The Party Is Over (recovered) Morgan Wade

• 1 The Party Is Over 03:35
• 2 Let Us Down 04:17
• 3 East Coast 03:17
• 4 Roses 03:32
• 5 Left Me Behind 04:54
• 6 Candy From Strangers 03:51
• 7 Parking Garage 03:56
• 8 Songs I Won't Remember 03:52
• 9 High in Your Apartment 05:16
• 10 Stay 03:20
• 11 Hardwood Floor 03:54
• Total Runtime 43:44

Info zu The Party Is Over (recovered)

Mit „The Party is Over (recovered)“ setzt Wade die intensive Erforschung der Abgründe ihrer Psyche mit 11 Songs fort, die sie allein geschrieben hat. Wie der Titel des Projekts verrät, stammen einige der Songs aus der Zeit, bevor Wade ihren Major-Label-Vertrag unterzeichnete, und wurden hier in völlig neuen Versionen „wiederhergestellt“. In einer Zeit der Selbstreflexion griff Wade auf ihre früheren Schreibsessions zurück, um frühere Songs wiederzubeleben, die immer noch zu der Person sprechen, die sie heute ist. Außerdem hat sie einige ihrer bekanntesten Songs auf ausverkauften Konzerten im ganzen Land gespielt. Diese Songs, zu denen sich so viele Fans live hingezogen fühlten, werden nun zum ersten Mal überhaupt veröffentlicht. „The Party Is Over (recovered)“ verbindet Wades Vergangenheit und Gegenwart und haucht ihren früheren Werken neues Leben ein.

Mit „The Party Is Over“, einem hymnischen, gitarrengetriebenen Stück, das ihre anhaltenden Gefühle nach einer Beziehung thematisiert, lädt Wade die Hörer in die Welt des kommenden Albums ein. „Ein weiteres Jahr und ich kann dich nicht alleine lassen / Und warum sollte ich das wollen?“, singt sie. "Wenn die Lichter erlöschen und die Party vorbei ist, will ich dich immer noch, wenn ich nüchtern bin. Mit dem songwriterischen Können und der kraftvollen Erzählweise, für die sie so bekannt ist, fängt Wade die universelle Erfahrung ein, an einer vergangenen Liebe festzuhalten.

„The Party Is Over (recovered)“ folgt auf Wades letztes Album Obsessed, das Ende letzten Jahres veröffentlicht wurde. Das Projekt erschien als Solowerk, das No Depression mit den Worten feierte: „Sie ist ohne Zweifel eine der besten Sängerinnen der heutigen Country- und Americana-Musik, und dieses Album ist ihr bisher bestes.“ Das 14-Track-Album reduziert die Dinge auf das Wesentliche, wer sie als Musikerin, Geschichtenerzählerin und Mensch ist. Obsessed folgte auf ihr Debütalbum Reckless (das der Rolling Stone bei seiner Veröffentlichung zum besten Country-Album des Jahres erklärte) und ihr zweites Werk Psychopath, das von der New York Times, der Los Angeles Times, People, Tennessean, Variety und vielen anderen besprochen wurde.

Morgan Wade

Morgan Wade
has never sounded like anybody else, and for a long time, she thought that meant her songs were just for her. “Honestly, I think that was really good for me,” she says. “It made me think, ‘Alright, well, I’m not going to sing for anybody else––but I’m singing for myself.’” Since then, Wade has figured out that when you grow up in Floyd, Virginia, where bluegrass sustains everyone like the Blue Ridge Mountain air but you hear other sounds like pop and punk in your own head, singing for yourself is the way to become the artist you were always meant to be.

Produced by Sadler Vaden––Jason Isbell’s longtime guitarist and an acclaimed solo artist in his own right––Wade’s full-length debut Reckless is a confident rock-and-roll record that introduces a young singer-songwriter who is embracing her strengths and quirks as she continues to ask questions about who she is––and who she wants to be. Her voice, a raspy soprano that can soothe liltingly or growl, is on brilliant display. “I feel like the last couple of years have been me trying to figure out where I fit in, who I fit in with, and what’s going on,” Wade says. “I’m almost four years sober, so a lot of the friends I had, I don’t really hang out with anymore. When I wrote these songs, I was going through a lot, just trying to figure out who I am.”

Now living in Damascus, Virginia, about two hours east of where she grew up, Wade remains connected to the roots that raised her, even as she stretches. “All these bluegrass players would get together out in the streets and play music together,” she says of her little hometown. “My grandfather would go up there every Friday night, and I’d go up there with him and my grandma. I remember falling asleep on their laps, just sitting up there, listening to music.” When Wade began to write her own songs, country radio was dominated by svelte voices like Shania Twain and Faith Hill––and Wade couldn’t hear herself in any of them.

“I’d write songs but didn’t tell anybody about it,” Wade says. “It was like some kind of secret. Even as a kid, it was what I liked to do: I’d go off into my own little world and write songs and stories.”

Wade was 19 and in college when she first performed in public: an open mic in Floyd, backed by a band she had cobbled together via Craigslist. She loved the stage––and soon, her secret writing and singing became a public––and beloved––soundtrack. Wade began touring with her band, the Stepbrothers, and generated a grassroots following and high-profile attention––including that of Vaden.

Asked how she feels about the head-turning voice she used to hide, Wade is characteristically honest, self-deprecating, and insightful. “I still go through moments. I was in the studio two weeks ago and I thought, ‘Can I actually sing? Is everybody just mocking me right now?’” She laughs a little and sighs. “I think it just takes a while. After spending all those years feeling like you weren’t good enough, it takes time to rewire your brain––to know hey: You really do have a good voice.”

Today, with Reckless in tow, Wade is ready for her voice to be heard. “This is different than anything I’ve ever done before,” she says of the record. “It’s opened up a bunch of different lanes––and I’m proud of it. A lot of the songs are about figuring out what the hell I’m doing.” She pauses and grins. “Maybe record number two will be a little bit more about knowing who I am.”

Dieses Album enthält kein Booklet