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Australian singer-songwriter Michael Carpenter's ROLLING BALL includes "Emily Says" and "Day Before."
Michael Carpenter produced some of the best singer/songwriter rock & roll records around the turn of the millennium, but until 2003's Kings Rd. Works he was handling most of the instrumentation, recording, and production entirely himself. It seemed that having a full band in the studio with him would provide an extra dose of power and energize his normally humble efforts, but for some reason the end result was a record that sounded more constrained than his prior work and came off as a bit of a disappointment. He retrenched with the follow-up, 2004's brilliant Rolling Ball, a dizzyingly diverse record that borrows from a cornucopia of styles and bursts with enthusiasm. Rolling Ball doesn't represent a break from form so much as an increase in focus: this is still the same Michael Carpenter who's been releasing rootsy and earnest pop/rock records since 1999. It is a return, at least to some extent, to the sound of Carpenter's first (and best) record, Baby, but not self-consciously so. Instead, Carpenter has shattered the "next Tom Petty" tag and realized that his many influences, which he has always tended to wear on his sleeve throughout his records, can merge to create a record that sounds like his own work, and that part of that process is to actually allow them to seep through fully. Essentially, Rolling Ball is where Carpenter decided to stop recognizing the boundaries of his influences and to instead fully integrate them, and the end result is excellence: the title track and "Emily Says" recall classic bubblegum, "The Ache" nods toward the twang of the Byrds' Sweetheart of the Rodeo without cribbing too liberally from the source material, ballads like "Good Enough" and "Everyday" resonate in a way that his slower material didn't before (especially on Kings Rd. Works, where they were the obvious Achilles' heel), and he also creates some of the most complex and dizzyingly diverse songs of his career, in particular the neo-psychedelic "The Day Before." Building from tense and foreboding verses, the song bursts into an anthemic, chunky classic rock-styled chorus before sinking again into the pulsating depths of the Nuggets-inspired verses. It's one of the best examples yet put to tape of just how much this artist is capable of achieving, and stands as the centerpiece of his brilliant return to form. ~ Jason Damas
With the release of "Rolling Ball", Michael Carpenter presents us with a more complete, mature and ambitious sound than any of his previous records. Friends such as Kings RD drummer Nando Pettinato, Butterfly 9's Matt Fell and Suzy Connolly, Hitchcock' Regret's Marl Moldre and The Innocents' Rob Smith dropped by to lend their talent and encouragement. "Rolling Ball" maintains Carpenter's high production values throughout and makes this album an essential next chapter in the evolving journey of one of Australia's best contemporary independent artists. Rolling Ball Music | List Price | $34.98 (You save $5.19) | | Category | Rock/Pop Albums, Rock CDs | | Label | Laughing Outlaw | | Orig Year | 2004 | | CD Universe Part number | 6786377 | | Discs | 1 | | Release Date | Sep 06, 2004 | | Mono/Stereo | Stereo | | Additional Info | Import |
Michael Carpenter Rolling Ball Songs | 1. | Rolling Ball |
| 2. | Everyday |
| 3. | Emily Says |
| 4. | Good Enough |
| 5. | No One |
| 6. | Nothing at All |
| 7. | Let Down |
| 8. | Day Before |
| 9. | Ache |
| 10. | You & Me |
| 11. | On My Mind |
| Rolling Ball Review
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Purchase Rolling Ball CD To buy, Click on price to add to cart | Trans-Siberian Orchestra Night Castle CDs (2009)
Rolling Ball album
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$9.69 With his fourth album, Stories, David Blue joined Asylum Records, the label headed by David Geffen that had been set up to shelter singer/songwriters like Jackson Browne. For Blue, it was another welcoming home after stints at similarly artist-friendly Elektra and Reprise, and Stories was a continuation of his explorations of the personal relationships of sensitive people. The opening song was called "Looking for a Friend," and that was a good introduction to an album that was about the ups and downs of friendship and the loneliness that sets in when friends are not around. Musically, the album was divided between its two LP sides, each containing four songs. On the first four, the arrangements tended to be limited to two acoustic guitars, while the second half used more extensive instrumentation, including Pete Jolly's accordion on "Marianne," the piano-with-strings "Fire in the Morning" (the chart done by Jack Nitzsche), the full-on rock band playing on "Come on John," and piano/organ folk-rock for "The Blues (All Night Long)," with Ry Cooder adding slide guitar. Blue's lyrical reflections, expressed in his matter-of-fact baritone, touched on experiences that ranged from temporary romantic contentment to suicidal urges. "It wasn't easy, when I think about it/Living in the house of changing faces," he sang in the chorus of "House of Changing Faces," "I still have the tracks to remind me what life was like, high and wasted/When I wanted to die." That wasn't the only song to allude to drug use. The most explicit was "Come on John" (previously recorded by Helen Reddy), a cautionary tale for a friend that left little doubt about its subject when it began, "I've got a friend with a habit/A habit of runnin' away/He says he can't take it/But he takes it every day." Musically, the song had the feel of Bob Dylan's "Ballad of a Thin Man," but for once Blue didn't sound so much like Dylan on Stories as he did ...
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