Fire Records Announces
Mary Lou Lord
‘Got No Shadow’ Reissue
Out 26th October
Purple opaque LP (Rough Trade exclusive) / black LP / CD
‘Lights Are Changing’ Spotify link: https://spoti.fi/2uPFyIq
‘Got No Shadow’ is the cult 1998 major label debut from Mary Lou Lord, a sonic partnership with spiritual brother Nick Saloman from The Bevis Frond. A stellar cast of musicians includes Elliott Smith, Roger McGuinn, Jon Brion and Money Mark.
It’s the phrasing, the total control of the melancholy button, the misheard lyric, the backslap of the snare and the super-mellow 12-string, making way for a grunge-lite cocktail that makes ‘Got No Shadow’ sound like you’ve heard it a million times before. Verse, chorus, verse, chorus, regret, regret, regret. This is an album caught in time.
A spine-tingling one liner, a word or two stolen from the hits of yore, a title that’s by someone else and a cover of a blues classic that makes it sound like it was strummed out in a bedsit after a heavy night, this collection of songs is the soundtrack of a rags to riches late ‘90s modernist who pulls in friends, allies and concubines to make their story ever more intriguing.
Facts are, Mary Lou Lord was joined by The Bevis Frond’s Nick Saloman, they jammed, covered ‘Shake It Sugaree’ with Elliott Smith on guitar and the studio swelled with the likes of Jon Brion, Roger McGuinn, Money Mark, Ethan Johns and a host of others. The party had jangle. Plenty.
Previously Mary Lou Lord had travelled, busked – New York, Seattle, London. Cassettes were dubbed, EPs recorded for Kill Rock Stars. She wrote her own tunes and teamed up with the Frond in the UK enjoying the beauty of the Lea Valley before taking her wares from Walthamstow to the world.
Signed to Work during the late ‘90s, those easy beginnings were polished to perfection; Bill Maher produces on the awesome ‘Lights Are Changing’. In LA ‘Got No Shadow’ took shape around Mary Lou’s alluring vocal. Tales of the misspent resonate, stories unfold, it is a moment in time, some miles from the pool table she slept under post-busk but harking back with some kind of fondness.
“A seamless collection of folk-rock that offers more than a glimpse of Lord’s roots playing for passersby in London and Boston.” Rolling Stone
“One tremendous album that frames her singing and creative personality with skill and sensitivity.” Trouser Press