Shams & Amy Rigby

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Quilt , 6/10
Amy Rigby
Diary Of A Mod Housewife , 5.5/10
Middlescence (1998), 5/10
The Sugar Tree (2000), 4.5/10
Til the Wheels Fall Off (2003),
Little Fugitive (2005), 6.5/10
The Old Guys (2018), 4/10

Sue Garner, appena uscita dai V-Effect, aveva formato i Biggest Square Thing, un duo sperimentale di chitarra e canto dei quali usci` soltanto l'EP A Square Thing's Prerogative (Butt Rag, 1989).

Sue Garner si uni` poi a Amy Rigby per formare le Shams, un trio di cantautrici, che esordi` con il singolo Only A Dream (1989). Rigby domina le canzoni country di Quilt (Matador, 1991), impreziosite da contributi di Will Rigby, Robert Quine, Lenny Kaye. Rigby svetta soprattutto come poetessa delle delusioni amorose (Stuck Here On The Ground, Watching The Grass Grow) File Clerk Blues e` un a cappella degno di Janis Joplin. L'EP Sedusia (Matador, 1993) contiene ancora due dei loro classici, Continuous Play e Love Me With Your Mind, ma il gruppo si sarebbe diviso quasi subito.

Garner si uni` ai Run On.

If English is your first language and you could translate my old Italian text, please contact me.
Amy Rigby launched her solo career with Diary Of A Mod Housewife (Koch, 1996). The tragic confessional Time For Me To Come Down sets the tone for the rest of the album all the way to the melancholy closer We're Stronger Than That Musically, the country anthem Beer & Kisses and the rowdy boogie 20 Questions stand out.

Rigby continued her solo career with Middlescence (Koch, 1998), containing the country-pop lullaby All I Want, the solemn ode What I Need and the funk-soul shuffle Invisible, and, after relocating to Nashville, with the inferior The Sugar Tree (Koch, 2000), with the Rolling Stones-esque Balls and the delicate elegy Sleeping With The Moon. 18 Again (2002) is a compilation of singles and album songs.

Til the Wheels Fall Off (Signature Sounds, 2003) contains the jangly folk-rock singalong Why Do I but is mostly devoted to stories (like the cute and catchy Are We Ever Gonna Have Sex Again? on the former) rather than to music.

Little Fugitive (Signature Sounds, 2005) marked a major leap forward in terms of composition, production and especially variety. It contains her catchiest power-pop ditty, Dancing With Joey Ramone, another cute and bouncy story, Like Rasputin, a pop-soul ditty It's not Safe that evokes the J. Geils Band of the 1970s, the distorted psychedelic ballad So You Know Now, in the "Madchester" vein, the jazzy and cabaret-tish Needy Men that could be a lost 1950s gem, and simple singalongs like Girls Got It Bad

The Old Guys (Southern Domestic, 2018), the first in more than a decade, produced by former punk-rocker Wreckless Eric, is derivative in every possible way. We heard a zillion times the anthemic folk-rock of From philiproth@gmail to, the graceful country-rock of Back From Amarillo, the Tom Petty-esque The Old Guys, etc.

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