Ashley Monroe — Sparrow (April 20, 2018)

Ashley Monroe — Sparrow (April 20, 2018)

               Ashley Monroe — Sparrow (April 20, 2018) Ashley Monroe — Sparrow (April 20, 2018)≡χ≡     Country singer and songwriter known for her solo work as well as a side gig in Pistol Annies.
≡χ≡     “I knew I wanted to work with Dave,” Monroe says of the famed producer, who has guided the albums of Chris Stapleton, Jason Isbell and Mary Chapin Carpenter, among dozens of others. “All of his records are consistently awesome and classic, timeless, old and new all in one.”
Location: Nashville, TN
Album release: April 20, 2018
Recorded: 2017
Studio: RCA Studio A
Genre: Country gospel folk
Record Label: Warner Bros. Nashville
Duration:     43:24
Tracks:
01. Orphan     4:29
02. Hard On a Heart     3:26
03. Hands On You     3:52
04. Mother’s Daughter     3:51
05. Rita     3:28
06. Wild Love     3:52
07. This Heaven     3:54
08. I’m Trying To     3:45
09. She Wakes Me Up (Rescue Me)     2:26
10. Paying Attention     3:39
11. Daddy I Told You     3:29
12. Keys to the Kingdom     3:13
≡χ≡     Producer: Dave Cobb
Written by:
≡χ≡     Paul Moak / Ashley Monroe / Gordie Sampson     1
≡χ≡     Paul Moak / Ashley Monroe / Blu Sanders     2
≡χ≡     Ashley Monroe / Jon Randall     3
≡χ≡     Ryan Beaver / Brendan Benson / Ashley Monroe     4
≡χ≡     Nicolle Galyon / Paul Moak / Ashley Monroe     5
≡χ≡     Brendan Benson / Ashley Monroe / Waylon Payne     6, 10
≡χ≡     Anderson East / Ashley Monroe / Aaron Raitiere     7
≡χ≡     Kassi Ashton / Ashley Monroe / Jon Randall     8
≡χ≡     Paul Moak / Ashley Monroe / Waylon Payne     9
≡χ≡     Josh O’ Keefe / Ashley Monroe / Angaleena Presley     11
≡χ≡     Ashley Monroe / Waylon Payne     12
Credits:
••      Brian Allen Bass, Cello
••      David Angel Violin
••      Kassi Ashton Composer
••      Ryan Beaver Composer
••      Brendan Benson Composer
••      Hannah Burton Photography
••      Dave Cobb Guitar (Acoustic), Guitar (Electric), Percussion, Producer
••      David Davidson Violin
••      Anderson East Composer
••      Nicolle Galyon Composer
••      Gena Johnson Assistant Engineer
••      Josh O’ Keefe Composer
••      Cris Lacy A&R
••      Paul Moak Composer
••      Ashley Monroe Composer, Mellotron, Vocals (Background)
••      Mike Moore Art Direction, Design
••      Waylon Payne Composer, Vocals (Background)
••      Chris Powell Drums, Percussion
••      Angaleena Presley Composer
••      Carole Rabinowitz Cello
••      Aaron Raitiere Composer
••      Jon Randall Composer
••      Gordie Sampson Composer
••      Blu Sanders Composer
••      Eddie Spear Engineer
••      Shane Tarleton Creative Director
••      Michael Webb Keyboards, Mellotron, Piano
••      Kristin Wilkinson String Arrangements, Viola
••      Karen Winklemann Violin
Review
JEWLY HIGHT, April 12, 20185:00 AM ET
≡χ≡     When an artist frames a new album as the product of therapy, we’ve learned to expect a work of acute self~xamination, unreserved confrontation or potent purging whose songs feel like they were inspired by highly individualized experiences and emotions.
≡χ≡     Ashley Monroe’s Sparrow feels like something else entirely. She began the promotion cycle for her Dave Cobb~produced fourth album by telling NPR that many of its dozen songs came on the heels of   “an intense therapy~athon,” during which she “dealt with things that happened in my childhood, and forgiveness for my mother, forgiveness for myself, all these deep emotions.” But she didn’t treat her songwriting as an occasion to burrow into solitary journaling.
≡χ≡     Age~wise, the criminally underappreciated singer and songwriter falls midway between her sometime Pistol Annies bandmate Miranda Lambert and definitive millennial voice Kacey Musgraves, both of whom took their most recent albums in self~reflective directions. But Monroe is also attuned to country’s capacity for sentimentality, pining, tragedy and weighty melancholy in a way that links her to celebrated song interpreters a generation ahead of her, like Vince Gill (who’s written with her since her teens and produced her last two albums), Alison Krauss and Lee Ann Womack — singers who aim for great feeling and finesse in their performances and seldom signal that they’re singing about themselves.
≡χ≡     While Monroe surely mines her own stories in some of these songs — she’s spoken here and there of the premature death of her father and intermittent absence of her mother — she tends to apply her lived experience in a way that deepens, but doesn’t dominate, her patient phrasing, exquisite intonation and feathery note~bending drawing from a deep well of anguish.
≡χ≡     She took pleasure in telling this interviewer that Krauss rang her up in tears upon hearing “Orphan,” the album’s opening track. And it’s no wonder that the plaintive waltz would elicit that response. Monroe artfully updates a historic ballad tradition that casts orphaned children as pitiable creatures, maintaining a steady gaze on the painfully precarious existence she’s describing. “Nobody told me what I should do / When the world starts to rumble and shake under you,” she sighs in a graceful, aching lilt over cresting strings. When she draws poetic contrasts between a child and a fledgling sparrow fending for themselves, it’s as though she’s mirroring oft~quoted scriptures that use birds as metaphors for divine nurture and inspired a beloved gospel hymn, but distrusts their promised comfort.
≡χ≡     The sparkling, Bobbie Gentry~ish pop~soul arrangement of “Mother’s Daughter” gently veils the lyrics’ skepticism about the sturdiness of relational bonds and fear of inheriting destructive patterns. “Staying forever is a promise that nobody can keep,” Monroe declares ruefully, before concluding the next stanza with an even more haunting sentiment: “Staying forever is the biggest lie she’ll ever believe.” In the winsome “Daddy I Told You,” she clings, with adult self~awareness, to the innocence of vows made in childhood: “Daddy I told you I was gonna fly / I’d get out of that town alive / Don’t worry, I kept your name / And your picture in a frame.” In “Keys to the Kingdom,” a vision of music offering spiritual reunion with long~gone loved ones, the melody turns soft curlicues, then briefly dips down to low, pensive notes.
≡χ≡     Monroe also dwells on sensual longing. Her use of the qualifier “this” in the gliding country~soul ballad “This Heaven” suggests from the start that it’s bodily pleasures, not another realm, that she has in mind. “Paying Attention,”a pillowy, orchestrated pop number with a beguilingly bruised melody, captures an excruciating merging of regret and desire. She broods over unfulfilled fantasies in “Hands on You,” and gives herself over to breathless craving in “Wild Love,” whose sleek bass pulse and busy, cursive strings conjure the disco era. That’s even truer of “Hard On a Heart,” with its sleek, unbroken groove. But in her hands, these elements of blissfully escapist fare are vehicles for an interior dialogue with woundedness.
≡χ≡     What Monroe’s accomplished with Sparrow is both subtle and breathtaking: She’s bent her fluency in the communal languages of folk, country, gospel and pop toward powerfully personal expression. Be prepared to be swept up. ≡χ≡      https://www.npr.org/
AllMusic Review by Stephen Thomas Erlewine; Score: ****½
≡χ≡     Sparrow comes on slowly, almost stately, unfolding with a deliberate crawl of piano and strings that instantly separates it from Ashley Monroe’s first two albums. It’s a sign that Monroe has changed producers, switching from her longtime supporter Vince Gill to Dave Cobb, the hottest producer in Nashville in the back half of the 2010s. Part of Cobb’s strength is allowing artists to explore within the confines of a commercially appealing production, and that’s precisely what Sparrow is: soul~baring songs given a sumptuous treatment. Sparrow sounds so warm and inviting that it’s easy to miss how Monroe mines her personal life throughout the record, creating a suite of songs that explore family dynamics — an appropriate fit, considering how Monroe recorded the album while pregnant with her first child. Despite these hints of the confession, Sparrow isn’t strictly autobiographical. Monroe finds space for a flirtation with ‘70s soul (“Hard on a Heart”), majestic soft pop (“Wild Love”), and seductive slow~burners (“Hands on You”), moments that enrich the album by giving it a natural ebb and flow. More than anything, Sparrow is sharply constructed as an album, setting a mood with its first song and then finding variations on this lush, enveloping sound. It’s a record designed for late nights, whether those nights are lonely or romantic.
Website: http://www.ashleymonroe.com/
Twitter: https://twitter.com/ashleymonroe
Facebook: https://www.facebook.com/AshleyMonroeMusic/
••_________________________________________________________••

Ashley Monroe — Sparrow (April 20, 2018)

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OWEN PALLETT — Heartland (March 3, 2014)
Badly Drawn Boy — Banana Skin Shoes (22nd May, 2020)
A.O. Gerber — Another Place to Need (May 22, 2020)
Kaleidoscope — Faintly Blowing (11 April 1969, Reissue, Remaster
Perfume Genius — Set My Heart On Fire Immediately (15th May 2020
Perfume Genius — No Shape (5 May, 2017) BC
Perfume Genius — No Shape (5 May, 2017) FC
Sungazers — Wasting Space (May 18, 2020)
Cermaque — Lament (22nd May, 2020)
Mountaineer — Bloodletting (May 22nd, 2020)
Jetstream Pony — Jetstream Pony (May 22, 2020)
Steve Earle — Townes (May 8, 2009)
Steve Earle & The Dukes — Ghosts of West Virginia (May 22, 2020)
Sixth June ‎— Trust (17 Jan 2020)
White Tail Falls — Age of Entitlement (May 29, 2020)
Weyes Blood — “Wild Time” from Titanic Rising
Nicole Atkins — Italian Ice (29 May 2020)
Deerhoof — Future Teenage Cave Artists (May 29, 2020)
Deradoorian — Find the Sun (Sept. 18, 2020)
Bob Dylan — Rough and Rowdy Ways (June 19th, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
This Will Destroy You — Vespertine (June 9, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Yoko Ono, Kim Gordon & Thurston Moore — YOKOKIMTHURSTON
Psychic Markers — Psychic Markers (29 May, 2020)
The Memories — Pickles & Pies (May 29, 2020)
Songs for the Late Night Drive Home (Feb. 5, 2016)
Spc Eco — Dark Matter (Nov. 20, 2015)
SPC ECO — June (June 1, 2020)
Yves Tumor — Heaven to a Tortured Mind (April 3, 2020)
Norah Jones — Pick Me Up Off the Floor (June 12th, 2020)
Larkin Poe — Self Made Man (June 12th, 2020)
Ezra Furman — Sex Education [Original Soundtrack] (April 24, 202
Endless Field — Alive in the Wilderness (June 12, 2020)
Wesley Gonzalez — Appalling Human (June 12, 2020)
Noveller — Arrow (June 12, 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Andrej Šeban — Triplet (March 22, 2019) inner cover
Andrej Šeban — Triplet (March 22, 2019) cover
The Crossing & Donald Nally — James Primosch: Carthage (05/2020)
Jerskin Fendrix — Winterreise (April 17, 2020)
Zoongideewin — Bleached Wavves (June 19, 2020)
ULRICH SCHNAUSS — A Long Way To Fall — Rebound (3rd April, 2020)
Sports Team — Deep Down Happy (5th June, 2020)
Wrekmeister Harmonies — We Love to Look at the Car (2020)
Midlake — Antiphon (Nov. 4, 2013)
ANASTASIA MINSTER — Father ©Michael Haley
Jessie Ware — Glasshouse (Deluxe; 20 Oct 2017)
Teen Daze — Morning World
Jessie Ware — What’s Your Pleasure (June 26, 2020)
Art Feynman — Half Price At 3:30 (June 26th, 2020)
Bo Ningen — Sudden Fictions (26th June, 2020)
Khruangbin — Mordechai (June 26, 2020)
Pottery — Welcome to Bobby’s Motel (June 26th, 2020)
Orlando Weeks — A Quickening (June 12, 2020)
John Craigie — Asterisk the Universe (June 12, 2020)
Kavus Torabi — Hip to the Jag (May 22, 2020)
Nadine Shah — Kitchen Sink (June 5, 2020)
Paul Weller — On Sunset [Deluxe Edition] (3rd July, 2020)
Corb Lund — Agricultural Tragic (June 26, 2020)
Christine Ott — Chimères (pour ondes Martenot) (May 22, 2020)
The Beths — Jump Rope Gazers (July 10th, 2020)
Ashley Paul — Window Flower (May 13, 2020)
Grey Daze — Amends [Deluxe Edition] (July 3, 2020)
Grey Daze ©Photo credit: Anjella / Sakiphotography
Ajimal — As It Grows Dark / Light (June 26, 2020)
Ajimal — As It Grows Dark Light (June 26, 2020)
Eleanor Friedberger — Rebound (May 4th, 2018)
ELEANOR FRIEDBERGER — NEW VIEW (January 22, 2016)
Immigrant Union — Judas (June 19, 2020)
Julianna Barwick — Healing Is a Miracle [Japan Edition] (2020)
Neil Young & Crazy Horse — Colorado (Oct. 25, 2019)
Neil Young — Homegrown (19th June, 2020)
The Jayhawks — XOXO (July 10, 2020)
Joy Division — Closer (40th Anniversary) [2020 Digital Master] (
Daniel Bachman — The Morning Star (July 27, 2018)
Daniel Bachman — Green Alum Springs (June 6, 2020)
Becca Mancari — The Greatest Part (June 26, 2020)
Ytamo — Vacant (June 12, 2020)
Bright Eyes — Down In The Weeds, Where The World Once Was (Aug.
Thin Lear — Wooden Cave (24th July, 2020)
Devendra Banhart — Vast Ovoid (July 24, 2020)
Cub Sport — LIKE NIRVANA (24 July, 2020)
Sara Serpa — Recognition (June 5th, 2020)
Sara Serpa, Ingrid Laubrock, Erik Friedlander — Close Up (2018)
Klara Lewis — Ingrid (1st May 2020)
Buju Banton — Upside Down (June 26, 2020)
Son Lux — Learning Structures vol. 1~4 (Oct. 11th, 2019)
learning structures, vol. 3 distance between us (Oct. 11, 2019)
learning structures, vol. 2: end firma
learning structures, vol. 3: distance between us
The Boomtown Rats — Citizens of Boomtown (13 March, 2020)
Ralph of London — The Potato Kingdom (19th June, 2020)
Mike Polizze — Long Lost Solace Find (July 31, 2020)
Land of Talk — Indistinct Conversations (July 31, 2020)
The Heliocentrics — Infinity Of Now (Feb. 14, 2020)
TANYA DONELLY: Swan Song Series bonus tracks (FC)
The Heliocentrics — Telemetric Sounds (Aug. 7, 2020)