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Rock - Verschenen op 2 oktober 2013 | A&M

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Shelved during of the great record label consolidation of the early 2000s, Patty Griffin's Silver Bell is indeed a "lost album" but it is not one that carries mythic weight. Griffin rebounded relatively quickly after Silver Bell's abandoned release -- two years later, she signed with ATO and released 1000 Kisses, the first in a series of regular records all receiving greater acclaim and stronger sales -- and Silver Bell itself strengthened her reputation and bank account due to covers by the Dixie Chicks, who cut "Top of the World" and "Truth #2" on 2002's Home (over a decade later, Natalie Maines once again returned to this album for its title track, recording "Silver Bell" for her 2013 solo debut, Mother). If the Chicks' covers suggest that the album has a strong country flavor, that's not necessarily wrong, but there’s a roiling rock undertow tempered by a smoky, late-night soulfulness that gives this album its emotional resonance. These sounds are not mutually exclusive. Often, Griffin blends it all together, pushing a song that starts as country into bracing, cathartic territory, a trick that is an outgrowth of Flaming Red. Despite the success the Dixie Chicks had with songs from this album, Silver Bell is not necessarily a record that would've brought Griffin to a larger audience. It is simultaneously inward and explosive, a record that demands close listening and certainly rewards the attention. Griffin may have gotten a little more accessible not much later, but it's hard to hear Silver Bell and not think of it as a compelling transitional LP that's the missing piece of the puzzle, the moment when Patty Griffin inadvertently learned that the hard road not only resulted in a rewarding journey, but it was the road she was destined to take. © Stephen Thomas Erlewine /TiVo
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Blues/country/folk - Verschenen op 8 maart 2019 | PGM

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Patty Griffin made a strong statement when she decided to give her name to her tenth album. Was it a way to make her songs even more intense? Maybe. But when one discovers that the songwriter had just won her battle with breast cancer when she wrote the album, the decision feels even stronger. In her record, Griffin compares the disease that she fought with the social and political sickness that is currently destroying America. The record is raw, and the gravity of its main themes work in favor of the magnificence of this piece of Americana. Recorded in her house in Austin, Texas, the album embraces many genres, from blues to gospel, country music, New Orleans swing, and Irish traditional songs. As always with Patty Griffin, realistic descriptions go hand in hand with pure poetry, and the artist’s intimate confessions give way to groovy tunes. For her simple and beautiful record, Griffin has called up her long-term and faithful companions. David Pulkingham is on the guitar, Conrad Choucroun on the drums, Lindsey Verrill on cello, Stephen Barber on piano and as special guest on two songs (Coins and What Now) her ex-husband and Led Zeppelin master Robert Plant. © Marc Zisman/Qobuz
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Rock - Verschenen op 6 februari 2007 | ATO RECORDS

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Rock - Verschenen op 1 januari 2010 | Credential Recordings

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Rock - Verschenen op 20 april 2004 | ATO RECORDS

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Pop - Verschenen op 25 september 2015 | PGM

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Folk - Verschenen op 7 mei 2013 | Patty Griffin

American Kid is Patty Griffin's first album of primarily original material since 2007's Children Running Through. It's her most stripped-down recording since her debut, Living with Ghosts. Acoustic guitars of all stripes, mandolins, earthy drums, percussion, bass, and occasional piano and organ accompany her instantly recognizable voice. Co-produced by the artist and Craig Ross, she is joined by longtime guitarist Doug Lancio, as well as Cody and Luther Dickinson. Robert Plant appears on three songs, including the single "Ohio." The set was recorded in Memphis and Brooklyn. Griffin wrote most of these songs after learning of her father's impending death. They aren't so much about his actual life, but her making sense of the coming absence of his physical presence in hers, what she knew of him and his times. These songs are mostly acoustic; one can hear traces of early blues, various American folk styles, gospel, and vintage country music in her brand of Americana. There isn't anything extra anywhere in the mix. The space in the high lonesome "Go Wherever You Wanna Go," with Luther's National Steel guitar playing slide in counterpart to Griffin's earthy vocal, is almost spooky. The combined supplication and exhortation in the haunted "Don't Let Me Die in Florida" carries traces of prewar and Memphis blues. The duet between Griffin and Plant on "Ohio," is a shimmering, open-tuned droning float, it's lyric binds spiritual and physical love; it would not have been out of place on a Band of Joy record. The feeling of home and hearth saturates her excellent reading of Lefty Frizzell's "Mom & Dad's Waltz," while the musical sensation -- if not the form -- of the folk-blues courses through the disquieting "Faithful Son," with a haunting backing vocal by Plant. "Irish Boy" evokes an early 20th century parlor song; Griffin's only accompaniment is her piano. "Get Ready Marie" is a barroom waltz, complete with a male backing chorus and made loopy by an off-kilter Hammond B-3. The set closer, "Gonna Miss You When You're Gone," is Griffin speaking directly to her father, addressing the deep mark he made upon her life, even as he's passing through it. It's part Lonnie Johnson and Lil Green swing blues, and part Peggy Lee pop. It's slow burning, tender, and bittersweet, a three a.m. confession in an empty room, sung from one spirit to another. While the theme of mortality runs deep through American Kid, so does the celebration of life. Roughshod and unpredictable songs engage it in the present as well as the past, through courage, fear, love, memory, and the grainy, knotty, often invisible ties that bind. With its immediacy, economy, cagey strength, and vulnerability, Griffin delivers these 12 songs not as gifts or statements, but as her own evidence of what is, what was, and what yet may come. © Thom Jurek /TiVo
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Folk - Verschenen op 7 oktober 2003 | ATO Records

Patty Griffin's first live outing is a fine, poetic, flesh and blood example of what a live recording should be. This is as undressed as it gets; a fine record of a truly magical show at the historic Ryman Auditorium in Nash Vegas; a fitting end to a tour that began with the hope of getting a new record on a new label across. The end result is one of those recordings where the singer becomes her songs. Her guests, including Buddy and Julie Miller, Emmylou Harris, John Deaderick, and Jay Joyce all end up as parts and parcels in the songs, rather than as personalities helping to interpret them. The world woven from Griffin's three studio recordings, combined with the energy coming from audience, and the stage itself, make for one of the most engaging, warm, and poetic listening experiences issued in a decade, and one of the best live outings on record. The package includes a DVD with videos for the songs "Rain" and "Chief," and a slice of life documentary of life on the road during a memorable year. Griffin's delivery on "Christina," is nervous, grainy, full of the heartbreak of her subject (Christina Onassis), "Rain" offers an acceptance and resignation of a soul in flux and pain which refuses to yield its desire to transcend. And on it goes, into the night with warmth abounding, and a heart opening, like Frida Kahlo's: revealing everything in the moment. in the safety of camaraderie. and the in the naked light of song itself. © Thom Jurek /TiVo
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Rock - Verschenen op 2 oktober 2013 | A&M

Shelved during of the great record label consolidation of the early 2000s, Patty Griffin's Silver Bell is indeed a "lost album" but it is not one that carries mythic weight. Griffin rebounded relatively quickly after Silver Bell's abandoned release -- two years later, she signed with ATO and released 1000 Kisses, the first in a series of regular records all receiving greater acclaim and stronger sales -- and Silver Bell itself strengthened her reputation and bank account due to covers by the Dixie Chicks, who cut "Top of the World" and "Truth #2" on 2002's Home (over a decade later, Natalie Maines once again returned to this album for its title track, recording "Silver Bell" for her 2013 solo debut, Mother). If the Chicks' covers suggest that the album has a strong country flavor, that's not necessarily wrong, but there’s a roiling rock undertow tempered by a smoky, late-night soulfulness that gives this album its emotional resonance. These sounds are not mutually exclusive. Often, Griffin blends it all together, pushing a song that starts as country into bracing, cathartic territory, a trick that is an outgrowth of Flaming Red. Despite the success the Dixie Chicks had with songs from this album, Silver Bell is not necessarily a record that would've brought Griffin to a larger audience. It is simultaneously inward and explosive, a record that demands close listening and certainly rewards the attention. Griffin may have gotten a little more accessible not much later, but it's hard to hear Silver Bell and not think of it as a compelling transitional LP that's the missing piece of the puzzle, the moment when Patty Griffin inadvertently learned that the hard road not only resulted in a rewarding journey, but it was the road she was destined to take. © Stephen Thomas Erlewine /TiVo
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Rock - Verschenen op 14 oktober 2003 | ATO RECORDS

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Pop - Verschenen op 22 februari 2019 | PGM

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Alternative en Indie - Verschenen op 13 februari 2020 | Lo-Light Records

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Pop - Verschenen op 1 februari 2019 | PGM

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Country - Verschenen op 11 januari 2019 | PGM

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Pop - Verschenen op 22 augustus 2019 | Dualtone Music Group, Inc.

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Pop - Verschenen op 14 augustus 2015 | PGM

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Pop - Verschenen op 4 september 2015 | PGM