesque and her messages are spiritually sacred and sincere. Her songwriting and lyrics are truthfully BEST SONGS OF 2018 SO FAR captivating and fascinatingly realistic.” “It’s difficult to know where to start (“PEOPLE GET OLD”) when praising Lori McKenna’s The Tree. “An elegant and beautiful album.” It’s so good in so many ways.” 9 / 10 RATING “One of the greatest living songwriters of “Lori uses picturesque lyrics to paint a vivid “If you can listen to Lori McKenna’s ‘People our generation…If there’s any hope for the image of how quickly time passes between Get Old’ without crying and calling your future of mainstream country music, it lies when we are children to when we become parents—you might not be alive…a tender in songwriters like Lori McKenna.” adults, but also how that time passes just as look at life with apt observation that, yes, quickly for our parents. Wishing we could people get old and things change.” go back to previous times, but accepting the fact that as life goes on, people get old.” For more information, please contact Asha Goodman 615.320.7753, Nick Mallchok 615.320.7753, or Carla Sacks 212.741.1000, at Sacks & Co., [email protected], [email protected] or [email protected]..
Recommended publications
  • Excesss Karaoke Master by Artist
    XS Master by ARTIST Artist Song Title Artist Song Title (hed) Planet Earth Bartender TOOTIMETOOTIMETOOTIM ? & The Mysterians 96 Tears E 10 Years Beautiful UGH! Wasteland 1999 Man United Squad Lift It High (All About 10,000 Maniacs Candy Everybody Wants Belief) More Than This 2 Chainz Bigger Than You (feat. Drake & Quavo) [clean] Trouble Me I'm Different 100 Proof Aged In Soul Somebody's Been Sleeping I'm Different (explicit) 10cc Donna 2 Chainz & Chris Brown Countdown Dreadlock Holiday 2 Chainz & Kendrick Fuckin' Problems I'm Mandy Fly Me Lamar I'm Not In Love 2 Chainz & Pharrell Feds Watching (explicit) Rubber Bullets 2 Chainz feat Drake No Lie (explicit) Things We Do For Love, 2 Chainz feat Kanye West Birthday Song (explicit) The 2 Evisa Oh La La La Wall Street Shuffle 2 Live Crew Do Wah Diddy Diddy 112 Dance With Me Me So Horny It's Over Now We Want Some Pussy Peaches & Cream 2 Pac California Love U Already Know Changes 112 feat Mase Puff Daddy Only You & Notorious B.I.G. Dear Mama 12 Gauge Dunkie Butt I Get Around 12 Stones We Are One Thugz Mansion 1910 Fruitgum Co. Simon Says Until The End Of Time 1975, The Chocolate 2 Pistols & Ray J You Know Me City, The 2 Pistols & T-Pain & Tay She Got It Dizm Girls (clean) 2 Unlimited No Limits If You're Too Shy (Let Me Know) 20 Fingers Short Dick Man If You're Too Shy (Let Me 21 Savage & Offset &Metro Ghostface Killers Know) Boomin & Travis Scott It's Not Living (If It's Not 21st Century Girls 21st Century Girls With You 2am Club Too Fucked Up To Call It's Not Living (If It's Not 2AM Club Not
    [Show full text]
  • Using Popular Songs to Teach Similes by Thoughtco.Com, Adapted by Newsela Staff on 11.07.17 Word Count 832 Level 940L
    What does the timpani sound like? The Timpani in the Orchestra Utah Symphony (6:12) Etude #1, Scherzo by Tom Freer Leonardo Soto, Houston Symphony (2:49) What does a marimba sound like? Jesu, Joy of Man’s Desiring Bach (21 sec.) What does a vibraphone sound like? What does a xylophone sound like? Ode to Joy, Beethoven Excerpt Utah Symphony (18 sec.) (12 sec.) What do tubular bells sound like? What do these instruments sound like? Percussion 101: Chimes BBC National Orchestra of Wales - Percussion Vic Firth (3:03) (1:18) How to Play the Tambourine How to Play the Guiro How to Play the Triangle musicmax.eu (1:03) musicmax.eu (48 sec.) Kalani, Peripole, Inc. (1:58) What do these instruments sound like? Marching Percussion 101: Section Demonstration Chick and a Roll (2:42) Using popular songs to teach similes By ThoughtCo.com, adapted by Newsela staff on 11.07.17 Word Count 832 Level 940L Singer and actress Ariana Grande performing at a concert at the Meadowlands in East Rutherford, New Jersey, in 2014. Photo by: Scott Roth/AP. A simile makes a direct comparison between two things. It uses the words "like" or "as." The comparison reveals a new meaning. For example, the rock group Foreigner wrote a song called "Cold as Ice." The lyrics include a simile: You're as cold as ice You're willing to sacrifice our love In this example, the lyrics are not talking about the weather. Instead, they compare a woman to ice to show her emotions. Many songs can be used to teach about similes.
    [Show full text]
  • Marvin Gaye As Vocal Composer 63 Andrew Flory
    Sounding Out Pop Analytical Essays in Popular Music Edited by Mark Spicer and John Covach The University of Michigan Press • Ann Arbor Copyright © by the University of Michigan 2010 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2013 2012 2011 2010 4321 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Sounding out pop : analytical essays in popular music / edited by Mark Spicer and John Covach. p. cm. — (Tracking pop) Includes index. ISBN 978-0-472-11505-1 (cloth : alk. paper) — ISBN 978-0-472-03400-0 (pbk. : alk. paper) 1. Popular music—History and criticism. 2. Popular music— Analysis, appreciation. I. Spicer, Mark Stuart. II. Covach, John Rudolph. ML3470.S635 2010 781.64—dc22 2009050341 Contents Preface vii Acknowledgments xi 1 Leiber and Stoller, the Coasters, and the “Dramatic AABA” Form 1 john covach 2 “Only the Lonely” Roy Orbison’s Sweet West Texas Style 18 albin zak 3 Ego and Alter Ego Artistic Interaction between Bob Dylan and Roger McGuinn 42 james grier 4 Marvin Gaye as Vocal Composer 63 andrew flory 5 A Study of Maximally Smooth Voice Leading in the Mid-1970s Music of Genesis 99 kevin holm-hudson 6 “Reggatta de Blanc” Analyzing
    [Show full text]
  • James M. Black and Friends, Contributions of Williamsport PA to American Gospel Music
    James M. Black and Friends Contributions of Williamsport PA to American Gospel Music by Milton W. Loyer, 2004 Three distinctives separate Wesleyan Methodism from other religious denominations and movements: (1) emphasis on the heart-warming salvation experience and the call to personal piety, (2) concern for social justice and persons of all stations of life, and (3) using hymns to bring the gospel message to people in a meaningful way. All three of these distinctives came together around 1900 in Williamsport, Pennsylvania, in the person of James M. Black and the congregation at the Pine Street Methodist Episcopal Church. Because there were other local persons and companies associated with bands, instruments and secular music during this time, the period is often referred to as “Williamsport’s Golden Age of Music.” While papers have been written on other aspects of this musical phenomenon, its evangelical religious component has generally been ignored. We seek to correct that oversight. James Milton Black (1856-1938) is widely known as the author of the words and music to the popular gospel song When the Roll is Called Up Yonder . He was, however, a very private person whose failure to leave much documentation about his work has frustrated musicologists for decades. No photograph of him suitable for large-size reproduction in gospel song histories, for example, is known to exist. Every year the United Methodist Archives at Lycoming College expects to get at least one inquiry that begins, “I just discovered that James M. Black was a Methodist layperson from Williamsport, could you please tell me…” We now attempt to bring together all that is known about the elusive James M.
    [Show full text]
  • September”—Earth Wind & Fire (1978) Added to the National Registry: 2018 Essay by Rickey Vincent (Guest Post)*
    “September”—Earth Wind & Fire (1978) Added to the National Registry: 2018 Essay by Rickey Vincent (guest post)* “Do you remember, the 21st night of September…?” those were the opening lyrics to one of the biggest hits of 1978, and still one of the most entertaining pop songs over the decades. It is a song about memory, memories that have happened, and memories yet to come. A contagious joy emanates from the song, with lyrics that tease with importance, yet captivate with a repeating “ba-de-ya” refrain that is as memorable as any lyrical phrase. The song is a staple of movie soundtracks (such as “Ted 2,” “Barbershop--The Next Cut,” and “Night at the Museum”), commercial jingles, and family gatherings everywhere. With music providing tickles of percussion, soaring yet comforting horn lines, and the breathtaking harmonies, “September” is one of Earth Wind & Fires’ most catchy sing- along favorites. The lyrics spoke of dancing under the stars, and of celebrating moments in our lives. The words captured ideas that seemed so meaningful, yet really were not. The 21st night of September? What date was that? Was it someone’s birthday? How could a song tug at one’s memories, and yet refer to so little? Co-writer Allee Willis has said the date was used simply because it “sounded right when sung.” The irony was that Earth Wind & Fire had had a run of some of the most thought- provoking and inspiring messages in their catalogue of hit songs, from “Keep Your Head To the Sky” to “Shining Star” and “That’s the Way of the World,” there was an expectation of something deeper underpinning the uplifting experience.
    [Show full text]
  • Song & Music in the Movement
    Transcript: Song & Music in the Movement A Conversation with Candie Carawan, Charles Cobb, Bettie Mae Fikes, Worth Long, Charles Neblett, and Hollis Watkins, September 19 – 20, 2017. Tuesday, September 19, 2017 Song_2017.09.19_01TASCAM Charlie Cobb: [00:41] So the recorders are on and the levels are okay. Okay. This is a fairly simple process here and informal. What I want to get, as you all know, is conversation about music and the Movement. And what I'm going to do—I'm not giving elaborate introductions. I'm going to go around the table and name who's here for the record, for the recorded record. Beyond that, I will depend on each one of you in your first, in this first round of comments to introduce yourselves however you wish. To the extent that I feel it necessary, I will prod you if I feel you've left something out that I think is important, which is one of the prerogatives of the moderator. [Laughs] Other than that, it's pretty loose going around the table—and this will be the order in which we'll also speak—Chuck Neblett, Hollis Watkins, Worth Long, Candie Carawan, Bettie Mae Fikes. I could say things like, from Carbondale, Illinois and Mississippi and Worth Long: Atlanta. Cobb: Durham, North Carolina. Tennessee and Alabama, I'm not gonna do all of that. You all can give whatever geographical description of yourself within the context of discussing the music. What I do want in this first round is, since all of you are important voices in terms of music and culture in the Movement—to talk about how you made your way to the Freedom Singers and freedom singing.
    [Show full text]
  • Afro-American Blues and Game Songs AFSL4
    THE LIBRARY OF CONGRESS * MUSIC DIVISION ARCHIVE OF AMERICAN FOLK SONG 16A. 1. I DON'T MIND THE WEATHER. Sang by Jim Henry, Parchman, Mississippi, 1937. 2. DIAMOND JOE. Sung by Charlie Butler, Parchman, Mississippi, 1937. 3. JOE THE GRINDER. Sung by Irvin Lowry, Gould, Arkansas, 1939. Recorded by John A. Lomax. The lonely Negro worker piling up dirt on the levees, plowing in the cotton fields, at work in the lonely mist of the riverbottoms; the convict leaning on his hoe; the worker walking home across the fields in the purple evening- heve poured their feelings into songs like these. The songs are addressed to the sun and the choking dust, to the stubborn mules, to the faithless woman of the night before, to the herd-driving captain ; and they concern the essential loneliness of man on the earth. Out of this singing style, which is perhaps the most primitive of all the Afro-American styles current in the United States, has developed the blues. The listener will notice the same use of falsetto stops, the same drop of the voice at the end of lines, that characterize the blues. The aingsrs generally do not refer to these work -songs as sung at all. They say they are "just hollerin'." The words are. improvised each time the songs are sung, the lines coming out of a stock of phrases and verses thet heve been sung before or else directly out of the immediate thoughts of the aingsr. Each singer generally has his own personal melody or "holler"; but these melodies are so free thet each time the song is enunciated it is a new re-creation of the singer's feelings at the moment of performance.
    [Show full text]
  • Idioms-And-Expressions.Pdf
    Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context.
    [Show full text]
  • Soundtrack a Note from Bethany
    SOUNDTRACK A NOTE FROM BETHANY I believe romantic comedy is one of the greatest genres ever created. Is there anything funnier than love? (I’ll answer that one for you: No. There is not.) And while I now love reading in the genre and, you know, writing in it, my love for rom-coms was first awakened through movies. Sleepless in Seattle, While You Were Sleeping, The Cutting Edge, When Harry Met Sally . , My Best Friend’s Wedding, Bridget Jones’s Diary, You’ve Got Mail . the list goes on and on. As I was writing Wooing Cadie McCaffrey, I felt pretty satisfied that I was writing a worthy homage to the genre I love so much. But the fact is, rom- com movies have one distinct advantage over rom-com books. (Well, two distinct advantages, if we can just group Colin Firth, Tom Hanks, Hugh Grant, and the rest of them into one joint advantage . .) Movies have the advantage of music. So many rom-com movie moments are inextricably linked to a song that played in the background while the moment was happening and the emotions we felt at the time . The giddiness of seeing Joe Fox deliver daisies to a sick Kathleen Kelly while “Signed, Sealed, Delivered, I’m Yours” provides the soundtrack. The hilarity of watching Rupert Everett serenade Julie Roberts with “I Say a Little Prayer” and with the help of some waiters wearing lobster mitts. The sadness accompanying Hugh Grant as he passes through a year of seasons in Notting Hill with “Ain’t No Sunshine” as his only companion.
    [Show full text]
  • Kids Heart Challenge Volunteer Guide (PDF)
    The KIDS HEART CHALLENGE™ prepares elementary students for success by supporting their PHYSICAL AND EMOTIONAL WELL-BEING. The challenge includes: HEART PUMPING ACTIVATIONS such as Jump, Hoops, Dance and Warrior Obstacle Course. GIVE-BACKS TO FUND physical education equipment, direct contributions to schools and a grant program. OPEN CURRICULUM that provides a series of classroom-based physical activity plans and resources that support social and emotional learning. FUN AND EASY online fundraising to benefit the American Heart Association. HeartHeart HeroHero Alexa, age 8, Houston, Texas “If you come in touch with kids who have heart problems, don’t be scared at all. And for kids like me, I want them to keep being brave like me and do the things they want to do.” Alexa was born with a hole in her heart. She had heart surgery before she was one year old and another when she was seven. She loves unicorns, rainbows, rock climbing, gymnastics and anything sparkly! Table of Contents The Kids Heart Challenge .................................. 4 Partnering with the American Heart Association .............................. 5 Checklist of Materials ........................................ 6 Setting Up a Successful Event ............................ 7 Activation Guides ............................................. 8 Sample Messaging ........................................... 13 Step-by-Step Guide to Online Fundraising ....................................... 14 Incentives and Give-backs ............................... 15 Introducing the Heart Heroes
    [Show full text]
  • John Mellencamp
    JOHN MELLENCAMP Born October 7, 1951 in Seymour, Indiana, John Mellencamp fell in love with music at an early age and was gigging in local bars and fronting a soul band by the time he was 14. His professional music career began in earnest in 1976 when MCA Records released his first album, The Chestnut Street Incident. His manager dubbed him Johnny Cougar out of his belief that nobody would buy a record by anybody named Mellencamp. John protested but was overruled and eventually, of course, reclaimed his birth name as his public name. After releasing a few albums, he broke out in 1979 with his first hit, "I Need A Lover" In 1982 his fifth album American Fool was the year's best-selling album on the strength of two huge hits, "Hurts So Good," and the number 1 single "Jack & Diane,"!! The albums that followed in the 80's, Uh-Huh, Scarecrow, Lonesome Jubilee, and Big Daddy, were released under the name John Cougar Mellencamp. Hit singles during this period included "Crumblin Down," "The Authority Song," "Small Town," "Rain On The Scarecrow," "Lonely Ol Night," ""R.O.C.K. In The U.S.A.," "Paper In Fire," "Check It Out," "Cherry Bomb," "Pop Singer," and "Jackie Brown." Mellencamp took the music on the road with a band that many considered the best in the business, playing approximately 1,000 shows around the globe during the decade. In 1985, John's concern for the plight of the American farmer, which had been voiced in the Scarecrow album, brought him together with Willie Nelson and Neil Young in launching Farm Aid.
    [Show full text]
  • The Complete Stories
    The Complete Stories by Franz Kafka a.b.e-book v3.0 / Notes at the end Back Cover : "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. Page 1 The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York.
    [Show full text]