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No. 8 - Jessica Lea Mayfield - Sorry is Gone (ATO) - The SPEW countdown continues for the best of 2017.

Here we are, at No. 8. I first fell for this album on a drive home from Topeka on Stull road on a rather crisp, but sunny and lovely Saturday afternoon. I don't hate Topeka. Not at all. I don't live there either. They do have a Barnes & Noble, where you can buy magazines no longer available in dear old Lawrence.

But enough about that. Here's the review I wrote shortly after that invigorating drive. Sorry is Gone wore well as the year wore on. And I stand by my comments from this October review.

Enjoy! 



https://spewrocks.blogspot.com/2017/10/jessica-lea-mayfields-unapologetic.html


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The people have spoken.

Jessica Lea Mayfield's unapologetic "Sorry is Gone"

Jessica Lea Mayfield, of Kent, Ohio, released her first album With Blasphemy so Heartfelt (produced by Dan Auerbach, fellow Ohioan) at the tender age of nineteen. I missed it. I probably shouldn’t have.
Her second Auerbach (Black Keys) produced record Tell Me arrived in 2011 when she was 22, 23 maybe. I listened to it. I heard talent. But somehow the combination of songs, performance and production didn’t really hook me.
Never bothered with her alleged grunge-rock record, the two previous had been loosely in the roots-rock/Americana idiom, called Make My Head Sing. No Dan Auerbach. I don’t know who produced it, but Mayfield described it loosely as dedicated to one of her favorite artists, Dave Grohl. Not being a huge fan of the Zelig of contemporary rock, that dedication probably soured me on the project. Sorry.
For me and Jessica it was a matter of timing. The time is now. And the record is Sorry is Gone. Which is pretty great.
Mayfield and producer John Agnello seamlessly blend everythi…

EMA is Ericka M. Anderson. Exile in the Outer Ring is her vision of American despair and marginalization. Yup.

When I selected Past Life Martyred Saints as my top album of 2011, Ericka M. Anderson was straight out of the American underground, not an artist widely recognized. EMA, professionally and for short, had released material with two groups, Amps for Christ and the Gowns, but PLMS was her solo debut, and it was on a small label called Souterrain Transmissions. If you want a little background, here’s a link to my original review and my 2011 Top 25: http://stevemahoot.blogspot.com/search?q=past+life+martyred+saints

With the 2014 release of The Future’s Void, EMA consolidated her stature as an artist to be reckoned with. After the viscerally powerful PLMS, Void was a colder, more technocratic vision. Like it’s ambiguous title, the music conveyed a vision of a sterile and oppressive near tomorrow, like something out of a William Gibson novel, humanity struggling with the powers of its own creation, with the alienations of the internet age.

Void’s slabs of distorted sounds were a blurred border…

SPEW presents the 12th-20th Best Albums of 2017. (#16 is a tie. This is my world ... and so is #10.)

12.EMA – Exile in the Outer Ring (City Slang) I had this to say when this album came out … https://spewrocks.blogspot.com/search?q=ema I would still say pretty much the same.
13.Kendrick Lamar – Damn (Top Dawg/Interscope) Hip-hop. I know what I like. It’s impossible not to like Kendrick. Named for the Temptations’ Eddie Kendricks, Lamar is straight outta Compton, section 8 housing, the life. He’s also an artist unafraid, not reluctant to mix genres and sounds or to speak his truth, plainly and poetically. His last, To Pimp a Butterfly, was universally, justifiably acclaimed. Damn is harder, more personal, and just as impressive. ‘Duckworth’ (Lamar’s real last name) is a lyric tour de force of black millennial life. A story too good to be true, but that don’t matter,because it says what it says so powerfully.
14.Courtney Barnett & Kurt Vile – Lotta Sea Lice (Matador) Barnett has, along with a punk-assertive aspect, a droll, laconic side. Vile is all droll, laconic side.Together, they kee…