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Cindy Lee Berryhill|Garage Orchestra

Garage Orchestra

Cindy Lee Berryhill

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After the sophomore slump of 1989's unfortunately uneven Naked Movie Star, Cindy Lee Berryhill left New York City, did some traveling, and made a home in California, where she settled into a committed relationship, began writing new songs, and took a new approach to how she performed them. Berryhill became friends with Randy Hoffman, a percussionist who had a large collection of instruments in his garage, and as they began toying with her songs, they invited a large and diverse variety of musicians to join in. While the title of 1994's Garage Orchestra refers to the fact Berryhill and her collaborators worked out their arrangements during sessions in Hoffman's garage, it also nods to the ambitious but unpretentious sound of the album as conjured by the dozens of folks who took part in the sessions. The massed backing vocals, buzzing string sections, woodwinds, and Hoffman's tympani, vibraphone, marimba, and other noisemakers give the songs a sound that's big and rich with nuance, but the music still has a playful quality, just ramshackle enough to be loose but still painting the big picture she requires with the layers of sound at her disposal. On tracks like "UFO Suite," "Father of the Seventh Son," and "Song for Brian," this music sounds like a homebrewed approximation of a classic Brian Wilson session of the '60s, with a dash of the Wrecking Crew and the Funk Brothers for additional flavor. And Berryhill was absolutely right to create this kind of scenery for her songs; Garage Orchestra strips away much of the social and political commentary of her early Anti-Folk material and instead gives a genuine sense of wonder to her tunes about love, humanity, and the curious world in which we exist, and as a vocalist and composer, she never sounded as eloquent or as fully engaged as she does here. In her way, Berryhill had just as much to say on Garage Orchestra as on her first two albums, but the greater dynamics and scope of these performances elevate the songs and the result is the finest album of her career.

© Mark Deming /TiVo

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Garage Orchestra

Cindy Lee Berryhill

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1
Father of the Seventh Son
00:04:18

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

2
I Wonder Why
00:04:36

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

3
Radio Astronomy
00:03:48

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

4
Gary Handeman
00:05:32

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

5
Song for Brian
00:04:26

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

6
Ufo Suite
00:07:40

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

7
I Want Stuff
00:03:36

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

8
Every Someone Tonight
00:03:30

Cindy Lee Berryhill, Composer, MainArtist - Paul Williams, Composer

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

9
Scariest Thing in the World
00:03:43

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

10
Etude for Ph. Machine
00:02:37

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

11
Garage Orchestra Commercial, Pt. I (Bonus Track)
00:01:36

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

12
My Little Broken Heart (San Diego Music Awards 1992) (Bonus Track)
00:03:48

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

13
Father Of The Seventh Son (Instrumental) (Bonus Track)
00:04:25

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

14
The Creator (Bonus Track)
00:03:08

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

15
Garage Orchestra Commercial, Pt. II (Bonus Track)
00:01:28

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

16
Song for Brian (Alternate Version) (Bonus Track)
00:04:36

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

17
Garage Orchestra Commercial, Pt. III (Bonus Track)
00:01:34

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

18
Radio Astronomy (Instrumental) (Bonus Track)
00:03:48

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

19
Ufo Suite (Pre-Assembly Tracking Session) (Bonus Track)
00:10:17

Cindy Lee Berryhill, Composer, MainArtist

(C) 2019 Omnivore Recordings, a division of Omnivore Entertainment Group, LLC (P) 1994 Cindy Lee Berryhill, under exclusive license to Omnivore Recordings

Albumbeschreibung

After the sophomore slump of 1989's unfortunately uneven Naked Movie Star, Cindy Lee Berryhill left New York City, did some traveling, and made a home in California, where she settled into a committed relationship, began writing new songs, and took a new approach to how she performed them. Berryhill became friends with Randy Hoffman, a percussionist who had a large collection of instruments in his garage, and as they began toying with her songs, they invited a large and diverse variety of musicians to join in. While the title of 1994's Garage Orchestra refers to the fact Berryhill and her collaborators worked out their arrangements during sessions in Hoffman's garage, it also nods to the ambitious but unpretentious sound of the album as conjured by the dozens of folks who took part in the sessions. The massed backing vocals, buzzing string sections, woodwinds, and Hoffman's tympani, vibraphone, marimba, and other noisemakers give the songs a sound that's big and rich with nuance, but the music still has a playful quality, just ramshackle enough to be loose but still painting the big picture she requires with the layers of sound at her disposal. On tracks like "UFO Suite," "Father of the Seventh Son," and "Song for Brian," this music sounds like a homebrewed approximation of a classic Brian Wilson session of the '60s, with a dash of the Wrecking Crew and the Funk Brothers for additional flavor. And Berryhill was absolutely right to create this kind of scenery for her songs; Garage Orchestra strips away much of the social and political commentary of her early Anti-Folk material and instead gives a genuine sense of wonder to her tunes about love, humanity, and the curious world in which we exist, and as a vocalist and composer, she never sounded as eloquent or as fully engaged as she does here. In her way, Berryhill had just as much to say on Garage Orchestra as on her first two albums, but the greater dynamics and scope of these performances elevate the songs and the result is the finest album of her career.

© Mark Deming /TiVo

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