{"id":7160776655008,"title":"Shelby Lynne","handle":"shelby-lynne","description":"\u003ch3\u003eShelby Lynne\u003c\/h3\u003e\n\u003cp id=\"b\"\u003eIt’s been 20 years since I Am Shelby Lynne, the album which earned her a Best\nNew Artist Grammy nod. This time, Shelby Lynne, her debut Thirty Tigers\nrelease, removes the “I Am” and gets direct to the heart of the singer-\nsongwriter-instrumentalist who gives it her name. This is an album of mostly\nsolo, spare but emotionaålly rich, original torch songs done the only way this\nidiosyncratic artist knows how – at once tortured and vulnerable, with\nintimate feelings laid bare, but ultimately offering hope that there’s a light\nin the darkness. Recalling her 2008 Dusty Springfield tribute, Just a Little\nLovin’, recorded with the late Grammy-winning producer Phil Ramone at the same\nCapitol Studios where the new album was mixed, the soulful Shelby Lynne is her\nmost personal, autobiographical statement yet on the dual, push-pull nature of\nlove: at once close enough to touch, but also a frustrating tease that can\nboth seduce and abandon. The album itself proceeded from a collaboration\nbetween Lynne and lyricist\/director \/screenwriter Cynthia Mort that morphed\ninto an unreleased, full-length feature film, When We Kill the Creators,\nfeaturing several live recordings made right on the set of the production,\nwhich explains their raw immediacy. Starring Lynne representing not just her\nalter ego, but all “endangered” musicians and artists, the movie makes a\nstrong case for the ever-going conflict between art and commerce, and how\ndangerous it can be to muzzle creativity for the corporate buck. Songs like\nthe opening, ominous “Strange Things” (with lyrics by Mort), the aching\n“Revolving Broken Heart” and the climactic self-declaration “Here I Am”\n(another collaboration with Mort) – all recorded live during filming – take on\na narrative arc that exists on its own. “It’s really a new Shelby Lynne\nalbum,” she explains about this set of songs, her first solo release since\n2015. Her collaboration with Cynthia Mort is the first time she’s done\nsomething like this since working with Ron Sexsmith on several songs for her\nprevious disc, I Can’t Imagine. “When we met, I wanted to go someplace else\nwith my writing, get out of my own head. She came along and I just loved her\nwords, her landscape, her mind, the visions I got. I found songs and stories\nin her lyrics. They drove me to different musical places. It’s been a fun\njourney.” The Detroit-born Mort, a lifelong music fan best known for creating\nand producing the HBO series Tell Me You Love Me, wrote the original\nscreenplay for the film and the lyrics for “Here I Am” before she ever met\nShelby. “It was a little intimidating collaborating with someone like Shelby,”\nshe says, the character based on tragic singers like Judy Garland and Billie\nHoliday in mind. “The songs took on a life of their own outside the film. What\nshe did creating such powerful melodies for those words was incredible. I\nenjoyed telling a story that way. We had a similar belief in what matters.”\nWhile Shelby Lynne boasts several other musicians, including keyboardists\nBenmont Tench, Mimi Friedman, Ed Roth and Billy Mitchell. for the most part\nthe album’s namesake does it all, playing guitar, keyboards, bass, drums and\neven sax on the smoky, noirish “My Mind’s Riot” (“I hadn’t played that since I\nwas a ninth-grader,” she notes). There’s a sense of doom which hangs over\nShelby Lynne, a hope that things can get better for artists in this crazy\nworld, rather than worse. In the film, she reprises her 2004 duet, “Can’t Go\nBack Home,” with longtime friend Tony Joe White, who appears as an “Angel for\nsingers” before passing away in October. 2018. “He was like family to me. It’s\npretty heavy if you think about it,” says Shelby. “To me, he’s a major part of\nthe reason this whole project happened. Things just happened, man, and thank\nGod they do. That’s the way I like life to be, and art, too. It’s not art if\nyou have to think about it too long. How do you explain art?” Shelby Lynne is\n“pretty much just me, a guitar and a microphone,” she jokes, but there’s an\nincredible power in that simplicity. “As an artist, I don’t mind being naked.\nEverything is so fake, so manufactured these days, I want to get real. It’s\npretty much the only way to communicate these days.”\u003c\/p\u003e \n\n\u003ch3\u003eProduct Features\u003c\/h3\u003e\n \u003cul class=\"a\"\u003e\n \u003c\/ul\u003e\n\n\n\n\n","published_at":"2021-12-29T14:27:10+11:00","created_at":"2021-12-02T16:07:36+11:00","vendor":"DingoShip Australia","type":"Folk","tags":["cocoon"],"price":12800,"price_min":12800,"price_max":12800,"available":true,"price_varies":false,"compare_at_price":null,"compare_at_price_min":0,"compare_at_price_max":0,"compare_at_price_varies":false,"variants":[{"id":41429313355936,"title":"Default Title","option1":"Default Title","option2":null,"option3":null,"sku":"B084Z7XTRD","requires_shipping":true,"taxable":true,"featured_image":null,"available":true,"name":"Shelby Lynne","public_title":null,"options":["Default Title"],"price":12800,"weight":40,"compare_at_price":null,"inventory_management":null,"barcode":"852659192731","requires_selling_plan":false,"selling_plan_allocations":[],"quantity_rule":{"min":1,"max":null,"increment":1}}],"images":["\/\/dingoship.com.au\/cdn\/shop\/products\/B084Z7XTRD.jpg?v=1638421656"],"featured_image":"\/\/dingoship.com.au\/cdn\/shop\/products\/B084Z7XTRD.jpg?v=1638421656","options":["Title"],"media":[{"alt":null,"id":23480002609312,"position":1,"preview_image":{"aspect_ratio":1.0,"height":1200,"width":1200,"src":"\/\/dingoship.com.au\/cdn\/shop\/products\/B084Z7XTRD.jpg?v=1638421656"},"aspect_ratio":1.0,"height":1200,"media_type":"image","src":"\/\/dingoship.com.au\/cdn\/shop\/products\/B084Z7XTRD.jpg?v=1638421656","width":1200}],"requires_selling_plan":false,"selling_plan_groups":[],"content":"\u003ch3\u003eShelby Lynne\u003c\/h3\u003e\n\u003cp id=\"b\"\u003eIt’s been 20 years since I Am Shelby Lynne, the album which earned her a Best\nNew Artist Grammy nod. This time, Shelby Lynne, her debut Thirty Tigers\nrelease, removes the “I Am” and gets direct to the heart of the singer-\nsongwriter-instrumentalist who gives it her name. This is an album of mostly\nsolo, spare but emotionaålly rich, original torch songs done the only way this\nidiosyncratic artist knows how – at once tortured and vulnerable, with\nintimate feelings laid bare, but ultimately offering hope that there’s a light\nin the darkness. Recalling her 2008 Dusty Springfield tribute, Just a Little\nLovin’, recorded with the late Grammy-winning producer Phil Ramone at the same\nCapitol Studios where the new album was mixed, the soulful Shelby Lynne is her\nmost personal, autobiographical statement yet on the dual, push-pull nature of\nlove: at once close enough to touch, but also a frustrating tease that can\nboth seduce and abandon. The album itself proceeded from a collaboration\nbetween Lynne and lyricist\/director \/screenwriter Cynthia Mort that morphed\ninto an unreleased, full-length feature film, When We Kill the Creators,\nfeaturing several live recordings made right on the set of the production,\nwhich explains their raw immediacy. Starring Lynne representing not just her\nalter ego, but all “endangered” musicians and artists, the movie makes a\nstrong case for the ever-going conflict between art and commerce, and how\ndangerous it can be to muzzle creativity for the corporate buck. Songs like\nthe opening, ominous “Strange Things” (with lyrics by Mort), the aching\n“Revolving Broken Heart” and the climactic self-declaration “Here I Am”\n(another collaboration with Mort) – all recorded live during filming – take on\na narrative arc that exists on its own. “It’s really a new Shelby Lynne\nalbum,” she explains about this set of songs, her first solo release since\n2015. Her collaboration with Cynthia Mort is the first time she’s done\nsomething like this since working with Ron Sexsmith on several songs for her\nprevious disc, I Can’t Imagine. “When we met, I wanted to go someplace else\nwith my writing, get out of my own head. She came along and I just loved her\nwords, her landscape, her mind, the visions I got. I found songs and stories\nin her lyrics. They drove me to different musical places. It’s been a fun\njourney.” The Detroit-born Mort, a lifelong music fan best known for creating\nand producing the HBO series Tell Me You Love Me, wrote the original\nscreenplay for the film and the lyrics for “Here I Am” before she ever met\nShelby. “It was a little intimidating collaborating with someone like Shelby,”\nshe says, the character based on tragic singers like Judy Garland and Billie\nHoliday in mind. “The songs took on a life of their own outside the film. What\nshe did creating such powerful melodies for those words was incredible. I\nenjoyed telling a story that way. We had a similar belief in what matters.”\nWhile Shelby Lynne boasts several other musicians, including keyboardists\nBenmont Tench, Mimi Friedman, Ed Roth and Billy Mitchell. for the most part\nthe album’s namesake does it all, playing guitar, keyboards, bass, drums and\neven sax on the smoky, noirish “My Mind’s Riot” (“I hadn’t played that since I\nwas a ninth-grader,” she notes). There’s a sense of doom which hangs over\nShelby Lynne, a hope that things can get better for artists in this crazy\nworld, rather than worse. In the film, she reprises her 2004 duet, “Can’t Go\nBack Home,” with longtime friend Tony Joe White, who appears as an “Angel for\nsingers” before passing away in October. 2018. “He was like family to me. It’s\npretty heavy if you think about it,” says Shelby. “To me, he’s a major part of\nthe reason this whole project happened. Things just happened, man, and thank\nGod they do. That’s the way I like life to be, and art, too. It’s not art if\nyou have to think about it too long. How do you explain art?” Shelby Lynne is\n“pretty much just me, a guitar and a microphone,” she jokes, but there’s an\nincredible power in that simplicity. “As an artist, I don’t mind being naked.\nEverything is so fake, so manufactured these days, I want to get real. It’s\npretty much the only way to communicate these days.”\u003c\/p\u003e \n\n\u003ch3\u003eProduct Features\u003c\/h3\u003e\n \u003cul class=\"a\"\u003e\n \u003c\/ul\u003e\n\n\n\n\n"}