One of the oldest and hoariest, if not the Eve of all clichés in a pundit's depleted arsenal is the word Haunted. Yet, if I were to venture outside our Tweatatory vocabulary and use other synonyms -- fetching perhaps or riveting -- would anyone under thirty know what the hell I was getting at? And if they were, God hoping, inquisitive and not your standard sound byte American, they'd Google what the words meant. That's educational, yes, but consequently distracting from my humble review and more importantly, Eliza Blue's delectably rustic sensuality.
From the opening Ask Me To Dance to its sparser closing reprise, an intimately spectral presence inhabits The Road Home. Produced, recorded, mixed and mostly performed by Blue in her attic free of outside influences (I'll cynically though safely assume by this she means the noisy erosion of American culture) The Road Home becomes the sound of a soul searching the shadows. Dark, earthy eulogies to love Ashes and Ashtrays, Swords and Shields, give way to the quiet redemption of the Kate Bush infused emotion of Mending Fences, where Blue's wailing, mournful violin (eerily reminiscent of Bobby Notkoff's pitch and playing on Neil Young's Running Dry from Everybody Knows This Is Nowhere) colors her revelation that she's "Too old to hope/Too young to crawl". Gospel Song is a plucky affirmation of the upward calling, but it's the moody whispers of love's consciousness Screen Doors and Back Porches ("I left you cities of sand …You left me reasons to stay") and the soul stirring title track ("Angels surround you/Demons they hound you") that offers conclusive evidence of why we should keep this still emerging, deeply affecting singer/songwriter on our radar and playlists.
Edited by: David N. Pyles
Copyright 2010, Peterborough Folk Music Society.
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