Songs From the Gutter (Bonus CD) Review

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Songs From the Gutter (Bonus CD) ReviewIf I could rate this with 6 stars I would. Simply the best CD I've bought in at least a decade the songs are so good. From catchy hard rock (When Did You Get So Safe) to country blues (Mud on My Shoes) Alanis style techno (Down to Nowhere), heady solo acoustic (Water to Sky), to otherworldly dreamscapes (And Well Dance). This would easily be a greatest hits album for most artists.
And this is before you get to the bonus CD. Almost too good to be true. The first track ("Hydrogen") is probably the best flat out rock song I've heard in about a year, and the chord change in the acoustic "Lavender Cowgirl" is of the most unexpectedly clever ones I've ever heard. Most of the bonus CD is acoustic. The song "December in New York" is brilliant with its acoustic guitar and piano--it sounds like something straight off Joni Mitchell's Blue album. There's even a spoken word song "Don't set foot over the railway track".
Thea's voice on these discs echoes those of a number of other female artists (Natalie Merchant, Alanis Morrisette, Joni Mitchell, Chrissy Hynde, and even Margo Timmins from the Cowboy Junkies). To me, these songs sound like they're sung by several different women rather than one artist.
After just one play I was a fan. Simply a must have.Songs From the Gutter (Bonus CD) Overview"One of the most promising and provocative singer/songwriters to emerge from England in years, Gilmore detangles sex, religion, and politics with a literate eloquence and defiance that recall the early poetic eruptions of Bob Dylan." --USA Today
It is not unusual for a songwriter to stray from the beaten path as they mature, to experiment more intrepidly and find a thoroughly distinctive voice.But when this happens at age 25, people take notice.
It is fitting that Thea Gilmore conceived Songs from the Gutter as part of a Bob Dylan tributealbum. Like the obstinate American songwriter to whom she is frequently compared, Gilmore seemed unshackled by convention even in her early work, able to escape the confines of both genre and industry and give her creativity space to grow.
Gilmore believes that audiences don't want to be pandered to and that people will respond to honest expression more than accessibility. The young Brit's respect for music listeners paid off and accolades poured in from such respected sources as USA Today, Mojo, and the Guardian. Gilmore was invited to appear on Radio 4 and at Glastonbury Festival, one of the UK's largest musical events. In the fall of 2004, she toured the US with Joan Baez.
A steadfastly original lyricist generating recordings at a breakneck pace, Gilmore has kept her growing fan base almost satisfied with a new project nearly every year. While most of her peers spend years in the planning stages, Gilmore takes her ideas to the studio quickly, capturing the muse of the moment and allowing it to be whatever it is, whether that fits in with any larger trajectory or career plan--or not. Following the highly successful 2003 release of Rules for Jokers, Gilmore changed direction with 2004's lush Avalanche.
Songs from the Gutter is a textbook example of Gilmore's method of creation. Invited to contribute to a Bob Dylan tribute CD sponsored by Uncut magazine, the ever-generating artist found herself in a studio in Cheadle Hulme in May of 2002. Five days later she emerged with ten tracks, which she promptly added to several older, unavailable cuts for an internet-only, double album release. Nigel Stonier's production and a mastering job at Abbey Road polished the collection without taking away any of its nerve, and fans clamored for the disc at Gilmore's live shows. Making its American debut on Compass Records, Songs from the Gutter glimmers with the immediacy and unpredictability of Gilmore's performances, delving into her darker, grittier side.

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