Collaboration did not come naturally, but they soon discovered that, once again, the spark they created in so short a time made the sessions effortless. There are certain things that are expecting of her that she is rebelling against on this record,” he says.īesides a cover of Ruby Tuesday by the Rolling Stones and Raise the Dead by Emmylou Harris, the songs are originals, written over time in Earle’s home in New York City, Colvin’s home in Austin, Texas, and a third session in Nashville, as well as ideas passed back and forth digitally via their phones. And she’s reveling in the chance to get a little tougher. “It’s not like I never sing softly, but I do change.
In conversation, both quote producer Buddy Miller, who plays on the album, as saying they each “take a step toward each other” when they sing, with Earle shifting into a quieter tone and Colvin rising in temper. Instead, their closeness represents a kind of surrender to the other person in the room. But unlike other famed male-female duet partners George Jones and Tammy Wynette or Porter Wagoner and Dolly Parton, Colvin and Earle’s singing is not a metaphor for the relationship between men and women.
Close melodic harmony singing has always served as a fundamental element of country music, from the Carter Family to the Louvin Brothers to the bluegrass of Bill Monroe.
On the new album, their contrast in vocal styles – his rough, hers tender – came together to create a single voice that neither expected to hear.
0 kommentar(er)
