Rise

Editorial Reviews

Barnes & Noble - David McGee
It's been three long years since Kim Richey's lush pop gem, Glimmer, and that's far too long for so distinctive a voice to be stilled. Rise easily makes up for lost time. Informed tangentially by country, Rise is an album of art songs that portray a psyche battered by romantic disappointments yet receptive to the idea of a fresh start. Whereas Glimmer brought producer Hugh Padgham's pop brilliance to bear on a set of folksy songs, Rise -- produced by Bill Botrell, who delivered Shelby Lynne's masterpiece I Am Shelby Lynne -- boasts the immediacy and intimacy of a home recording. Bottrell's sparse, low-key production -- a synthesizer burble here, a subtle keyboards wash ...
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Editorial Reviews

Barnes & Noble - David McGee
It's been three long years since Kim Richey's lush pop gem, Glimmer, and that's far too long for so distinctive a voice to be stilled. Rise easily makes up for lost time. Informed tangentially by country, Rise is an album of art songs that portray a psyche battered by romantic disappointments yet receptive to the idea of a fresh start. Whereas Glimmer brought producer Hugh Padgham's pop brilliance to bear on a set of folksy songs, Rise -- produced by Bill Botrell, who delivered Shelby Lynne's masterpiece I Am Shelby Lynne -- boasts the immediacy and intimacy of a home recording. Bottrell's sparse, low-key production -- a synthesizer burble here, a subtle keyboards wash there, small combo ensemble conversations fading in and out -- allows Richey plenty of room to be as reportorial or as elliptical as her memoir-like songs demand. The mood is appropriate: Whatever demons Richey was fighting in her hard driving pre-Glimmer music have now given way to a tantalizing ennui, suggesting she's arrived at place where if the highs aren't all that high anymore, neither are the lows so catastrophic either. The pungent electric guitar lines snaking through "Me and You" underscore the singer's determination to make a relationship work, but Richey, no longer wild-eyed about love, surveys the landscape and announces in cool tones, "We got blame enough for two." And rarely has an uncoupling been described in a tone as dreamy and seductive as Richey's in the airy, haunting "Fading." Easy interpretations aren't the point here, though, and that's what makes Rise a hard habit to break.
All Music Guide - Kelly McCartney
There's a lot about Kim Richey's Rise that is intriguing. All of it seems to circle around the balancing of playful and contemplative moods. The lyrics, the instrumentation, the arrangements -- all are means to that intriguing end. She sits a song that reminisces about the greatest show on Earth "The Circus Song" right next to a haunting ballad that struggles peacefully to hold on to the memories of a love affair "Fading." The mood shifts dramatically between the two, but it's OK. It's real. It's so much how a heart beats and how a mind thinks that you don't really notice. The timing of an album's release is always interesting to watch as well. In the same way Sheryl Crow's C'mon C'mon was a perfect spring/summer listen, Rise hitting the streets in October can't have been a coincidence. The crisp air and shimmering colors of autumn bleed into the quietude and introspection of winter in the same seamless way these songs flow into one another. The really cool thing is that these tunes are a total grab-bag of styles, rhythms, and attitudes, like a game of musical Tetris being played from track to track. Producer Bill Bottrell guides the pieces with a careful and creative hand, making each song excitingly unpredictable, both individually and as part of the collective soundscape. If you've never heard Richey's work, come on in, the water's perfect. If you have heard her previous efforts, forget what you know no matter what that is and dive in too. Rise is sure to please even the most fickle listener.
New York Magazine - Chris Smith
A masterpiece that's as bluesy, resilient, and seductive as vintage Lucinda Williams.

A masterpiece that's as bluesy, resilient, and seductive as vintage Lucinda Williams.
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Product Details

  • Release Date: 10/1/2002
  • Label: Mca Import
  • UPC: 008817032726
  • Catalog Number: 170327
  • Sales rank: 191,964

Tracks

Disc 1
  1. 1 Girl in a Car (4:16)
  2. 2 A Place Called Home (3:57)
  3. 3 Me and You (3:25)
  4. 4 The Circus Song (Can't Let Go) (3:44)
  5. 5 Fading (4:44)
  6. 6 Without You (4:15)
  7. 7 Reel Me In (4:16)
  8. 8 No Judges (3:14)
  9. 9 This Love (3:58)
  10. 10 Good Day Here (3:40)
  11. 11 Electric Green (5:46)
  12. 12 Hard to Say Goodbye (4:41)
  13. 13 Cowards in a Brave New World (3:16)
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Album Credits

Performance Credits
Kim Richey Primary Artist, Acoustic Guitar, Background Vocals, Hand Clapping
Chuck Prophet Acoustic Guitar, Bouzouki, Percussion, Electric Guitar
Roger Fritz Piano, Electric Guitar
Pete Droge Acoustic Guitar, Electric Guitar, Vocals, Slide Guitar
Bill Bottrell Acoustic Guitar, Banjo, Bouzouki, Harmonica, Piano, Pedal Steel Guitar, Drums, Electric Guitar, Rhythm Guitar, Harmonium, Keyboards, Hammond Organ, Background Vocals, Melodica, farfisa organ, Wurlitzer, Mini Moog
Birdie Bass, Percussion, Piano, Noise, Vibraslap, Hand Clapping, Washtub Bass
Technical Credits
Bill Bottrell Producer, Engineer, Mastering, String Samples
Frank Callari Artist Development
Karen Naff Art Direction
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