Rating:
Genre:
Gospel
Release Date: 08/11/2009
Although
Lamb started as a duo of
Barbara Mauritz and
Bob Swanson, it's very much
Mauritz's singing that dominates their first album, though both she and
Swanson were involved in the songwriting on most of the seven tracks. While
Lamb were loosely aligned with the San Francisco
rock scene of the early 1970s,
A Sign of Change is not so much
rock as an unusual hybrid of
jazz and
folk, with plenty of tinges of
gospel,
pop,
blues, and even
classical. Like some combination of
Chet Baker,
Joni Mitchell, and perhaps bits of
Donovan,
free jazz vocalist
Patty Waters, and
Tim Buckley at his most
experimental,
Mauritz sings dream-like chains of words almost as if they're improvised
jazz notes. Sometimes sounding rather like hippie psalms, her poetic interior monologues are set against sad, pretty melodies with plenty of twists and jazzy tempo shifts, the acoustic backing largely relying on
Swanson's acoustic guitar and
Bill Douglass' bass, though there's occasional chamber-like orchestration.
Mauritz has a mighty impressive voice, like that of a
blues-rock belter with far more delicacy, her hazily mixed and enunciated vocals adding to the
avant-
pop mystery even if the words aren't always easy to make out. Those words are abstract enough, with references aplenty to florid natural imagery and dreamscapes, to make listeners feel like they've been dropped into a waking dream of sorts. Occasional phrases, however, penetrate with more cogency, like the rumination "how in the world could there be wars if there were no evil powers" (from
"The Odyssey Of Ehram Spickor"). That might give the impression that this is a pre-
new age album of sorts, but it's not: it's almost
avant-garde in its otherworldliness, the production quite somber and spare. To bring this more to earth,
Maurtiz really lets loose with extended jazzy scatting on
"Barbara's Soul II," the record's bluesiest cut. She also delivers what amounts almost to an
experimental gospel piece on the closing
"Where I'm Bound," which unlike the rest of the album features piano, the rhythm and keyboard overtones accelerating almost to the point of storminess by the song's conclusion.
~Richie Unterberger, All Music Guide
;)
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