Liejacker

Liejacker

by Thea Gilmore
     
 

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Much of Liejacker was recorded at Thea Gilmore's house as self-therapy, without the expectation that the songs would released. While longtime producer/husband Nigel Stonier later embellished the stripped down originals with subtle percussion, bass, harmonica, fiddle, and even guest vocals from Joan Baez -- an influence on Gilmore'sSee more details below

Overview

Much of Liejacker was recorded at Thea Gilmore's house as self-therapy, without the expectation that the songs would released. While longtime producer/husband Nigel Stonier later embellished the stripped down originals with subtle percussion, bass, harmonica, fiddle, and even guest vocals from Joan Baez -- an influence on Gilmore's style -- for one song, the core of the project remains stark, personal and, not surprisingly, somewhat insular. The U.S. version, which appeared four months after the U.K. edition, features a shorter (by two tracks) and reconfigured set list, but this is a powerful album in either form. The skeletal "And You Shall Know No Other God but Me," with Gilmore's intentionally distorted lead vocals sounding as if they are coming out of an old transistor radio accompanied by stark acoustic guitar, is extremely effective in a chilling way. Elsewhere, her silky vocals are given free reign to swoop through the introspective lyrics that drive this folk-based material. Two duets, one with Baez and the other the opening track where Gilmore trades vocals with Dave McCabe of the Zutons, shimmer and glow with subtle authority, enhanced by her musical partner's and Stonier's sympathetic production. Lyrically, the album throbs with vivid visual references such as "Rosie"'s "you've got needles in your eyes from all those glances that you stole," made even more striking when sung by Gilmore's honeyed voice. Subtle loops and accordion added to "Roll On" enhance the folksy vibe as she sings "I'm another tinpot poet/another infidel/they're still scrubbing at the stains of the communion wine I spilled." There's a languid sense to many tracks and they unspool at their own leisurely pace. The nearly seven-minute "Dance in New York" begins with simple acoustic guitar and voice but turns into a dark, restrained widescreen epic by its closing strains. Gilmore mixes the controlled drama of Annie Lennox with the insistent purr of the Cowboy Junkies' Margo Timmins for an intoxicating brew that beckons the listener with a combination of sensuality and drama. This is one of Gilmore's least commercially oriented albums yet, and perhaps because of that, also one of her finest.

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Product Details

Release Date:
09/23/2008
Label:
Rykodisc
UPC:
0014431095825
catalogNumber:
10958
Rank:
130406

Related Subjects

Tracks

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Album Credits

Performance Credits

Thea Gilmore   Primary Artist,Bass,Dobro,Guitar,Percussion,Cymbals,Rhythm Guitar,Harmonium,Vocals,national steel guitar
John Kirkpatrick   Accordion
Joan Baez   Vocals,Guest Appearance
James Hallawell   Organ,Hammond Organ
Roy Martin   Drums
Steve Wickham   Fiddle,Guest Appearance
Ian Thomson   Upright Bass
Erin McKeown   Background Vocals,Guest Appearance
Jennifer John   Background Vocals
Mike Cave   Percussion,Cymbals,Drums
Jo Wadeson   Bass
Nigel Stonier   Dulcimer,Acoustic Guitar,Bass,Harmonica,Piano,Strings,Drums,Electric Guitar,Harmonium,Ukulele,Vocals,Melodica,Mellotron,Acoustic Bass,Guitar (Baritone)
Norman McLeod   Electric Guitar,Slide Guitar
Laura Reid   Cello
Sarah Dickson   Background Vocals

Technical Credits

Joan Baez   Duet
James Hallawell   Engineer
Roy Martin   Sound Effects
Gene Paul   Mastering
Steve Wickham   Engineer
Dave Chalfant   Engineer
Dean Sharenow   Engineer
Thea Gilmore   Composer,Producer
Mike Cave   Producer,Engineer
Nigel Stonier   Producer
Jamie Polaski   Mastering

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