Lauren Barth


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March 14, 2017


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Dare we say it, but we’d like to predict right here, right now that Lauren Barth will soon be added to a long list of musical mavericks, the likes of which include Leon Russell, Wayne Coyne and Annie Clark, who all hail from the fair city of Tulsa, OK. Not fair, considering that Barth really grew up outside of LA, which has its own list of luminaries, as does Santa Cruz, Oakland and San Francisco, other places where she’s hung her hat. But, clearly nomadic as she is, what we’re trying to say is that the world belongs to her. If she wants it. That said, we are happy to announce The Bluegrass Situation’s exclusive premiere of Lauren Barth’s video for “Mama Don’t Cry,” a nod to J.J. Cale, Leon Russell, and other pioneers of the signature sounds of Tulsa. “Mama Don’t Cry” is just one of the 11 standout tracks on Barth’s, ahem, 11-song album Forager, due out on May 5th, on Horton Records.

TBGS’s Marissa R. Moss says of the track/video, “Barth tackles a lot of… imperfect and uncomfortable ideas on “Mama Don’t Cry” and in the video that accompanies it with its spiraling, psychedelic twist: far too many guns, one too many funerals, people who belong in their mother’s arms, not jail cells. “Gimme a break,” she sings with the folk steadiness of Lucinda Williams and the slack sly of Liz Phair. We all want a break… from oppression, prejudice, and hate, to name a few. Sometimes, it just feels like it all keeps rising instead of receding. Luckily, folk music is stepping up to the plate not to dry our tears, but to give us hope that at least someone, anyone, is listening to us wail.”

Forager was recorded in Little Rock, Arkansas at Fellowship Hall Sound with Jason Weinheimer and Jesse Aycock (Hard Working Americans), who played bass and guitar, respectively, along with Al Gamble on the organ and Andrew Bones on drums & percussion.

As for its other tunes, “Want It Back,” the album’s stick-in-your-head opening track, is reminiscent of Jenny Lewis and Liz Phair, among others, indicative of the delicate, but well-negotiated balance Barth strikes on Forager. The wrap up title track, for instance, is a dark ballad about traveling through time and different lives, that may conjure Big Star’s “Holocaust” for some. “This Old Heart” is Dolly/Emmylou, plaintive and powerful. “Getting High (Is Getting Me Down)” is world-weary Lucinda. And on it goes. As classic as it gets.

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