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Hello Love

by

The Be Good Tanyas

 
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Hello Love
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Avg: 4.0 (311 ratings)

Rootsy Canadians fuse Southern swing and crystal-clear folk on this beguiling release

  • We Say...

    Their third album finds this Vancouver trio going even rootsier, deeper into their Americana, and they do simple very well. Though the influences are sometimes centuries old, the Tanyas are never retro, combining a Dolly Parton lilt with a touch of Beefheartian blues and their own lyrical twist. They're most beguiling when they fuse Southern swing and crystal-clear folk, as on "Ootishenia" or the lo-fi opener "Human Thing," with former trip-hopper Frazey Ford's delicious vocal tone — luscious, husky and heartfelt — augmented by the group’s rich harmonising and fingerpicking guitar style. Never afraid to abandon themselves to the soul of a song, whether it’s their own or someone else’s — here, they do a rockin’ version of Neil Young’s "For the Turnstiles" and a jazzy re-working of Prince’s "When Doves Cry" — they sing of love, busy lives, family addiction, and finding ways to "look forward, never backward." This is one to be played again and again.

  • They Say...

    British Columbia's Be Good Tanyas took their bluesy, north country folk to some fairly dark places on 2003's Chinatown, and while some of those shadows may have wandered into the studio during the recording of their third full-length collection Hello Love, the homespun Canadian trio seem bent on pulling the blinds up this time around and letting the world sneak back in. Frazey Ford, Samantha Parton and Trish Klein harmonize like opposing weather systems, they've all got the same goods but there's a little bit of pushback going on that helps keep things dangerous. For the most part, the ladies have chosen not to stray too far from their plainclothes rootsy sound, and while that may disappoint some fans, there's enough quality stuff here to light a fire in every train yard oil drum from Vancouver to Halifax. Hello Love works best when the whole gang pipes in, and a choice cover of Neil Young's "For the Turnstiles" delivers that effect in earnest. Tight, bluesy harmonies that are as spooky as they are lovely paint a picture of utter desolation that sounds as good turned up real damn loud as it does crackling through an old Victrola. Other covers, like fellow Canadian folkie Sean Hayes' "A Thousand Tiny Pieces," Mississippi John Hurt's "Nobody Cares for Me," and a rendition of the old gospel number "What Are They Doing in Heaven Today" resonate as well, but a misplaced version of Prince's "When Doves Cry" sticks out like a purple barn.

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