Girl Called Eddy

A Girl Called Eddy

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by A Girl Called Eddy
     
 

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A gorgeous display of melody and melancholy, the debut from A Girl Called Eddy, a.k.a. New Jersey–born Anglophile Erin Moran, should woo fans of such thinking-gal's singers as Beth Orton, Dido, and Aimee Mann with its reflective, late-night vibe. But where Mann, for example, draws heavily on a Beatles and '70s power-pop influence, Moran looks to the more stylized…  See more details below

Overview

A gorgeous display of melody and melancholy, the debut from A Girl Called Eddy, a.k.a. New Jersey–born Anglophile Erin Moran, should woo fans of such thinking-gal's singers as Beth Orton, Dido, and Aimee Mann with its reflective, late-night vibe. But where Mann, for example, draws heavily on a Beatles and '70s power-pop influence, Moran looks to the more stylized sounds of Scott Walker, Burt Bacharach, and Dusty Springfield, whose soulful pipes certainly helped shape Moran's willowy, soul-baring delivery. Helping her transform her bedroom-window musings into lush mini-epics is Richard Hawley, who's collaborated with Britpop stars Pulp and who lends the disc glowing but understated arrangements rich with strings, horns, and nifty sounds like vibraphone and Hawaiian lap steel. Moran's topics span the usual gamut of love and loss, but she rarely sounds as heartbroken -- or effective -- as on "Kathleen," a meditative ode to her late mother that's underscored by a restrained arrangement including strings, harpsichord, horns, and tinkling glockenspiel. And while much of the disc follows through on this contemplative mood, Moran and Hawley know enough about album dynamics to shake things up a bit, as on the surprisingly effusive breakup song "The Long Goodbye," where jangling electric guitars finally jump to the fore in a more radio-friendly mix. A Girl Called Eddy is a real treat, and the welcome mat for an emerging and engaging talent.

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Editorial Reviews

All Music Guide - Thom Jurek
Three years after the sensational Tears All Over Town EP, Erin Moran (aka A Girl Called Eddy) issued her debut long-player in the United States via the maverick Epitaph subsidiary Anti. Produced with aplomb by Pulp's Richard Hawley and Colin Elliot, this self-titled outing is an exercise in melancholy, depth, intimacy, and pure pop sophistication. Moran's songwriting approach is unabashedly romantic; it's torchy yet sweet, and her love of songwriters from Scott Walker to Burt Bacharach to Brian Wilson to Jim Webb is everywhere evident. In addition, her voice is a dead cross between Chrissie Hynde's and Karen Carpenter's. Hawley and Elliot have a symbiotic empathy for Moran's method. While she holds down the piano chores, this pair play all manner of guitars, basses, and electric keyboards with Shez Sheridan and Andy Cook, and selectively employ string and horn sections where appropriate. She reprises two cuts from the previous offering in the devastating ballad "Heartache" (which quotes the piano intro to the Carpenters' "Close to You") and the aching "Girls Can Really Tear You Up Inside." The album opens with the blue-eyed soul-pop of "Tears All Over Town," with its ringing Rickenbacker guitars, swirling strings, and rich piano textures. It is followed by the genuinely sad, loss-drenched "Kathleen," written for Moran's late mother, with acoustic and electric guitars starkly winding around a skeletal string section; above it all Moran's voice haltingly expresses its grief. There is a big production number as well in "People Used to Dream About the Future," with its crashing waves of keyboards and strings and a bridge to die for. There's the jaunty cabaret pop of "Life Thru the Same Lens," the hushed, emotionally loaded "Did You See the Moon Tonight," and the heartbreak rock & roll of the album's closer, "Golden." In all, A Girl Called Eddy is a multi-textured, multi-dimensional journey into grand pop literacy; Moran's songs are examples of exquisite taste that is never cheeky or dishonest. On her album the heart speaks with grace, elegance, and force.
New York Times - Jon Pareles
Does the world need another dusky-voiced retro chanteuse? When she's as good as Erin Moran... the answer is yes.
Entertainment Weekly - David Browne
Eddy could truly be what the world -- or the pop one, anyway -- needs now. (B)

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Product Details

Release Date:
08/10/2004
Label:
Anti
UPC:
0045778671922
catalogNumber:
86719

Tracks

  1. Tears All Over Town
  2. Kathleen
  3. Girls Can Really Tear You Up Inside
  4. The Long Goodbye
  5. Somebody Hurt You
  6. People Use to Dream About the Future
  7. Heartache
  8. Life Thru The Same Lens
  9. Did You See the Moon Tonight
  10. Little Bird
  11. Golden

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Album Credits

Performance Credits

Girl Called Eddy   Primary Artist
Peter Wright   Horn
Michael Klotz   Strings
Polly Wiltshire   Strings
Colin Elliot   Piano,Electric Bass,Glockenspiel,Background Vocals,Moog Synthesizer,Mellotron,Vibes,fender rhodes,Upright Bass,Moog Bass
Simon Stafford   Trombone
Heather Zimmerman   Strings
Mark Brotter   Drums
Andy Cook   Drums
Richard Hawley   Acoustic Guitar,Glockenspiel,Electric Guitar,Lyre,Background Vocals,Vibes,fender rhodes,Hawaiian Lap Steel Guitar,Guitar (Baritone)
Catherine Popper   Upright Bass
Ali Heath Cook   Background Vocals
Simon Graham   Strings
Liz Hanks   Strings
Sarah Hill   Strings
Naomi Koop   Strings
Shez Sheridan   Acoustic Guitar,Banjo,Lyre,Background Vocals,spanish guitar,Guitar (12 String Acoustic),Guitar (Baritone)
John Visanji   Strings
Erin "Eddy" Moran   Piano,Vocals
Elizabeth Moran   Piano,Vocals
Melody Coper   Strings
Victoria Hart   Strings
Laura Rachel Pannington   Strings
Tony Robertson   Horn
Jeff Snowden   Horn
Gaynor Sutcliffe   Strings
Ali Heath Cook   Background Vocals

Technical Credits

Colin Elliot   Producer,Engineer,Contributor,String Arrangements,Audio Production
Gary Maurer   Producer,Engineer
Richard Hawley   Producer,Audio Production
Dan Messe   Producer,Engineer
Greg Pliska   String Arrangements
Warren Darius Aftahi   Cover Photo
Elizabeth Moran   String Arrangements

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Customer Reviews

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A Girl Called Eddy 4.5 out of 5 based on 0 ratings. 2 reviews.
SparklyAthena More than 1 year ago
I stumbled, ACTUALLY STUMBLED, onto this album while searching through a bunch of cd's in a store that smelled like a garage. I frequent there because I usually find gems like this album. Her voice is stunningly beautiful and somewhat hauntingly smoothe. I don't pick out a lot of winners from that stinky, garage smelling store...but when I do, they are definately worth bragging about.
Anonymous More than 1 year ago