Su Andersson’s Brave is an album that follows in the great assertive tradition of progressive folk, meeting the blue-jeaned coffee-house muster with a distinctive voice and acoustic guitar. I suspect this Swedish singer-songwriter could even win the approval of Telemachus, the forever famous cat on the disheveled and openly honest cover of Carole King’s brilliant album, Tapestry.
Put simply: Brave is a wonderful album worthy of a cat’s stare that demands sincerity, a few sublime melodies, the promise of a Friskies treat, and the occasional oddball twist that adds an unleavened curl into the deep roots of these earthen, rejuvenated folk (and sometimes rock!) grooves.
To the music: “Japanese Tea” is graced with Jonas Abrahamsson’s piano touch. This is singer-songwriter stuff that walks a melodic tightrope that again will certainly appeal to fans of King. Then, “Southern Belle” shrugs with lovely rock ‘n’ roll confident indifference, a slight Americana vocal vibe, and an electric sitar solo that widens the country vibe into one of those occasional oddball twists. Not only that, but the tune conjures the songwriting and performance of Elton John and Bernie Taupin, circa 1970’s Tumbleweed Connection. Big compliment, there.
Elsewhere, “Scissors” struts like a cool Rickie Lee Jones tune, as Su Andersson shares lead vocals with Maja Granberg. The same is true for “Bread and Butter,” which includes the sound of Ryan Edmond’s unexpected cornet. Nice! “Limits” ups the pulse with a piano-grooved jaunty folk rock. Ditto for the clever-paced title track, which is propelled with the fluid colors of Canada’s Wendy McNeill’s accordion. Nice, again!
Then, “Northern Light” is again weirdly punctuated with the sound of a sitar-driven eastern vibe that juxtaposes the Mother Earth return-to-Woodstock soulful vocal, as the soft hand drums ooze patient thought. This tune, like much of the album, slowly lights an incensed melodic candle that adds a slightly puffed psych vibe.
In contrast, “Echoes” is a slow-burning song that erupts into a rather heavy and wild electric guitar solo with soulful drama. The work of (the great) Laura Nyro comes to mind.
The final two songs continue with the clever ’70s singer-songwriter groove. “Turquoise and Rust” has a strident melody and enigma-laced words that are worthy successors to all the printed (or hopefully, hand-written!) lyrics in those vintage gatefold sleeves that were studied – because well, we all did that way back when.
And by the way, the really nice packaging of Su Andersson’s Brave comes with a hard cover, cool art work, and all the words that invite friendly conversation in that reconvened authentic blue-jeaned coffee house. Then “Missing It All” ends the album with yet another big electric guitar injected into the melodic tapestry.
And yes, this music survives the scrupulous eyes of any feline critical glance, and that includes the timeless and forever famous Telemachus, the Tapestry cover cat whose glance approved of any music with disheveled and openly honest insight in soulful songs full of melody and drama, with the occasional oddball twist always ready to burn.
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