BETTY AND THE BOY – THE WRECKAGE
2014 – Self Released
It must be a nightmare for the promotional people, wondering which genre ‘Betty and the Boy’ should be slotted into. Certainly there is a folksy rootsiness to this tremendous album but an argument could be made for the instrumentation having a ‘chamber music’ feel on some songs and on others there is a distinct mix of country/old timey/bluegrass styles.
The band is made up of Josh Harvey on vocals, banjo, mandolin, guitar, piano and organ, Bettreena Jaeger on vocals and guitar, Michelle Whitlock on violin, Nanci McDonald cello and Jon Conlon on upright bass. That mixture of instruments is what brings a huge sense of drama to every song on this extraordinary album that often blends cello, violin, banjo and mandolin all in one song and it is that which contributes to the intensity of these mainly dramatic story. The mournful instrumentation that is often deepened by the cello, is lifted and given a further dramatic quality by the ethereal beauty of Betty’s vocals. Add to this the masculinity of Josh’s lead vocals and a more countrified air and you have an album of great diversity that never loses it’s appeal. Betty’s vocal is sometimes reminiscent of Kate Bush, at others Icelandic singer Bjork and even on occasions Joni Mitchell, but all blended together to ensure this band has one of the most beautifully distinctive vocalists around.
The songwriting is almost an even split, with six songs written by Josh Harvey, five by Bettreena (Betty) Jaeger and one co write by the two of them. Betty’s songs have a much more floaty ethereal feel whereas Josh Harveys have a more grounded folksiness, even often blending old timey and bluegrass. This is their second full album and if this is an example of the dip in quality of many ‘difficult second albums’ the first must have been absolutely astounding. It took me quite a few sessions to really latch on to this music that is often dominated by the mournful cello, but it is definitely a recording that brings huge rewards to those who show a little patience. The contrasts between Betty’s otherworldly songs and Josh’s back to the earth ‘country’ leanings are absolutely essential to the flow and diversity of this gorgeous recording.
It is difficult on a recording on which every song has huge appeal to select a few that are representative of the album so the following are not in any way definitive! Silos and Smokestacks has Josh on lead vocals, supported by violin, mandolin, bass and cello on a song that is close to being a classic country tale mixed with a little old timey but nothing is ever quite that straightforward with Betty and the Boy. The instrumentation alone means that generically the song can be placed in various other genres from folk to chamber music! On In The Devil’s Hands Betty takes the lead on a highly unusual song that is both gorgeous and quirky, with cello, bass, banjo and violin all melded together to make something that sounds like a country sub genre, but which one?! We go from a song about lost love to one about an ‘unrighteous woman’ who is incapable of love, in many ways framing the diversity of ‘The Wreckage.’ Poppies is a song that gradually builds in power with the cello and violin at their mournful best and Betty’s sparky vocal contrasting beautifully, supported by piano and bass, on a song that brings a whole new depth to lost love tales with it’s almost Kafkaesque sense of melancholy and intense deepening of the dramatic quality. Pretty Ugly is led by banjo and fiddle, with Betty’s lovely lead vocal dominating a song that builds in a haunting, almost wraithlike element that gives the listener (this one at least!) the impression it will just float away into the ether! It is a stunningly beautiful song that contrasts perfectly with the lyrical content. You May Find Me is very close to being an ‘old timey’ song thematically as well as musically with Josh Harvey on lead vocal aided by the banjo and cello on a song that is more upbeat than much of what has gone before. Finally, the album closer, September Eighth is another excellent song with Harvey on lead vocal with Betty supplying harmonies, supported by a gentle acoustic guitar, violin and cello with a powerful percussion underpinning this intensely sad tale that, with a change of instrumentation, could easily become a classic country song, although it would probably not rise to the powerful heights of this version.
This is probably one of the most unusual and dramatic albums you will hear, certainly under the broad ‘roots’ canopy, thanks to the beautifully worked out instrumentation that is often, though not universally, dominated by the powerful cello and/or violin. With the bass always laying a solid foundation the other instruments such as banjo and mandolin provide an added perhaps more fluid range of emotional textures, and if you accept this as a folk album, a powerfully planted tap root. When everything is taken into consideration, from the vocals to the instrumentation, it has to be accepted that this band is incredibly talented, highly original and pretty much unique. Can’t wait for their next recording!
http://bettyandtheboy.com/
It must be a nightmare for the promotional people, wondering which genre ‘Betty and the Boy’ should be slotted into. Certainly there is a folksy rootsiness to this tremendous album but an argument could be made for the instrumentation having a ‘chamber music’ feel on some songs and on others there is a distinct mix of country/old timey/bluegrass styles.
The band is made up of Josh Harvey on vocals, banjo, mandolin, guitar, piano and organ, Bettreena Jaeger on vocals and guitar, Michelle Whitlock on violin, Nanci McDonald cello and Jon Conlon on upright bass. That mixture of instruments is what brings a huge sense of drama to every song on this extraordinary album that often blends cello, violin, banjo and mandolin all in one song and it is that which contributes to the intensity of these mainly dramatic story. The mournful instrumentation that is often deepened by the cello, is lifted and given a further dramatic quality by the ethereal beauty of Betty’s vocals. Add to this the masculinity of Josh’s lead vocals and a more countrified air and you have an album of great diversity that never loses it’s appeal. Betty’s vocal is sometimes reminiscent of Kate Bush, at others Icelandic singer Bjork and even on occasions Joni Mitchell, but all blended together to ensure this band has one of the most beautifully distinctive vocalists around.
The songwriting is almost an even split, with six songs written by Josh Harvey, five by Bettreena (Betty) Jaeger and one co write by the two of them. Betty’s songs have a much more floaty ethereal feel whereas Josh Harveys have a more grounded folksiness, even often blending old timey and bluegrass. This is their second full album and if this is an example of the dip in quality of many ‘difficult second albums’ the first must have been absolutely astounding. It took me quite a few sessions to really latch on to this music that is often dominated by the mournful cello, but it is definitely a recording that brings huge rewards to those who show a little patience. The contrasts between Betty’s otherworldly songs and Josh’s back to the earth ‘country’ leanings are absolutely essential to the flow and diversity of this gorgeous recording.
It is difficult on a recording on which every song has huge appeal to select a few that are representative of the album so the following are not in any way definitive! Silos and Smokestacks has Josh on lead vocals, supported by violin, mandolin, bass and cello on a song that is close to being a classic country tale mixed with a little old timey but nothing is ever quite that straightforward with Betty and the Boy. The instrumentation alone means that generically the song can be placed in various other genres from folk to chamber music! On In The Devil’s Hands Betty takes the lead on a highly unusual song that is both gorgeous and quirky, with cello, bass, banjo and violin all melded together to make something that sounds like a country sub genre, but which one?! We go from a song about lost love to one about an ‘unrighteous woman’ who is incapable of love, in many ways framing the diversity of ‘The Wreckage.’ Poppies is a song that gradually builds in power with the cello and violin at their mournful best and Betty’s sparky vocal contrasting beautifully, supported by piano and bass, on a song that brings a whole new depth to lost love tales with it’s almost Kafkaesque sense of melancholy and intense deepening of the dramatic quality. Pretty Ugly is led by banjo and fiddle, with Betty’s lovely lead vocal dominating a song that builds in a haunting, almost wraithlike element that gives the listener (this one at least!) the impression it will just float away into the ether! It is a stunningly beautiful song that contrasts perfectly with the lyrical content. You May Find Me is very close to being an ‘old timey’ song thematically as well as musically with Josh Harvey on lead vocal aided by the banjo and cello on a song that is more upbeat than much of what has gone before. Finally, the album closer, September Eighth is another excellent song with Harvey on lead vocal with Betty supplying harmonies, supported by a gentle acoustic guitar, violin and cello with a powerful percussion underpinning this intensely sad tale that, with a change of instrumentation, could easily become a classic country song, although it would probably not rise to the powerful heights of this version.
This is probably one of the most unusual and dramatic albums you will hear, certainly under the broad ‘roots’ canopy, thanks to the beautifully worked out instrumentation that is often, though not universally, dominated by the powerful cello and/or violin. With the bass always laying a solid foundation the other instruments such as banjo and mandolin provide an added perhaps more fluid range of emotional textures, and if you accept this as a folk album, a powerfully planted tap root. When everything is taken into consideration, from the vocals to the instrumentation, it has to be accepted that this band is incredibly talented, highly original and pretty much unique. Can’t wait for their next recording!
http://bettyandtheboy.com/