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Thread: Grace Potter & The Nocturnals - The Lion The Beast The Beat

  1. #1
    Grumpy Old Man Music Head's Avatar
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    Aug 2009
    Lancaster, Kentucky, United States

    Default Grace Potter & The Nocturnals - The Lion The Beast The Beat

    online listen
    just misses the list
    started out good, but got repetitious to a fault
    love her voice
    I say ooh la la
    1.6 from me and a converted 2.2 from the pros at allmusic

    from the album - Never Go Back

    released June 12th, 2012

    Bio - from allmusic

    Singer, songwriter, and Hammond B-3 player Grace Potter grew up in Waitsfield, Vermont, where she began playing
    piano at the age of seven; informed by her parents' extensive collection of some 4,000 LPs, she was gigging out
    locally by her late teens. She met drummer Matt Burr at an open-mike session while both were attending St. Lawrence
    University in upstate New York in 2002, and the two formed Grace Potter & the Nocturnals. The band, by then a trio
    with the addition of Scott Tournet on guitar, recorded its homemade debut album, Original Soul, in 2004 on its own
    newly created Ragged Company record label. Bassist Bryan Dondero joined just as the group began tracking a second
    homemade effort, Nothing But the Water, which was released in 2005. The album garnered a good deal of critical
    acclaim, thanks to its sturdy, throwback, rootsy sound and Potter's impressive vocal work, which drew comparisons to
    everyone from Janis Joplin to Norah Jones, Lucinda Williams, and Bonnie Raitt. Fiercely independent and in control
    of their own career, Potter and the band turned down several major-label offers before signing with Hollywood
    Records later in 2005. Hollywood reissued Nothing But the Water for wider distribution in 2006, and in 2007, in
    conjunction with Ragged Company, issued This Is Somewhere, which further refined the band's classic organic sound.
    In 2010, after a shelved Potter solo project produced by T-Bone Burnett, Grace Potter & the Nocturnals was released.
    Produced by Mark Batson (Jay-Z, Snoop Dogg, Beyonce, and Alicia Keys), the album's more polished, sound and tighter
    songwriting were part of an effort by both label and group to pull out all the stops in breaking them as a charting
    act. The band toured incessantly, and released an iTunes session, a live album in the U.K., a download-only live-at
    -the-Fillmore date, and even a Christmas EP. In the summer of 2012, they emerged with a new studio offering, The
    Lion the Beast the Beat.

    Album Review - from allmusic

    Grace Potter & the Nocturnals' self-titled 2010 album raised the band's profile. It traded heavily on their concert
    strengths, and while not perfect, it more or less shored up their reputation with fans and spread their rep
    globally. The Lion the Beast the Beat is a creative leap. With the band having enlisted producer Jim Scott, most
    tracks were cut live from the floor of his studio with strings, effects, and backing vocals added later. The sound
    here is big, sometimes bombastic, but never slick; it's wildly varied, too. Collectively, the songs have a very
    loose thematic link about the gray areas between perception and reality, looking at everything from relationships to
    time's passage. The title track contains the band's signature big guitars and drums roaring above an organ and
    strings. It nods -- without winking -- at the Go-Go's' "We Got the Beat." Dan Auerbach co-wrote and co-produced
    "Never Go Back," the album's first single. It's a tricky, quirky number with an off-kilter funk riff la mid-period
    Talking Heads. Its chorus is infectious and Potter's singing, alternately seductive and authoritative, grabs the
    listener by the throat. The ballad "Stars" looks directly toward country radio with its pedal steel and lilting
    hook. That said, it's warmer and more natural-sounding. Auerbach and Potter also co-wrote the Doors-influenced
    "Loneliest Soul," an uptempo groover with pulsing organ, slinky Rhodes, and a popping bassline that pushes it above
    imitation. The psych-tinged "Timekeeper" is an unlikely pop song, but its distinctly retro feel and Potter's
    exquisite vocal -- which is far more disciplined than on any previous recording -- are irresistible. "Runaway" is
    punchy, nasty, funky rock & roll -- one keeps expecting horns, but they never appear. Co-produced by Auerbach and
    Scott, it contains the former's feel for live distortion and the latter's layered ambience and dynamics, and
    combines them to great effect. The guitar break is smoking; it pushes Potter to her limit in response. The closer,
    "The Divide," is the set's best track. It's a slow-building, apocalyptic rocker, whose three guitars create menace
    and drama. They are balanced by a careening organ and a large string section, arranged to carry the proceedings from
    the abyss to transcendence. While Potter's melodies and hooks are solid on The Lion the Beast the Beat, some of her
    lyric choices are still a bit clunky. However, she and the Nocturnals compensate with passion, execution, and smart
    production choices and arrangements. With its exponential musical growth, this might indeed be the record that moves
    the band from the merely recognizable into the pop mainstream.

    Track Listing

    1. The Lion the Beast the Beat
    2. Never Go Back
    3. Parachute Heart
    4. Stars
    5. Timekeeper
    6. Loneliest Soul
    7. Turntable
    8. Keepsake
    9. Runaway
    10. One Heart Missing
    11. The Divide
    A man only learns in two ways, one by reading, and the other by association with smarter people.
    Will Rogers

  2. #2


    nice track MH

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