"Definitely one of our favorite albums of 2010 and an auspicious sneak preview of Dissard’s next one." LUCID CULTURE
14 tracks album - Length : 54:45
This is the first in the City Series of road albums, recorded while on tour in Europe with my touring band at the time (Sergio Mendoza, Brian Lopez, Geoff Hidalgo and Olivier Samouillan). One-takes, one afternoon, one album with the energy of a live show and the quality of a studio recording!
Do you know about my 'City Series' albums? They're
some of my favorite recordings. The first, 'Paris One Takes' (POT), was recorded in December 2009 with a stellar touring band that included Sergio Mendoza (Calexico, Orkesta Mendoza) and Brian Lopez (XIXA
The concept behind the 'City Series' is simple. The band spends a day-off from tour in the studio to record the live show as it stands, in one-takes. Weeks into a tour, we're stupid tight from playing nightly and each "City Series' captures the energy of the live performances. But these albums (Paris One, Berlin Two, and Cologne Four, with Belleville, Düsseldorf, and Beijing unreleased) are recorded in studio conditions, meaning they sound great—without crowd cheers though!
In 28 dates over 30 days playing Germany, Switzerland, France, Austria, and even Liechtenstein, we honed the live versions of songs from 'L'entredeux', my first studio album. By the time Jean-Pierre Sluys recorded us in Paris, we were on fire!
What top band that year, Tucson's finest: Sergio Mendoza on drums; Brian Lopez Music
on guitar and vocals; Geoff Hidalgo on bass, and Frenchman Olivier Samouillan on violin. 2009 was their first European tour for Brian, Sergio, and Geoff. I'll never forget Brian's worried look when he found himself steering through snow (a first for him).
With songs written by Joey Burns, Gabriel Naim Amor, Sergio Mendoza, and Christian Ravaglioli, 'POT' encompasses my first studio album but also hints at my second, 'L'abandon' which we were to record the following year in Tucson at Waterworks Recording by Jim Waters.
Blurt Mag gave 'POT' an 8/10 and called it "stupid-tight”. Venus Zine said it was “a fantastic album" and gave it 4/5 stars.
LUCID CULTURE Review -> "Sometimes the best albums are the hardest ones to explain. For example, Marianne Dissard’s new one, Paris One Takes has been in heavy rotation here at Lucid Culture HQ for over a month. Everybody loves it – for Dissard’s sultry, breathy, angst-laden vocals, the charm and bite of her French lyrics, and the exuberant intensity of the band. Stylistically, up-and-coming New York chanteuse/bandleader Kerry Kennedy is the obvious comparison. Recorded live in the studio, the album collects songs from Dissard’s acclaimed debut album L’Entredeux as well as from the forthcoming L’Abandon, scheduled for release late this year.
Dissard’s best known as a French singer who specializes in southwestern gothic rock: she’s actually a Tucson resident who moved there to make a documentary film about Giant Sand. Although there’s a strong noir cabaret influence here, this is most definitely a rock record, a potent document in itself in that this is Dissard’s road band, tight and inspired, still buzzing from the energy of a European tour. They take the coy “choc-choc” bounce of La Peau Du Lait (Porcelain Skin) and thrash it, following with the creeping menace of Le Lendemain (The Day After), a co-write with longtime collaborator Joey Burns of Calexico (Dissard memorably sang the female vocal on Calexico’s cover of John Cale’s Ballad of Cable Hogue several years ago). The scurrying Les Draps Sourds (The Blinds) evokes Piaf at her most frantic, spiced with Olivier Samouillan’s bracing rai-flavored viola and Brian Lopez’ reverb guitar. Merci de Rien du Tout/Flashback (Thanks for Nothing) mines a catchy yet brooding Velvet Underground vein.
With a cynical, snarling guitar-fueled edge, Les Confettis (Confetti) reminds of Dylan’s When You Go Your Way and I Go Mine. Shifting and mixing styles, the band make ominously hallucinatory desert rock out of the anguished 6/8 cabaret ballad Indiana Song, and follow that with the stomping garage-rock abandon of Trop Exprès (Too Obvious). Sans-Façon, a beautiful lament, evokes the Jayhawks circa Sound of Lies, while It’s Love, written by drummer Sergio Mendoza, reminds of Botanica in a particularly pensive moment. Other tracks add echoes of Steve Wynn and electric Neil Young to Dissard and Burns’ brooding melodies. Definitely one of our favorite albums of 2010 and an auspicious sneak preview of Dissard’s next one."
released March 15, 2010
Marianne Dissard - production and vocals, also the driver of the van, mostly.
Brian Lopez - guitar and vocals, and driving through snow
Sergio Mendoza - drums, accordeon and general merriment.
Olivier Samouillan - viola, violin, and teaching of life lessons
Geoff Hidalgo - bass and more merriment
Songs written by Joey Burns (2,4,5a,6,8,9.10.13), Naïm Amor (3,5b,7), Christian Ravaglioli/Antonio Gramentieri/Mirko Monduzzi (12), Christian Ravaglioli (1), Brian Lopez (14), Sergio Mendoza (11)
Lyrics by Marianne Dissard except 11 Sergio Mendoza and 14 Brian Lopez.
This is the second in a series of weekly album reviews published by Andrew Dubber. If you haven’t already caught it, please check out his introductory post. The world appears to be littered with bearded young men with acoustic guitars and notebooks full of verse, access to old pianos, and mournful string players. Few have … Continue reading Album of the Week: Fire on the Vine → Bandcamp Album of the Day Nov 6, 2011