Bob Lefsetz: Welcome To My World - "Amanda Marshall Primer"

Speaking of albums...

What bothers me more than the boo-hoo of those mourning the inability of today's audience to spend time with today's long players, never mind pay for them, is the complete disappearance from public consciousness of albums that are great from start to finish from the past, like Amanda Marshall's debut.

Credit for which must be given to writer and producer David Tyson as well as Ms. Marshall, she's worked with people since, but rarely captured the magic.

Now you might be unaware of Mr. Tyson, but he cowrote and produced Alannah Myles's "Black Velvet," one of the signature tracks of the early nineties. One of my great pleasures was getting a phone call from Ahmet Ertegun after writing that the track was dead in the water. Ahmet, in his inimitable voice, told me to pay attention, that they were going to push the button, and they did.

That's the power of a major label.

And Amanda Marshall's debut was on Epic. And definitely got traction, but at the tail end of grunge, and so often in the marketplace slick is pooh-poohed, that's one of the reasons this album has been forgotten, but it's exceptional and deserving of your attention. Rather than singing the bland hits of the day and jostling for space amongst the competitors on the "Voice," you'd be better off staying home and streaming this album trying to figure out exactly how they did it.

DARK HORSE

Start here. I was enraptured by "Birmingham" first, but this is the best cut on the album, the one that'll hook you.

Just like in the Allman Brothers' "Midnight Rider," the groove is akin to the loping gait of a horse. Hell, the keyboard intro alone will enrapture you.

"Indian summer, Abilene
You were new in town I was nineteen"

You're immediately centered, taken to the location even faster than you can get there via Google Earth!

"They called us crazy behind our back
'Romantic fools,' we just let them laugh"

Young love, it's always the same, new to the players, judged by the oldsters.

"May be a long shot
It may get lonely down the line
Love knows no reason
And I won't let 'em make up my mind"

That's it! You and me against the odds!

Meanwhile, Amanda's the anti-Mariah, she's got the pipes, but they're in service to the song, she doesn't overwhelm the track, she fits right in it.

Whew!

BIRMINGHAM

"Virgil Spencer's got a 19 inch Hitachi"

Really? I had to check the lyrics. Is she really singing about the TV made by the perennially second-rate Japanese electronics concern?

I love that, when you utilize popular culture references, not to get paid, but to localize, to center the song in real life.

Yes, there's a whole story here, but most exquisite is Amanda Marshall's voice. She destroys this song without sweating, without trying to demonstrate how great she is to the audience, she's just doing her thing. It's more than impressive, it's endearing.

LAST EXIT TO EDEN

An album track when those used to count, the kind of song you uncovered as the CD was playing that became your favorite.

This is what today's Americana music aspires to be, but does not equal. That's right, second-rate production and a lame voice with heartfelt lyrics is not enough. Advocates of Americana will call "Last Exit To Eden" too slick, I'll say no, it's just professionals with talent doing their jobs.

Sure there are strings, but they are not saccharine. And the intro picking sounds straight off an early seventies country rock record, and lest you forget, that sound ruled! Hell, the Eagles are still doing quite well performing it today.

I've heard better lyrics, but to denigrate them is to miss the point that "Last Exit To Eden" is a marvel, and if you don't think so you're not sitting alone listening to it, you're too worried about what other people think, and that's a sad way to live your life.

LET IT RAIN

The album's opener. Not the best track, but an incredible showcase for Amanda's pipes.

"Let it rain
Let it rain on me"

You'll find yourself nodding your head, singing along. The nature of playing an LP is to start with the initial track, and doing that you will eventually be enraptured by "Let It Rain." Listen to that guitar!

TRUST ME (THIS IS LOVE)

It just SWINGS!

Now I'm not gonna mention any more cuts from this album. Either the above ones hook you or they don't. And if they do, you'll discover what I haven't mentioned in due time.

Assuming you give this album a chance, which you probably will not.

That's the problem with music today. No one's got any time and no one trusts anybody's recommendations. But "Amanda Marshall" is definitely worth checking out.

In the dark ages of the nineties, when music was scarce, I used to play most of what came to my house, that's how I discovered this LP.

In Canada, this album made it. And there was some traction in the States too.

And then Amanda twisted and turned in new directions and never quite equaled her debut, except for her "Tin Cup" track "This Could Take All Night."

So, Amanda Marshall's been forgotten.

And this is unjust.

But I'm less worried about her than you, that you're missing out on this album that will enrich your life. Check it out.