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:: MONSIEUR FLAC IS PROUD TO PRESENT ::
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|::Flo Morrissey and Matthew E. White - Gentlewoman, Ruby Man ::|
|::___________________________________________________________::|
|:: ::|
|:: Artist : Flo Morrissey and Matthew E. White ::|
|:: Title : Gentlewoman, Ruby Man ::|
|:: Label : Glassnote ::|
|:: Genre : Indie ::|
|:: Source : CD (LP) ::|
|:: Size : 283.07MB ::|
|:: Encoder : FLAC 1.3.1 ::|
|:: Quality : 885 kbps avg / 44.1 kHz / 2 channels ::|
|:: Rel Date : 2017-01-24 ::|
|:: ::|
|:: ::|
|:: · T R A C K L I S T · ::|
|::___________________________________________________________::|
|:: ::|
|:: # _title_ _time_ ::|
|:: ::|
|:: 01 Look At What The Light Did Now 3:21 ::|
|:: 02 Thinking Bout You 3:44 ::|
|:: 03 Looking For You 4:40 ::|
|:: 04 The Colour In Anything 2:58 ::|
|:: 05 Everybody Loves The Sunshine 4:47 ::|
|:: 06 Grease 4:21 ::|
|:: 07 Suzanne 4:41 ::|
|:: 08 Sunday Morning 3:37 ::|
|:: 09 Heaven Can Wait 3:49 ::|
|:: 10 Govindam 6:15 ::|
|:: ───── ::|
|:: Total Time 42:13 ::|
|:: ::|
|:: ::|
|:: · R E L E A S E N O T E S · ::|
|::___________________________________________________________::|
|:: ::|
|:: Every record tells a story, a few journeys around the ::|
|:: sun before the needle locks into the centre and the ::|
|:: side is over. A youngish English chanteuse flies across ::|
|:: the ocean to hang with a soft-spoken American auteur ::|
|:: producer for two weeks at a world-class studio in an ::|
|:: unassuming central Virginia neighbourhood across the ::|
|:: gravel road from a field with some peaceful horses, she ::|
|:: soaks up the spring sunshine and the heavy southern air ::|
|:: and in this wisecracking den of ace musicians, teaches ::|
|:: them a thing or two about how life is lived and music ::|
|:: is felt, then they lay down incredible covers both ::|
|:: familiar and new, or unfamiliar and old, with an ::|
|:: easygoing style that captures the essence of the songs ::|
|:: and a bit of the wildness of what it means to be human. ::|
|:: The producer has done his homework, she lights ::|
|:: fireworks on her first Fourth of July in the USA, the ::|
|:: session runs smoothly, lightning is bottled up, and she ::|
|:: goes home. And you want to travel with her and you want ::|
|:: to travel blind. Alternate title, Flo Meets Matt in ::|
|:: AmericaûthereÆs a good start. ::|
|:: ::|
|:: Flo met Matthew in person for the first time at a Lee ::|
|:: Hazelwood tribute performance at the Barbican in London ::|
|:: in the fall of 2015, where they both sang æSome Velvet ::|
|:: MorningÆ, solidified their correspondence into a ::|
|:: friendship and discussed a desire to work together in ::|
|:: the near future. That desire grew into Gentlewoman, ::|
|:: Ruby Man, in some ways a straightforward duets record, ::|
|:: of a kind that has fallen out of fashion, two separate ::|
|:: entities meeting to record a collection of great songs ::|
|:: as a one-off, Marvin & Tammi-style. In other ways itÆs ::|
|:: a more unique animal, less typical back and forth ::|
|:: duets, more subtle and complimentary spotlight sharing. ::|
|:: A record like Gentlewoman, Ruby Man might feel ::|
|:: inevitable, but itÆs a small miracle and a testament to ::|
|:: the hard work and natural chemistry of these two ::|
|:: artists that they were able to pull it off, to find ::|
|:: each other and collaborate on a project of this kind ::|
|:: across the ocean and the unsteady 21st century musical ::|
|:: landscape. ::|
|:: ::|
|:: Both Morrissey and White seem destined to travel beyond ::|
|:: genre, though they explored more definable traditions ::|
|:: in earlier releases. MorrisseyÆs Tomorrow Will Be ::|
|:: Beautiful (2015) is an honest and beatific affair, a ::|
|:: refreshing outlier in a resurging field of folk rock ::|
|:: that had fallen into glossy commercialism, her youthful ::|
|:: debut looking back to the early aughts when Devendra ::|
|:: Banhart and Joanna Newsom recorded a slew of ::|
|:: exceptional acoustic music. WhiteÆs stunning debut Big ::|
|:: Inner (2012) and its follow-up Fresh Blood (2015) are ::|
|:: two southern soul journeys, engaging and idiosyncratic ::|
|:: statements crafted with his family of Richmond ::|
|:: collaborators. ::|
|:: ::|
|:: Gentlewoman, Ruby Man is a little more difficult to ::|
|:: categorize, closing with a leftfield, but utterly ::|
|:: sublime chant to Lord Krishna. The fact that it ::|
|:: actually works, signals what kind of a special universe ::|
|:: this project exists in, a universe familiar to anyone ::|
|:: who has followed WhiteÆs label-cum-production house ::|
|:: Spacebomb. ::|
|:: ::|
|:: WhiteÆs production takes cues from the touchstones of ::|
|:: tape that have become recording canon, he flourishes ::|
|:: under a benevolent regime of preparation and ::|
|:: in-the-moment respect for the musicianÆs intuition. ::|
|:: Feel, what I feel, when I feel, what I feel, when IÆm ::|
|:: feelinÆ, in the sunshine. What separates him from the ::|
|:: new class of rock producers with magpie access to all ::|
|:: the coolest records from all the decades, is his ::|
|:: background in jazz and sophisticated understanding of ::|
|:: arrangement, in the tradition of a Quincy Jones with ::|
|:: more than a few strands of Brian WilsonÆs psychedelic ::|
|:: DNA. Morrissey injected a dose of spiritual joy into ::|
|:: the process, placing an educated faith in WhiteÆs ::|
|:: direction and providing her own guiding light in the ::|
|:: studio, ready with a studied opinion or an inspired ::|
|:: suggestion. ::|
|:: ::|
|:: FloÆs ethereal voice, timeless to begin with, has ::|
|:: matured and strengthened, bringing a richness and magic ::|
|:: core to everything it touches, and she really sings the ::|
|:: night out. WhiteÆs honeydrop vocal caresses offer a ::|
|:: complimentary texture or prowl in the lead. These are ::|
|:: big songs tackled with zero insecurity and ego, the ::|
|:: band fiery and loose, taking the pressure and throwing ::|
|:: away conventionality. An album of covers could have ::|
|:: slipped into mindless eclecticism, commercial efforts ::|
|:: at popularity or crate digging cred, but White and ::|
|:: Morrissey simply picked good, sometimes unexpected ::|
|:: songs that they love and feel connected to, from ::|
|:: æGreaseÆ (1978), to a spine-tingling take on the title ::|
|:: track from James BlakeÆs æThe Colour In AnythingÆ ::|
|:: (2016). Nine tracks that feed the heart and move the ::|
|:: body. ::|
|:: ::|
|:: http://glassnotemusic.com ::|
|:: ::|
|:: ::|
|:: · G R O U P N E W S · ::|
|::___________________________________________________________::|
|:: ::|
|:: Wanna FLAC with us ? Ask around :) ::|
|:: ::|
|:: ::|
|:: · G R E E T I N G S · ::|
|::___________________________________________________________::|
|:: ::|
|:: N/A ::|
|:: ::|
|:: ::|
|__________________________________________ ________________|
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:: / ____ \/ \/ /___________ / / lAST nFO ::
_/ \/ / _\____ /______/_ / uPDATE: ::
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