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| Home Sweet Mobile Home |
| Nellie McKay |
| első megjelenés éve: 2010 |
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| (2010)
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CD |
| 4.221 Ft
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| 1. | Bruise on the Sky
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| 2. | Adios
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| 3. | Caribbean Time
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| 4. | Please
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| 5. | Beneath the Underdog
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| 6. | Dispossessed
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| 7. | The Portal
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| 8. | &
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| 9. | Consada Blues
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| 10. | No Equality
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| 11. | Absolute Elsewhere
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| 12. | Unknown Reggae
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| 13. | Bluebird
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Jazz
Barry O'Hare - Keyboards
Ben Bynum - Drums
Bob Glaub - Bass
Brian Jobson - Bass
Camden Chamberlain - Engineer
Carla Parisi - Publicity
Cary Park - Guitar
Casey Silcock - Release Coordinator
Craig Parker Adams - Engineer
Dahlia Ambach-Caplin - A&R
Danny Cahn - Trumpet
David Raven - Drums
David Schoenwetter - Engineer
Doug Barasch - Release Coordinator
Evelyn Morgan - A&R
Glenn Drewes - Trumpet
Grace Kim - Release Coordinator
Greg Calbi - Mastering
Ichiho Nishiki - Engineer
Jamie Krents - Release Coordinator
Jim Daniels - Tuba
Joslyn "Speckles" McKenzie - Drums
Kent Heckman - Engineer, Mixing
Kyle Benson - Release Coordinator
Lance Rauh - Saxophone
Lucien Ceran - Saxophone
Marcus Lipiner - Release Coordinator
Mark Visher - Clarinet, Horn Arrangements, Saxophone, Vocals (Background)
Mitchell Cohen - Assistant
Monique McGuffin Newman - Release Coordinator
Neil Case - Engineer
Nellie McKay - Arranger, Cello, Clarinet, Composer, Marimba, Organ, Paintings, Percussion, Piano, Producer, Saxophone, Synthesizer, Ukulele, Vocals
Paul Holderbaum - Horn Arrangements, Saxophone
Paul Rostock - Bass
Paul Wells - Drums
Reed Davis - Engineer
Reggie McBride - Bass
Rick Chamberlain - Trombone
Rick Gonzales - Photography
Robin Pappas - Management, Producer
Ron Stone - Management
Sachico Asano - Design
Spencer Reed - Guitar
Steve Martin - Booking
Ted Tuthill - Engineer
Tim Carbone - Violin
Tom Gloady - Engineer
Tony Maserati - Mixing
Vanessa Marisak - Illustrations
Vartan - Art Direction
Walter Fischbacher - Engineer
Wayne Jobson - Guitar
Willie Murillo - Horn Arrangements, Trumpet, Vocals (Background)
Singer-songwriter N. McKay's fifth album, Home Sweet Mobile Home, will be released on Verve Records this September. Her second album for the label follows her 2009 album Normal As Blueberry Pie - A Tribute to Doris Day, which was selected by The New York Times, Huffington Post and The Village Voice as one of the best of the year.
"Home Sweet Mobile Home" is McKay's first album of all-original material since 2007's Obligatory Villagers, and has the musical wanderlust, lyrical playfulness and sharp point of view that has characterized her music since her breakthrough debut Get Away From Me. Songs from the new project were recently debuted during her NYC engagement at Feinstein's, and the New York Post noted that "songs like 'Bodega' and 'Caribbean Time' feature whimsical humor and social commentary that blended in beautifully alongside the standards from the Blueberry Pie album."
The new album, produced by N. McKay and Robin Pappas, was recorded in Los Angeles, New York, Jamaica and the Pocono Mountains and, even more than her previous albums, combines diverse musical moods and cultures.
"I have no idea how this album happened," says Nellie McKay. "I guess I was looking for a sound to reflect our shrinking world and the bleed of culture crossing all kinds of borders." Reviewing a recent McKay show, Stephen Holden from The New York Times described her as a "vocal chameleon," and that varied musical palette is used to great effect on the 13 songs on Home Sweet Mobile Home.
N. McKay has released four critically acclaimed records and appeared on Broadway (winning a Theatre World Award for her role in the revival of The Threepenny Opera) and on film (acting and singing in P.S. I Love You). She also wrote and performed the song score for the Rob Reiner film Rumor Has It.
The Chase Brock Experience recently produced a ballet of her third album, Obligatory Villagers, while Nellie is currently playing opposite violin prodigy Philippe Quint in the independent film Downtown Express and contributing to the soundtrack for the upcoming Martin Scorsese HBO series Boardwalk Empire.
N. McKay's first album of new material in three years returns her to the stylistically scattershot, lyrically ingenious nature of Obligatory Villagers. As she admits herself ("I have no idea how this album happened"), McKay is working on instinct, which helps preserve not only her many idiosyncrasies but also the charming and witty nature of her songwriting. She did gain guidance from two elder sources, one being her mother Robin Pappas (a co-producer) and the other David Byrne, who recruited McKay to appear on his Imelda Marcos concept album Here Lies Love and then returned the favor by making compilations and recommending people for Home Sweet Mobile Home. Byrne's help is intriguing, since the album has all the sounds of the post-millennial global village: reggae rhythms and vocal inflections for several tracks (including "Caribbean Time"), a New Yorker's version of Latin-ized tradition for "¡Bodega!," and, as before, plenty of the good-time, slightly New Orleans-influenced jazz she's floated in the past. The album also has slightly more guitar than any since her debut. Guitars were expected on her first record, since it was produced by Geoff Emerick, but here McKay and her group appear to be attempting an adult-alternative pop crossover of some type. Lyrically, she continues the incisive satire and parody heard on her earlier material. (The first line on Obligatory Villagers was "Feminists don't have a sense of humor," while Home Sweet Mobile Home begins with "The New York Times invents the news.") While her mood inevitably varies from track to track, McKay, more often than before, sounds as though circa-2000s malaise has infected her songwriting; the opener, "Bruise on the Sky," is especially dark (its chorus ends "What I hoped would be my rainbow, was just a bruise on the sky"). "Beneath the Underdog" and "No Equality" are equally dispirited, nearly fatalistic, despite the latter's airing as an organ-led soul jam.
---John Bush, Rovi |
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