What people are saying...
|
Sarah Pierce – Barbed Wire
Little Bear Records A one-off DVD-A recorded and mastered at 24/96 – But publicly available as CD and soon vinyl record. 11-20-2015 I’ve been following Sarah Pierce’s career ever since I was privileged enough to review her album “Birdman.” I thoroughly enjoyed that album, and every subsequent album she’s released since. It’s been a true pleasure to hear her growth both as a musician and as a singer/songwriter. Each album she’s released has revealed a little bit more of who Sarah Pierce really is, what makes her tick, her personality and how she became who she is today. “Barbed Wire” is perhaps her most personal album to date, an introspective, almost too personal look behind the curtain at who Sarah Pierce truly is. And if it wasn’t for the beauty of the songs, the way the melodies stick in your head, it might feel like an intrusion into her life. But all it takes is a good listen to some of the songs here to find out what it is that has made Sarah Pierce the person she is today. Take for instance the song “See You In The Morning,” an ode to her relationship with her father and how it molded her (“He’s a hero in his little girls eyes”), or “I’m The Daughter Of A Cowboy’s Wife” for how her mother taught her to stand up and be strong no matter what. Then move to her view of what it takes to become counted as one of her friends in the song “Saddle Up”, finally, finish up with what makes her life special now in the song “Small Town.” Each of these personal glimpses into the lady behind the microphone serves to make her not just a voice on the stereo, but a real, honest, down to earth person, and gives us a look at what, maybe up till she wrote these songs, even she didn’t fully realize was built into her DNA. Then listen to the song that is beginning to take indie radio by storm, her duet with Willie Braun of the group Reckless Kelly called “I’m Sorry.” The blend of vocal harmonies is mesmerizing and the musicianship superb. But there is another reason to make sure you get the chance to listen to “Barbed Wire”, the sound. Recording engineer Merel Bregante recorded this album (he also plays drums herein) at his new Cribworks Digital studio on the top floor of their new house a few miles outside of Austin, Texas. Merel has been a part of the music industry in one form or another for many years now, from musician with one of the top groups of the 1970’s to his immersion into the recording side of things. So he’s pretty much seen and done it all. Here on “Barbed Wire” he puts all that experience to good use in creating an album that doesn’t only present the songs, but does so in a way that brings them to life in your listening space. There is a sense of realness to the sound, from the fingers on the guitar or mandolin strings, to the way the bow scrapes across the fiddle strings, to the brush work Merel uses on his drum kit (it’s clear that that is what he’s using as it is a softer, gentler sound than if he had used sticks.) You hear it all rendered clearly and realistically, presented as if you were there in the studio listening. Using his newly acquired Dave Pearlman tubed microphone on the vocals, he has managed to make Sarah Pierce sound even more like a real person standing in your listening room singing just for you - and if you’ve spent much time listening to popular music, you’ll know how rare that feat truly is, to get sound this clear and real. You can hear all the nuances to her voice that makes her so unique. She sounds far more realistic here than on any of her previous recordings I’ve heard (and I’ve heard her live, so I’m familiar with what she should sound like live). On this album she does not sound at all like she is just some facsimile of a real person. About the only nit I can pick, and it is one I’ve taken up with Merel many times over the years, is how he mixes the bass. I would like to hear it made a bit more prominent in the mix, both to really set the foundation of the music and to be able to better follow what and how he’s playing. But Merel seems to prefer it as it is, and who am I, a humble scribe, to tell someone with his experience what’s right or wrong. It’s his personal choice and I can live with it – the music is that good. In the end, all I can say is that this is absolutely the best Sarah Pierce album I’ve heard to date, both from a sonic stand point, and from the country rock, singer/songwriter point of view (though I do look forward to getting my vinyl copy – yes, it’s being pressed on vinyl as soon as they can arrange for pressing time – to see what, if anything, an analog source does to improve on the 24/96 digital mix of this DVD-A disc). The songs are all standouts, each and every one of them. The musicianship displayed herein is outstanding. The recording is the best I’ve heard come from Cribworks, getting the hell out of the way and letting Sarah’s voice and the music shine forth. Even the most diehard audiophile nazi will find little to complain about, and the music lover will just swoon. Just go ahead and buy yourself a copy and see if I’m lying. But just be aware that if you do purchase a copy of “Barbed Wire” you’ll probably be purchasing the remainder of her back catalog as well just to revel is one of this countries most talented, yet overlooked singer/songwriters. “Barbed Wire” is truly an album to treasure. Don’t miss it. |
|
|
Sarah Pierce • Bring It On
http://www.sarahpierce.com Little Bear Records LBR 1429 CD & one-off DVD-A 2011 Music ****1/2 Sound ***** by John Crossett | January 27, 2012 Many new artists craft distinctive debut albums but fail to produce a sequel of similar or greater quality. Yet, every so often, we find a new, relatively unknown artist whose work shows obvious forward progress. Sarah Pierce, who mixes her country roots with folk, rock and pop, is one who has grown as a singer and a songwriter over the course of her recorded output. Bring It On, her latest album, demonstrates that with her growth she is no longer bound by genres. From the opening title number to the closing song, "May Peace Find You Tonight" (written by Reckless Kelly's Willy Braun) the only non-original here, each cut stands on its own, an outgrowth of the artist who wrote it and not a mere product of its influences. The more countryish "Twenty Dollar Silver Ring," the folkish "Baby Come Back," and the pop-influenced "You Make Me Love Being In Love" are high points, but there is one song here that, given proper attention, could vault Pierce to mainstream acclaim: "Butterfly Tattoo," a catchy, country/pop tune that is a demonstration of her all-around talent and has echoes of a young Emmylou Harris. But Bring It On is more than just a strong album musically; it is an aural treat as well. The CD is excellent, but if you really want to hear what Sarah Pierce has crafted here, you need the one-off DVD-A burn produced directly from the original 24-bit/96kHz master. Suddenly what was a very good recording on CD becomes a demonstration-quality disc on DVD-A -- as well as proving that there is still life in this high-rez format. The added resolution manifests itself most noticeably in the sense of space displayed both in the overall recording venue as well as around the individual musicians. The tone and texture of the abundance of acoustic instruments, such as banjo, Dobro, acoustic guitar, mandolin, drums, acoustic (and electric) bass among others, are startlingly realistic. In addition, both Pierce’s lead vocals as well as those of her back-up singers take on a sense of three-dimensional presence and defined placement within the soundstage. You can close your eyes and the music will suspend disbelief for a brief period of time. Far too often demo discs offer sound that is superb but music that can leave the listener cold. Not here. This is a disc you’ll play over and over due to the strength of the songwriting, and when you want to show off your system, you’ll stand a great chance of begin asked for Bring It On to play all the way through. Now let’s see if Sarah Pierce, producer Merel Bregante, and Little Bear Records can continue the high standards set here. © 2012 Audio Beat - all rights reserved. |
Links
|
A new testimonial by John Crossett. This one for my decision to begin recording at 24-192.
Sarah Pierce -"A Dream As Big As Texas"
Recorded at The Cribworks Digital Audio, Austin, Texas
July 10, 2013
http://www.sarahpierce.com
My friend Merel Bregante recorded this song at 24/192 (his first attempt at that resolution setting) and sent me a copy so I could give it a listen. Well, I have and I love it. Merel called this a throw-away song Sarah wrote for a good friend of theirs. I call this a song that should be heard by more than one person. The song has a bouncy, infectious beat that will stick in your head. But I know Merel is more interested in my take on the recording - so here it is buddy.
Sarah's voice has deepened over the years I've been listening to her. She sounds more mature, more able to use her wonderful voice to express all the emotions in her song. And the 24/192 recording process easily demonstrates that maturity. As for the instruments themselves, my attention was most caught by the sound of the pedal steel guitar. It has that twangy sound that quickly identifies it. But despite its standout sound, it's kept in its place in the mix. I was equally impressed with the way Merel's drums are setting the pace and how the bass sets the foundation for the song. But where the extra resolution really shines is the depth of tone that infuses each instrument and voice. There is just no substitute for resolution (this is where vinyl will always beat digital) and Merel's use of that extra resolution is stellar. I can see why he told me he's never going back to 24/96. I can't wait to hear an entire album recorded this way. Well done my friend - but don't keep a lid on this song. Get it out there for others to hear. It's wonderful."
Sarah Pierce -"A Dream As Big As Texas"
Recorded at The Cribworks Digital Audio, Austin, Texas
July 10, 2013
http://www.sarahpierce.com
My friend Merel Bregante recorded this song at 24/192 (his first attempt at that resolution setting) and sent me a copy so I could give it a listen. Well, I have and I love it. Merel called this a throw-away song Sarah wrote for a good friend of theirs. I call this a song that should be heard by more than one person. The song has a bouncy, infectious beat that will stick in your head. But I know Merel is more interested in my take on the recording - so here it is buddy.
Sarah's voice has deepened over the years I've been listening to her. She sounds more mature, more able to use her wonderful voice to express all the emotions in her song. And the 24/192 recording process easily demonstrates that maturity. As for the instruments themselves, my attention was most caught by the sound of the pedal steel guitar. It has that twangy sound that quickly identifies it. But despite its standout sound, it's kept in its place in the mix. I was equally impressed with the way Merel's drums are setting the pace and how the bass sets the foundation for the song. But where the extra resolution really shines is the depth of tone that infuses each instrument and voice. There is just no substitute for resolution (this is where vinyl will always beat digital) and Merel's use of that extra resolution is stellar. I can see why he told me he's never going back to 24/96. I can't wait to hear an entire album recorded this way. Well done my friend - but don't keep a lid on this song. Get it out there for others to hear. It's wonderful."
J. Micheal Laferty --- Hot Sun - Cool Water - Sandy Boots
Umpqua Records Umpqua 2012
http://www.jmlaferty.com
What would Jimmy Buffett's music sound lie if he'd been born and lived in Texas? Why that's easy - he'd be J. Micheal Laferty. Buffett's influence on Laferty's music is unmistakable, but Laferty is no simple copy-cat - why? Because copy-cats become old hat very quickly and J. Micheal Laferty just keeps getting more and more interesting. Micheal's music is broadly based on two simple themes - south Texas beach fun and relationships. On his latest album --- Hot Sun - Cool Water - Sandy Boots --- he has come up with a classic beach song, the independent radio hit "All Over Tan" which speaks of the reasons we all head to the beach, and my favorite Laferty composition "Calvin And Jessie" that if this one doesn't bring a tear to your eye and memories of your first real relationship to mind should have you examining your humanity. (Side note: the duet with Sarah Pierce on this song is a thing of beauty - her voice is the perfect vehicle for conveying the angst and emotion in Jessie.)
Yes, it is, and should be, the music that ultimately decides if an album is a success or not. But if you shortchange the sonics, you are depriving yourself of a good portion of what makes a great album great. Engineer Merel Bregante has upped his game both via his ears and his equipment, thereby ensuring that the sound will equal the music. Listen to the great Al Garth's fiddle on the song "Get To The Point" or the acoustic guitar/organ duo that opens "I'd Rather Be Me" for examples of how real the instruments sound. Plus the soundstage is wide and inclusive (as in, not featuring one instrument at the expense of the others). And finally, Laferty's voice has that deep Texas growl that comes shining though the mix in a most realistic way. Plus, all of the vocal inflections he uses to make the points of each song unique are not lost in translation.
This is an album you'll buy for the music, and rightly so, but one that will also show you how much more enjoyment can be had when the sound equals the songs.
Umpqua Records Umpqua 2012
http://www.jmlaferty.com
What would Jimmy Buffett's music sound lie if he'd been born and lived in Texas? Why that's easy - he'd be J. Micheal Laferty. Buffett's influence on Laferty's music is unmistakable, but Laferty is no simple copy-cat - why? Because copy-cats become old hat very quickly and J. Micheal Laferty just keeps getting more and more interesting. Micheal's music is broadly based on two simple themes - south Texas beach fun and relationships. On his latest album --- Hot Sun - Cool Water - Sandy Boots --- he has come up with a classic beach song, the independent radio hit "All Over Tan" which speaks of the reasons we all head to the beach, and my favorite Laferty composition "Calvin And Jessie" that if this one doesn't bring a tear to your eye and memories of your first real relationship to mind should have you examining your humanity. (Side note: the duet with Sarah Pierce on this song is a thing of beauty - her voice is the perfect vehicle for conveying the angst and emotion in Jessie.)
Yes, it is, and should be, the music that ultimately decides if an album is a success or not. But if you shortchange the sonics, you are depriving yourself of a good portion of what makes a great album great. Engineer Merel Bregante has upped his game both via his ears and his equipment, thereby ensuring that the sound will equal the music. Listen to the great Al Garth's fiddle on the song "Get To The Point" or the acoustic guitar/organ duo that opens "I'd Rather Be Me" for examples of how real the instruments sound. Plus the soundstage is wide and inclusive (as in, not featuring one instrument at the expense of the others). And finally, Laferty's voice has that deep Texas growl that comes shining though the mix in a most realistic way. Plus, all of the vocal inflections he uses to make the points of each song unique are not lost in translation.
This is an album you'll buy for the music, and rightly so, but one that will also show you how much more enjoyment can be had when the sound equals the songs.
John Crossett - Audio Writer -
October, 2013
https://www.facebook.com/JohnMauriceCrossettIii
www.theaudiobeat.com
For those of you who still have reservations regarding the benefits of downloaded audio files I have some news for you - you don't know what you're missing. My good friend and recording engineer Merel Bregante just finished sending me two 24/96 files of two different songs he's just finished mastering - one by Eric Hanke called "Fly My Flag" and one by Sarah Pierce called "Dream As Big As Texas." Well, after listening to both through the DAC in my Headroom Micro amp w/ DAC via USB output from my Toshiba laptop through HiFiMan HE500 planer headphones all I can say is each is superb. The added resolution of these high-rez files over Redbook CD or, God forbid, MP3, is startling. As Sam Tellig once said, "there's more there there." The vocals are fully three dimensional and the instruments have body and are acoustically sized perfectly. Even through headphones there is a sense of space. Tone and timbre are spot on. I am suitably impressed. And here's the real kicker......these two were recorded at 24/192. If we could have figured out both how to send the mastered versions of the 24/192 files and if my equipment would play it back I would be listening to those right now. But even at 24/96 these two serve notice that downloaded high-rez files can bring fully as much enjoyment as any SACD, DVD-A, or CD out there.
Oh, and Merel, if these files sound this good, those 24/192 ones must be something special. Maybe someday we can figure out how to get them here. And for the rest of you, check out Cribworks Digital and listen to some excellent music mastered by someone for whom the sound is as important as the music.
October, 2013
https://www.facebook.com/JohnMauriceCrossettIii
www.theaudiobeat.com
For those of you who still have reservations regarding the benefits of downloaded audio files I have some news for you - you don't know what you're missing. My good friend and recording engineer Merel Bregante just finished sending me two 24/96 files of two different songs he's just finished mastering - one by Eric Hanke called "Fly My Flag" and one by Sarah Pierce called "Dream As Big As Texas." Well, after listening to both through the DAC in my Headroom Micro amp w/ DAC via USB output from my Toshiba laptop through HiFiMan HE500 planer headphones all I can say is each is superb. The added resolution of these high-rez files over Redbook CD or, God forbid, MP3, is startling. As Sam Tellig once said, "there's more there there." The vocals are fully three dimensional and the instruments have body and are acoustically sized perfectly. Even through headphones there is a sense of space. Tone and timbre are spot on. I am suitably impressed. And here's the real kicker......these two were recorded at 24/192. If we could have figured out both how to send the mastered versions of the 24/192 files and if my equipment would play it back I would be listening to those right now. But even at 24/96 these two serve notice that downloaded high-rez files can bring fully as much enjoyment as any SACD, DVD-A, or CD out there.
Oh, and Merel, if these files sound this good, those 24/192 ones must be something special. Maybe someday we can figure out how to get them here. And for the rest of you, check out Cribworks Digital and listen to some excellent music mastered by someone for whom the sound is as important as the music.
