Genre | Folk |
---|---|
Date (CEST) | 2020-03-26 19:22:24 |
Group | ERP |
Size | 68 MB |
Files | 11 |
M3U / SFV / NFO |
Karen_Dalton-In_My_Own_Time-Remastered-2007-ERP
Infos
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Tracklist (M3U)
# | Filename | Artist | Songname | Bitrate | BPM |
---|---|---|---|---|---|
1 | 01-karen_dalton-something_on_your_mind-erp.mp3 | Karen Dalton | Something On Your Mind | 280 | Unknown |
2 | 02-karen_dalton-when_a_man_loves_a_woman-erp.mp3 | Karen Dalton | When A Man Loves A Woman | 278 | Unknown |
3 | 03-karen_dalton-in_my_own_dream-erp.mp3 | Karen Dalton | In My Own Dream | 261 | Unknown |
4 | 04-karen_dalton-katie_cruel-erp.mp3 | Karen Dalton | Katie Cruel | 282 | Unknown |
5 | 05-karen_dalton-how_sweet_it_is-erp.mp3 | Karen Dalton | How Sweet It Is | 296 | Unknown |
6 | 06-karen_dalton-in_a_station-erp.mp3 | Karen Dalton | In A Station | 286 | Unknown |
7 | 07-karen_dalton-take_me-erp(1).mp3 | Karen Dalton | Take Me | 262 | Unknown |
7 | 07-karen_dalton-take_me-erp.mp3 | Karen Dalton | Take Me | 262 | Unknown |
8 | 08-karen_dalton-same_old_man-erp.mp3 | Karen Dalton | Same Old Man | 254 | Unknown |
9 | 09-karen_dalton-one_night_of_love-erp.mp3 | Karen Dalton | One Night Of Love | 270 | Unknown |
10 | 10-karen_dalton-are_you_leaving_for_the_country-erp.mp3 | Karen Dalton | Are You Leaving For The Country | 280 | Unknown |
NFO
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┌────────┐
────┤ Info ├──────────────────────────────────────────────────────────────────
└────────┘
Artist | Karen Dalton
Title | In My Own Time
Genre | Folk Format | Album
Source | CDDA Time | 34:35
Label | Light In The Attic Store | 2007
Catalog | LITA 022 Rip | 2020
Bitrate | 274 kbps Size | 71.51 MB
Freq | 44.1 kHz Encoder | Lame 3.100
┌────────┐
────┤ Tracks ├──────────────────────────────────────────────────────────────────
└────────┘
01. Something On Your Mind 3:23
02. When A Man Loves A Woman 2:59
03. In My Own Dream 4:18
04. Katie Cruel 2:22
05. How Sweet It Is 3:43
06. In A Station 3:52
07. Take Me 4:40
08. Same Old Man 2:45
09. One Night Of Love 3:19
10. Are You Leaving For The Country 3:14
┌────────┐
────┤ Notes ├──────────────────────────────────────────────────────────────────
└────────┘
A cult singer, 12-string guitarist, and banjo player of the New York 1960s
folk revival, Karen Dalton still remains known to very few, despite
counting the likes of Bob Dylan and Fred Neil among her acquaintances. This
was partly because she seldom recorded, only making one album in the 1960s
- and that didn't come out until 1969, although she had been known on the
Greenwich Village circuit since the beginning of the decade. It was also
partly because, unlike other folksingers of the era, she was an interpreter
who did not record original material.
"In My Own Time" is the second and last album the mercurial singer ever
cut. Following "It's So Hard To Tell Who's Going To Love You The Best",
producers Michael Lang and Harvey Brooks (Dalton's longtime friend and the
bassist on both her records) did something decidedly different on "In My
Own Time" (titled after the slow process of getting the album done - in
Dalton's relaxed and idiosyncratic manner of recording), and the result is
a more polished effort than her cozy, somewhat more raw debut. This time
out, Dalton had no trouble doing multiple takes, though the one chosen
wasn't always the most flawless, but the most honest in terms of the song
and its feel.
The album was recorded at Bearsville up in Woodstock, and the session
players were a decidedly more professional bunch than her Tinker Street
Cafe friends who had appeared on her first effort. Amos Garrett is here, as
is Bill Keith on steel, pianist John Simon, guitarist John Hall, pianist
Richard Bell, and others, including a star horn section that Brooks added
later. If Lang was listed as producer, it was Brooks who acted as the
session boss, which included a lot of caretaking when it came to Dalton -
who began recording in a more frail condition than usual since she was
recovering from an illness.
"In My Own Time" is the better of her two offerings in so many ways, not
the least of which is the depth she is willing to go inside a song to draw
its meaning out, even if it means her own voice cracks in the process. The
material is choice, beginning with Dino Valente's gorgeous "Something on
Your Mind." Brooks' rumbling single-note bassline opens it with a throb,
joined by a simple timekeeping snare, pedal steel, and electric guitars.
When Dalton opens her mouth and sings "Yesterday/Anyway you made it was
just fine/Saw you turn your days into nighttime/Didn't you know/You can't
make it without ever even trying/And something's on your mind...," a fiddle
enters and the world just stops.
The Billie Holiday comparisons fall by the wayside and Dalton emerges as a
singer as true and impure as Nina Simone (yet sounds nothing like her), an
artist who changed the way we hear music. The band begins to close in
around her, and Dalton just goes right into the middle and comes out above
it all. She turns the song inside herself, which is to say she turns it
inside all of us and its meaning is in the sound of her voice, as if
revelation were something of an everyday occurrence if we could only grasp
its small truth for what it weighs.
When the album moves immediately into Lewis and Wright's "When a Man Loves
a Woman," Dalton reveals the other side of Percy Sledge's version. This
woman who was so uncaged and outside the world that she died homeless on
the streets of New York in the 1990s was already declaring the value of
loving someone even if that someone couldn't return the love as profoundly
- which doesn't mean it isn't appreciated in the depths of the Beloved's
being. Dalton sings the song as if wishing that she herself could accept
such a love. Her voice slips off the key register a couple of times, but
she slides into her own, which is one of the hidden places in the tune that
one didn't even know existed.
The layered horns don't begin to affect her vocal; they just move it inside
further. And the woman could sing the blues in a way that only Bob Dylan
could, from the skeletal framework of the tune toward the truth that a
blues song could convey - just check her reading of Paul Butterfield's "In
My Own Dream," with some gorgeous steel playing by Keith. Her version of
Holland-Dozier-Holland's "How Sweet It Is (To Be Loved by You)" has her
singing completely outside the time and beat of the tune; floating through
the tune's middle, she glides, slips, and slides like a jazz singer in and
around its changes.
Another standout is Richard Manuel's "In a Station." As a piano, rolling
tom-toms, and an organ introduce it, Dalton is at her most tender; she
feels and communicates the understatement in the original, and lets her
voice flow through even as the band plays on top of her. And when her voice
cracks, it's as if the entire tune does, just enough to let in the light in
its gorgeous lyric. Of course, it wouldn't be a Dalton album if there
weren't traditional tunes here, and so there are three, including "Katie
Cruel," with Dalton playing her banjo and finding the same voice that Dock
Boggs did, the same warped cruelty and search for the brutality of love.
"Same Old Man" is another banjo-based tune set in an Eastern modal drone.
Only the stark loneliness and outsider presence of Dalton's voice shift and
move through the large terrain provided by that drone and create the very
substance of song from within it. It's spooky, otherworldly. George Jones'
"Take Me" is transformed from a plea to a statement; it's a command to the
Beloved to deliver her from her current place outside love to become its
very substance. It's still a country song, but there's some strange
transgender delivery that crosses the loneliness of Hank Williams with the
certainty of Tammy Wynette, and is rawer than both.
If one can only possess one of Karen Dalton's albums, In My Own Time is the
one. It creates a sound world that is simply unlike any other; it pushes
the singer outside her comfort zone and therefore brings listeners to the
place Dalton actually occupied as a singer. Without apology or concern for
technique, she could make any song her own, creating a personal narrative
that could reach outside the song itself, moving through her person and
becoming the truth for the listener.
The fine Light in the Attic label reissued this set - originally on
Paramount - on compact disc in 2007. It's in a handsome package with
remastered sound and a beautiful booklet that includes a slew of photos and
essays by Lenny Kaye, Nick Cave, and Devendra Banhart. It's a handsome
tribute to a nearly forgotten but oh so necessary talent.
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