Patty Larkin Albums (11)
What The Critics Say
Patty Larkin is a rare bird, a female auteur who can do it all. On Watch the Sky she went into the studio alone and produced, wrote, sang, and played every note herself on a variety of instruments including toy organ, an old Casio keyboard, lap steel detuned and played with drumsticks, baritone guitar played with a violin bow, and assorted acoustic and electric guitars, basses, and drum machines and lots more. She's known for her amazing guitar style, which is in evidence here, but there's no flash for the sake of flash. Everything serves the song, with instruments adding mood and emotion to the pieces. "Hallelujah" is an uplifting, celebratory tune, full of hope and optimism that rides the chooglin' beat of a giant heart. Larkin fills up the background with big chiming guitars that float through space to complement the chorus -- "Hallelujah baby, I'm fallin' for ya." It's an almost religious celebration of love that leaves you feeling all tingly inside. But its openhearted honesty sets it apart from most of the more impressionistic tunes here. "Traveling Alone" starts delicately with Larkin's warm vocals and a simple baritone guitar figure, then the tune slips into an aching melancholy intensified by slow strummed chords. The ghostly music belies the repeated refrain "Traveling alone is a wonderful thing." The kids in "Hollywood" go to Tinseltown to make it big, but if the music is any indication, they didn't fare so well. Ominous echoing guitar chords, sounding like they're coming from the bottom of a dry well, float above ghostly keyboard textures that slowly fade to black. The mysterious, open-ended lyric implies an unhappy ending, while the track's abrupt end leaves the ending to your imagination. "Walking in My Sleep" is a jazzy torch song, with a lazy purring vocal from Larkin that's slyly sexual. More spooky keyboards, softly moaning background vocals, a subtle hip-hop rhythm, and another oblique lyric add more mystery to the song. Watch the Sky isn't exactly ambient, but Larkin's moody, slightly disturbing compositions are complemented by music that floats in and out of focus. giving the songs a wide-open feel, while her singing maintains the intimate, almost confidential tone listeners are familiar with. Even though the message is often unclear, the hypnotic atmosphere is so seductive that you slowly surrender and let the music take you where it will. ~ j. poet, All Music Guide
What The Critics Say
This is a very tasteful album featuring midtempo and slow songs with observant, personal lyrics and a carefully blended combination of folk, pop, Celtic, and other influences. Larkin's vocals are emotive in a low-key way, her multi-instrumental skills are impressive, and the ace cast of supporting musicians include Ben Wittman on lap steel and Gideon Freudmann on cello. The songs tend to be wistful or bittersweet, the writing tends to be relatively subtle (with the unfortunate exception of the Statue of Liberty's "lily white hand" in "Birmingham," a misconceived song about urban poverty), and this album should appeal to fans of Larkin's previous work as well as newcomers who like folk-pop singer/songwriters. The music could have benefited from some fiery passion and a greater sense of spontaneity; even "Louder," the album-ending romp, sounds overly decorous. Nonetheless, it's a solid album overall. ~ Todd Kristel, All Music Guide
'Regrooving the Dream'
Release Date 7/25/2000
Tracks 15
Label Vanguard
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What The Critics Say
Patty Larkin digs deep into her bag of influences for a barrier-bending collection of songs that are nonetheless rooted in acoustic traditions. Her rich, everywoman voice suits her evocative guitar style effortlessly as she matches mood to sound. The effect of mixing it up makes "Only One" convincingly spooky as it merges folk blues with whispery, Astrid Gilberto vocalizing; "Anyway the Main Thing Is" goes East with its winding vocal riff. But "Mink Coats" is the centerpiece: With its old-as-time rock chords and its image sharp lyrics, Larkin may have crafted her finest hour. Guitarists John Leventhal (Shawn Colvin) and Marc Shulman (Suzanne Vega, Jewel) color the basic multi-instrumental tracks that Larkin laid down with co-producer Bette Warner. Within folk boundaries, the instrumental bridges linking songs and adventurous guitar sounds might be tippling on the edge of experimentation, but that would be overstating the case of stylistic departure. The "new direction" won't upset anyone accustomed to Larkin's already mature and fluid song style. ~ Denise Sullivan, All Music Guide
'A Gogo: Live on Tour'
Release Date 9/28/1999
Tracks 14
Label Vanguard
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What The Critics Say
After recording for Philo/Rounder and High Street, Patty Larkin moved to Vanguard with A Gogo: Live on Tour. Vanguard has been synonymous with folk since the 1950s, so it was a logical place for the Boston-based singer/songwriter. A collection of live performances from Larkin's 1997 tour of the U.S., A Gogo wasn't her first live album -- Philo had put out Live in the Square in 1990. She favors an intimate, stripped-down setting on these acoustic-oriented performances, and that works to the folk-rocker's advantage on gems that range from "Do Not Disturb" and "Good Thing" to "The Book I'm Not Reading," "Tango," and the bluesy "Dear Diary." Because Larkin is such a strong storyteller, going the unplugged route was an excellent idea -- the spare approach really makes her lyrics stand out, whether she's being humorous on "Wolf at the Door" or poignant on "Mary Magdalene" and the Bruce Springsteen-ish "Me and That Train." This excellent CD is easily recommended to both casual listeners and Larkin's diehard fans. ~ Alex Henderson, All Music Guide
'Perishable Fruit'
Release Date 8/26/1997
Tracks 11
Label High Street
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What The Critics Say
Producing herself, Patty Larkin banned percussion instruments from her seventh album, a gimmick that extenuated her usual interest in texture over content, which has always distinguished her from other folkies but also frustrated some fans. This time, her self-imposed stricture forced her and her fellow musicians to sacrifice virtuosity for invention, and they did come up with some unusual sounds. But Larkin still often seemed to be at an emotional distance from her material, except when she was expressing irritation. The most impassioned performances and clear lyrics came when she was singing about what seemed to matter the most to her, "The Road" and, in "Wolf at the Door," the music business. In contrast, the love songs were idealized at best and vague at worst, and the singer rarely seemed involved in any case. ~ William Ruhlmann, All Music Guide
What The Critics Say
Continuing her examination of the various aspects and structures of faith, Patty Larkin expands her realm somewhat on Strangers World. This time around she chooses to include family, friends, and lovers in her exploration of what and who is worthy enough to believe in. (Apparently, the train was, but Johnny wasn't.) Producer John Leventhal, presumably not a pyro, brings his signature sound and steady musical sidekicks to Larkin's world, creating a spacious, yet cozy atmosphere through which her material soars. Drummer Shawn Pelton and bassist Zev Katz provide a solid foundation, while guest vocalists Bruce Cockburn, Shawn Colvin, Jonatha Brooke, and Jennifer Kimball work their individual heavenly magic. The combined result is both haunting and delightful. As for the songs, Larkin is in fine form. "Johnny Was a Pyro," "Don't," "When the Heavens Light Up," "Mary Magdalene," "Open Arms (Don't Explain)" -- just pick one and it will be great. Larkin is a cherished treasure to her fans and colleagues. Strangers World is a wonderful example of why. ~ Kelly McCartney, All Music Guide
What The Critics Say
At some point in many a singer/songwriter's career, the performer realizes that he or she can no longer rely on easy-to-please, doe-eyed coffeehouse folkies, and in order to "make it" on a larger level, his or her writing will have to be streamlined for a more mainstream audience. In this respect, Step Into the Light reveals Patty Larkin in the midst of an intense artistic maturing process. Songs like "Caffeine" and "Dodge Dart" are the type of slightly witty (but not really very funny) attempts at comedy songs that probably brought the house down at the college campus but are better left to experts like John Hartford. Other tunes show promise but are underdeveloped and sorely in need of editing. A few, however, show the kind of sophistication that have placed Larkin in the same ranks with artists such as Shawn Colvin. The title track, for example, is pop of the catchiest and most radio-friendly sort; the sort of thing that wouldn't seem out of place on a Christopher Cross album. "Cupid's Knee" measures favorably with Larkin's later work and seems well suited for pop-country vocalists of the Patty Loveless bent. Step Into the Light, while certainly uneven, contains its fair share of gems and, despite Larkin's youthful missteps, holds one's attention throughout. ~ Pemberton Roach, All Music Guide
What The Critics Say
Any way you cut it, you will enjoy this album. It is better than most live albums. ~ Chip Renner, All Music Guide
What The Critics Say
Powerful CD featuring songs such as "If I Was Made of Metal" that leave you wanting more. ~ Chip Renner, All Music Guide
What The Critics Say
As she churns out quality albums and engaging performances like clockwork, you have to wonder why Patty Larkin is one of the most overlooked, underrated singer/songwriters around. Perhaps she is destined to lead the "underground" folk movement alongside Ellis Paul, John Gorka, and Dar Williams, rather than break through to the masses à la Shawn Colvin. Either way, with 1993's Angels Running, Larkin continues the good fight, penning some fantastic tunes and delivering them with a fine blend of class and humor. In songs such as "Who Holds Your Hand" and "I Told Him That My Dog Wouldn't Run," she both questions and embraces faith, in whatever form it takes. The latter piece details an encounter with an old flame who has been distanced emotionally, physically, and spiritually. The character struggles with his demons by reading the Bible every day, searching for his salvation, having lost who he once was. With her added harmonies, Mary-Chapin Carpenter is the perfect grounding point in this poignant tale. It's the kind of song you'll listen to many times as you dig through the layers of emotion. Never to bog things down for too long, Larkin counteracts the sentimental stuff with her unfailing sense of humor in "Might As Well Dance" and her keen observations in "Pundits & Poets." If you have ever seen her perform live, you might remember her talent for impressions that has thusly been recorded in "Channeling Marlene," as in Dietrich. Angels Running is pure Patty Larkin from "Banish Misfortune/Open Hand," an instrumental showcase, to "Helen," a story lifted from New England's coastal heritage. Every ounce of this record reflects a piece of who she is. It didn't top any charts, but being a cult hero isn't necessarily a bad thing. ~ Kelly McCartney, All Music Guide
