Patty Griffin: C or D?

Note the ones on Realistic: Radio Shack house brand. Humblebrag?

(Prob no prob.)

listened once. a nice treat for fans, to be sure, but deep cuts are usually deep for good reason.

Oh yeah, that self-titled 2019 album---from my Scene ballot comments:

Also, re xpost Sturgill's approach: even more, or more surprisingly, personalized retro---"bespoke," right?--is to be found on most of Patty Griffin's current s/t--it's surprising to me because she's usually got a very distinctive style of composition, and these spare tracks---usually just her and a guitar and sometimes a bass, a couple voice-piano pieces, acoustic probably, although there is "The Wheel, " a grinding combo blues shuffle---at first seem a little too familiar, received, aside from the unfamiliar lack of sonic density and burnished imagery. But after a couple of opening duds--despite the striking Spanish-style guitar, she keeps repeating the verse of "Mama's Worried" in a way that does not build momentum, and "River" is the woman-as-river bit that Howe Gelb did better---soon enough, her newly mumblecore-tending urgency has me leaning into my headphones, and for instance rushes the cool beat of "Hourglass," and rises through the Braziloid sunrise of "What I Remember," and hovers in the the canyon (piano pedals) twilight of "Luminous Places" and there's a couple near the end that are trademark PG-style after all, and really just about all of this is, mostly in a way I've near heard before (not that I've checked all of her albums). Certainly preoccupied and restlessly-rooted Incl. sitting down) enough for some forms of country (also I'd like to hear the Dixie Chicks/Courtyard Hounds/solo Maines cover some of these).

oh mang, finally listened to all of Tape, and it had me from the first notes, not requiring multiple schoolings like the solo s/t did. These are all a bit simpler than what we typically find on her finished product. One sounds like a thematic/POV variant of Springsteen's "Atlantic City," another resembles second cousin to a certain DeMent fave, and she may have thought so too, reasons for setting them aside, despite the fact that they actually *sound* like nobody but PG---overall though, wtf? Guess they just didn't fit, or in some cases, painfully fit too well with then-current preoccupations incl. projected albums.
But just sooo damn could---rec. also to fans of The Marfa Tapes, though this is more late night solitude than twilight campfire guitar-pulls duh.
She does have company over on the one where Plant shows up: a jazzy shuffle, with organ, electric guitar, bass, drums---kind of a boogie really, and I thought of John Lee Hooker from time to time. There's also a tiny, charming instrumental, "Octaves." Sending an insistent signal to somebody at sea, via tape haze (usually not noticable).
Here's where I listened (loud and clear enough):
http://music.youtube.com/playlist?list=OLAK5uy_nULRv6QR2KSFxd35-4J6xLogSQvLie3eY

But just sooo damn could Also sooo damn good!

These are all a bit simpler than what we typically find on her finished product.

Vs. the way on some big album projects she's gone off into religious concerns which I don't always quite get (although "Mary," cogently covered on Joan Baez's The Day After Tomorrow is "covered in roses...covered in slashes," finding her (and/or Her) way through the story's edits, somewhat like everybody else.)
Also thinking of (more Scene ballot comments)

Patty Griffin, Servant of Love: Despite the title, nothing submissive about this 'un. Sometimes a dry martini prowl, sometimes more of a search party vibe, or burnished thickets of guitar, over the waves---then again, she's come to think of love, not as something heroic, but as "waves chipping at the rocks, 'til they turn to sand/I would have told you, but you never asked me." Umm, okay, maybe just as well...she started the album in a very present-tense, you-are-there sustained wish and waiting for a house on the coast…..call it Americana (nocturnal psychedelic treatments of tradition-associated frameworks, somewhat like Robert Plant's Band of Joy, which she sang in)...Also some of this seems pretty well suited for the latter-day voice of Plant, her ex. Maybe more than her own voice, actually; lots to take in here, anyway.
Later: she sounds weary sometimes, strong and resourceful always, calling in old and new configurations, always in progress, def. incl. descending melodies. So it always works out, poignancy-wise, and this may be a kind of break-up album, talking, working around it, w/o falling in.

She was great last night. Seemed more inclined to slightly odder recent stuff, maybe (a couple of times in this configuration she reminded me of Tom Waits), but she was funny and played more than a few showstoppers. "Mother of God" was the one that really got me, and that was interrupted by a flaccid microphone stand and a bunch of dick jokes before she started over again and killed it like nothing happened. Her guitarist, too, David Pulkingham ... that guy is nuts talented.

Blast, I should have gone. Missed out on Friday tix and didn't care to go out on a Thursday. I count "Mother of God" among my favorite songs of all time.