Irish Songstress Heidi Talbot Announces Angels Without Wings

Irish Songstress Heidi Talbot Announces Angels Without Wings
 
Former Cherish The Ladies Vocalist’s New Release Features Collaborations with Mark Knopfler, Jerry Douglas, Tim O’Brien and More
 
(Nashville, TN) Dec 11, 2012 – Acclaimed Irish songstress Heidi Talbot presents Angels Without Wings,
a new collection of stunning original compositions, many co-written
with  long time collaborator with Boo Hewerdine, featuring some of the
most notable players and singers from the worlds of folk, pop, rock and
bluegrass.  The new album will be released by the Compass Records Group
on January 29th
 
When Mark Knopfler and Jerry Douglas
offered to play on Heidi Talbot’s new album, they thoughtfully recorded
their parts in several different styles – some were instantly
recognizable, others more low-key. Talbot’s husband, producer and
band-mate John McCusker joked, “you’ve got the best
guitar players in the world and we’re blending them in?” But both
musicians knew that for Talbot, the song always comes before the name.
 
Subtlety is
Talbot’s magic ingredient – from her gossamer voice to the delicate
re-working of traditional and contemporary material that earned her rave
reviews for her 2008 breakthrough In Love And Light. The girl from Ireland’s Co. Kildare, who spent several years in New York as a member of the Irish-American super-group Cherish The Ladies, slips effortlessly between musical worlds but retains a personal penchant for traditional folk.
 
Talbot began writing songs on her 2010 album The Last Star. In just two years she’s become a master of the art, sometimes composing alone, sometimes with McCusker and Boo Hewerdine (who form her touring band). Kenny Anderson (aka King Creosote)
became a new creative foil for Talbot recently. The pair became a
song-writing team recently after discovering a mutual admiration for
each other’s music:
“He was asked to pick his fantasy band for The Independent
and he picked me and Morten Harket from A-ha on joint lead vocals,”
Talbot laughs. She conceived the melody for “Button Up” – a brooding,
urgent acoustic love song – with Anderson in mind, and he sent back his
own lyrics.
 
“At home we
listen to Belle And Sebastian and Teenage Fan Club as much as we do The
Fureys and Mary Black,” she says, of her song-writing’s broad appeal.
The best modern folk music gets right to the heart of human drama while
remaining oblique about time and place: “Wine & Roses” is a poignant
contemporary reminiscence about young lovers “holding hands and rubbing
noses”; “I’m Not Sorry” is a mini-psychodrama written from a single
moment of reflection – “I felt it, so it can’t be wrong to sing about
it.”

And while
the timeless language of traditional folk will always be an inspiration,
there are traces of Americana in “When The Roses Come Again” (featuring
Mark Knopfler), a delicate country-tinged duet with bluegrass legend
Tim O’Brien, and Parisian romance in the unforgettable title track by
Boo Hewerdine, laced with vintage accordion.

Talbot and
McCusker were keen to capture the spontaneity of performance: the album
was recorded live in Glasgow’s new Gorbals Sound Studios with her
regular team including Ian Carr (guitars), Phil Cunningham (accordian),
Michael McGoldrick (flutes/whistles), James Mackintosh (percussion), Boo
Hewerdine (acoustic guitar) and Ewan Vernal (bass). “If people made
mistakes we’d just keep going,” says Heidi. “On some of the tracks you
can even hear the harmonium creaking. These guys are friends, they all
give their opinion. They’ll say, “That’s it! That’s the take!’”

Talbot’s
close-knit creative environment has fostered her confidence as a
songwriter while allowing her to welcome in surprising new
collaborators. These ever-evolving musical relationships can be heard on
this, her most sophisticated and vibrant recording to date.
 
Praise for Heidi Talbot:
 
“A voice that’s both awestruck and tender”
—The New York Times
 
“A tremendous singer!”
—Irish Edition
 
“Heidi Talbot’s dusky voice occasionally evokes Norah Jones in its intimacy and honesty.”
 —Acoustic Guitar Magazine

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