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| Artist : Nellie McKay |
| Album : Home Sweet Mobile Home |
| Label : Verve Forecast |
| Year : 2010 |
| Genre : Jazz |
| Rip date : Oct-22-2010 |
| Store date : Sep-28-2010 |
| Size : 63,6 MB |
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| 01 - Bruise On The Sky 04:29 |
| 02 - Adios 02:14 |
| 03 - Caribbean Time 04:18 |
| 04 - Please 03:09 |
| 05 - Beneath The Underdog 05:14 |
| 06 - Dispossessed 03:53 |
| 07 - The Portal 03:53 |
| 08 - iBodega 03:39 |
| 09 - Consada Blues 04:33 |
| 10 - No Equality 04:37 |
| 11 - Absolute Elsewhere 03:54 |
| 12 - Unknown Reggae 04:27 |
| 13 - Bluebird 03:11 |
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| 51:31 min |
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| Nellie McKay's first album of new material in three years returns her to |
| the stylistically scattershot, lyrically ingenious nature of Obligatory |
| Villagers. As she admits herself ("I have no idea how this album |
| happened"), McKay is working on instinct, which helps preserve not only |
| her many idiosyncrasies but also the charming and witty nature of her |
| songwriting. She did gain guidance from two elder sources, one being her |
| mother Robin Pappas (a co-producer) and the other David Byrne, who |
| recruited McKay to appear on his Imelda Marcos concept album Here Lies |
| Love and then returned the favor by making compilations and recommending |
| people for Home Sweet Mobile Home. Byrne's help is intriguing, since the |
| album has all the sounds of the post-millennial global village: reggae |
| rhythms and vocal inflections for several tracks (including "Caribbean |
| Time"), a New Yorker's version of Latin-ized tradition for "íBodega!," |
| and, as before, plenty of the good-time, slightly New Orleans-influenced |
| jazz she's floated in the past. The album also has slightly more guitar |
| than any since her debut. Guitars were expected on her first record, |
| since it was produced by Geoff Emerick, but here McKay and her group |
| appear to be attempting an adult-alternative pop crossover of some type. |
| Lyrically, she continues the incisive satire and parody heard on her |
| earlier material. (The first line on Obligatory Villagers was "Feminists |
| don't have a sense of humor," while Home Sweet Mobile Home begins with |
| "The New York Times invents the news.") While her mood inevitably varies |
| from track to track, McKay, more often than before, sounds as though |
| circa-2000s malaise has infected her songwriting; the opener, "Bruise on |
| the Sky," is especially dark (its chorus ends "What I hoped would be my |
| rainbow, was just a bruise on the sky"). "Beneath the Underdog" and "No |
| Equality" are equally dispirited, nearly fatalistic, despite the |
| latter's airing as an organ-led soul jam. |
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