A few months back I wrote about Sandy Denny, the British folk-rock artist whose oeuvre I’ve begun investigating nearly 30 years after first thinking that I should. As I discovered, and am still discovering, she wrote and recorded many wondrous songs. One that I’ve come to adore is “Moments,” her final studio recording. “These are the moments that we love so well/Precious moments caught within a spell,” she sings at the outset, her sterling vocals imbued with a haunting tenderness.
As my wife Diane can attest, I have a knack for obsessing over bygone songs, albums and artists. Last year it was Dusty Springfield; after a lifetime of lovingDusty in Memphis, I took the plunge and explored the rest of her canon when a YouTube link led me to her rendition of the classic Carole King-Gerry Goffin song “ Goin’ Back.” The year before that it was Peggy Lee, and the year before that it was the Original Carter Family, and on through the eras and artists. The main reason why I generally find myself rooting around popular music’s figurative attic: a dearth of new sounds that appeal to me.
That’s not to say there aren’t good works being released. Juliana Hatfield’s latest PledgeMusic effort, Wild Animals, is a rough-hewn jewel; and her upcoming Minor Alps project with Nada Surf’s Matthew Caws has all the earmarks of an instant classic. But I can count on two hands the number of new albums I’ve picked up this year that I listened to more than a few times. And new artists? Even less.
Which is why I was thrilled, in early July, to stumble across up-and-coming Canadian singer-songwriter Katie Rox’s PledgeMusic page. Her Facebook profile offers a succinct summary of her life and career to date, but that’s not what sold me on her. It was her voice, which is pure and sweet, but not too sweet, and her sense of humor – as evidenced by this funny promo for her PledgeMusic project. Her YouTube page also contains a bevy of cool originals and covers, including one of Freddie Fender’s “ Wasted Days and Wasted Nights.” So, what the hell? I pledged – and not just for the download or CD, but also for a cover song of my choice.
I should mention that cover songs are one of my favorite things to witness in concert – especially off-the-wall, unexpected gems. 10,000 Maniacs closing their set with “To Sir With Love” at WXPN’s Five Star Night benefit in 1992 remains one of my favorite concert memories. There are dozens upon dozens of such songs I could easily have picked for Katie to sing, of course, and I actually considered quite a few, including ones by Gram Parsons, Emmylou Harris, Neil Young and Juliana Hatfield.
In the end, though, I went with my current infatuation, “Moments.” Katie’s voice just seemed a perfect fit for it. And I’m glad I did. As she notes in the intro, prior to my request she was unfamiliar with both Sandy Denny and the song (which means she’s with 99.9 percent of people in North America) yet that doesn’t steal from her performance. It’s tentative to start, and understandably so, but by song’s end she’s in the zone: “Cherish deep within you/the love you get today/let the moment linger/for tomorrow steals that away…”
I didn’t just pledge for a song, however. I pledged to support Katie’s project, and with or without “Moments” it would have been money well spent – as evidenced by one of the completed songs, which she made available to her Pledge backers in late July. Titled “Too Late,” it conjures Kasey Chambers (though minus the Aussie accent) circa “The Captain” with its subtle twang, moody melody and vocals that grow slightly less restrained by song’s end. It’s a stunner.
If you like what you hear in Katie’s music, pledge. And if you don’t, hey, that’s cool – but do check out the other artists on PledgeMusic. You may just find someone whose music you’ll one day treasure.