Richly produced at Dan Auerbach's Music City studio, with all his
bells and tricks and thickness, Shaw has the big and interesting voice to
pull off such lushness. She falls somewhere between early '60's girl
group and James Bond theme-singer, natural, compelling but not a
show-off or vocal gymnast. She knows how to put a lot of emotion and
mystery into the tunes. Auerbach adds all the drama, digging into a ton
of production tricks and little treats from his grab-bag of '60's
strategies.
It's really a master class in
sounds and layers, Auerbach able to take all the early '60's techniques
and apply modern effects and depth in the multi-channel pallet. For
instance, everything doesn't have to be drenched in the same echo, he
can do that to individual parts, in various amounts. Cymbals can come to
the front, backing vocalists can be more ethereal, strings can explode
on entrance. Spector, Bacharach, Brian Wilson, they'd all nod with
appreciation, if not a little jealousy about how their old tricks can
get repurposed with such ease. Meanwhile Shaw's characters are in a
constant state of upset, heartbroken, confused, rejected, alone,
haunted. Leslie Gore would understand.This one's especially made for
vinyl fans.
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