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Carrie Rodriguez - Live in Louisville

Live in Louisville

Carrie Rodriguez

Available from Carrie Rodruguez' web site.

A review written for the Folk and Acoustic Music Exchange
by Mike Jurkovic

Having experienced Rodriguez several times, I've come to this simple conclusion: Give the girl a stage and she's going to shine bright. Now give everyone within ten miles of Live in Louisville a pair of shades.

Recorded in 2007 while opening for Lucinda Williams, LiL captures Carrie coming into her effervescent own, not far from being a headliner herself. Her arrangements are open and earthy, allowing the songs—mostly sly, circular, riffs written by the lady solo or with beaming mentor Chip Taylor—to float from the stage like an elliptical, sometime erotic ether, land in your consciousness and be off, making way for the next tune to sink in. And when they sink in, we're left to ponder such lines as "Go get what you want my love" (Seven Angels On A Bicycle); "This body's got your name on it" (Got Your Name On It) and "When do I take my clothes off" (50's French Movie).

And while her vocals and presence get more assured and patented, her prowess on fiddle and mandoguitar leads to a band getting as instinctive and telepathic of space and texture as any jazz ensemble. Bassist Kyle Kegerreis would do any jazz master proud while guitarist Hans Holzen lends just the right six string calligraphy to make many of the songs a duet of voices. Drummer Sam Baker is equally astute holding time as he is letting it slip. The spunky assertive-ness of Never Gonna Be Your Bride and the snarly Mask of Moses serve to confirm all my platitudes.

Track List:

  • Dirty Leather
  • Seven Angels On A Bicycle
  • Before You Say Another Word
  • I Don't Want To Play House Anymore
  • Blackberry Blossom
  • Got Your Name On It
  • Mask Of Moses
  • Big Kiss
  • You Won't Be Satisfied That Way
  • 50's French Movie
  • Never Gonna Be Your Bride
  • St. Peter's
Recorded and mixed by Kevin Maddagan

Edited by: David N. Pyles


Copyright 2009, Peterborough Folk Music Society.
This review may be reprinted with prior permission and attribution.

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