Lou Rhodes | ||
| Allmusic Biography : Trading in the complex electronics of her previous project Lamb for simple folk, singer Lou Rhodes continued on her own after the breakup of Lamb in 2004. Around the same time, her relationship with the father of her children deteriorated and Rhodes ended up leaving London for Ridge Farm, a commune in Surrey, England, where she rejected a typical rock lifestyle. In early 2006, she self-released her debut solo record, Beloved One, which was nominated for the Mercury Prize, but lost out to Sheffield-based indie rockers Arctic Monkeys. Her second album, Bloom, arrived in 2007, to generally positive reviews. Released on the A&G; imprint, it featured the single "The Rain," and coincided with a promotional tour, which began later in the same year. 2009 saw the reunion of Lamb, who went back on the road, during which time Rhodes simultaneously began writing and recording her third solo effort, One Good Thing, which landed in early 2010. The album was co-produced by her Lamb bandmate Andy Barlow, and was the first recorded collaboration between the pair since 2004. Her fourth solo effort, entitled Theyesandeye, arrived in 2016. Recorded in a friends studio in rural Wiltshire, the record was co-produced by Simon Byrt, who also played piano, bass, guitar, and synths on the recording. | ||
 | Album: 1 of 4 Title: Beloved One Released: 2005-12-05 Tracks: 13 Duration: 58:40 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Each Moment New (03:39) 2 Tremble (02:54) 3 Treat Her Gently (04:12) 4 Fortress (04:11) 5 No Re-Run (03:19) 6 Beloved One (05:43) 7 Save Me (03:20) 8 Inlakesh (03:58) 9 To Survive (04:03) 10 Why (10:50) 11 The End (04:44) 12 Your Face (03:43) 13 Love You (04:04) |
| Beloved One : Allmusic album Review : Lou Rhodes is best known as the vocalist from the electronic duo Lamb (with Andy Barlow). Beloved One was released on her own Infinite Bloom label in the U.K. in 2006, and short-listed for the Mercury Prize. Beloved One stands in stark contrast to Rhodes work with Lamb. More often than not shes accompanied by an acoustic guitar -- her own -- strings, minimal organic percussion, a piano here and there, acoustic double bass, and more. Rhodes digs deep into the blessings of modern life. From "Each Moment New," the sets opening track, there is an aesthetic at work: one of naked honesty, carefully regarded optimism, and the courage to look forward while treasuring what it took to arrive in the present. The woman sings about pain as a necessity for rebirth, death for resurrection, the blessings in each day, though ultimately the only thing that matters is love. It comes through without maudlin sentiment or glib platitudes. In fact, these songs are rife with the hard truth of self-discovery, feeling as if they were written in the moment--most of the lyrics it turns out, were. "Tremble," with its swirling cellos in the backdrop and a melody worthy of Rickie Lee Jones at most open, is a portrait of love as it washes over the singer. "Fortress," with its English folk overtones, is as taut a song about the emotional death of the heart as has been written recently. Its circular melody, framed by an arco double bass, cellos, and hand percussion take it down the path where Waterson Carthy sups with Richard Thompson. "Inlakesh" is as free-form love song with a syncopated rhythm as behind-the-beat hand drums and a floating refrain wind together. "Why," the final cut on the set offers decidedly bigger production feels no less organic in execution. Its got the Lamb beat sensibility sans loops. The gain in her vocal moans, soars and swoops. After a four silence comes a brief a cappella lullaby. Of the three bonus cuts on the American edition of Beloved One one is co-written by Barlow: a tender, jazzy little ballad. The other two are love songs -- one literal, one figurative -- meaning there is resurrection after death. And the last track here, "The End," is an affitmative number fit for a pub sing. In fact, this glorious little record feels, with its few melancholy moments, as if there is an unbridled belief in the redemption of the moment, in the belief that possibility as revealed in song, is endless, without giddiness or gimmick. And Beloved One is loaded with good songs. Rhodes is a gifted melodist. She understands how to write for the strengths in her voice and leave the rest. Shes no slouch as a guitarist either. Encountered earnestly, Beloved One is difficult to forget. | ||
 | Album: 2 of 4 Title: Bloom Released: 2007-10-01 Tracks: 10 Duration: 40:49 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 The Rain (03:25) 2 Greatness in a Speck of Dust (03:28) 3 Icarus (04:31) 4 Never Loved a Man (Like You) (03:43) 5 All We Are (04:24) 6 Chase All My Winters Away (02:58) 7 This Love (05:07) 8 They Say (05:27) 9 Sister Moon (03:21) 10 Bloom (04:22) |
 | Album: 3 of 4 Title: One Good Thing Released: 2010-03-15 Tracks: 11 Duration: 40:21 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 One Good Thing (03:37) 2 There for the Taking (03:45) 3 The More I Run (02:39) 4 It All (04:09) 5 Janey (03:35) 6 Circles (03:28) 7 Magic Day (03:27) 8 The Ocean (05:34) 9 Melancholy Me (03:25) 10 Baby (02:31) 11 Why Wait for Heaven (04:05) |
 | Album: 4 of 4 Title: theyesandeye Released: 2016-07-22 Tracks: 11 Duration: 34:57 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 All the Birds (03:50) 2 All I Need (03:32) 3 Angels (02:31) 4 Sea Organ (03:44) 5 Them (03:15) 6 Hope and Glory (03:19) 7 Circle Song (04:01) 8 Sun and Moon (01:40) 9 Full Moon (03:03) 10 Never Forget (02:43) 11 Magic Ride (03:13) |
| theyesandeye : Allmusic album Review : On her three previous solo records, Lou Rhodes steeped herself in sparse, mostly acoustic arrangements that reflected the influence of the Brit folk scene of the late 60s. Theyesandeye was produced by Simon Byrt. These ten originals (and an innovative cover) bridge folk sounds from her native England and the Laurel Canyon singer/songwriter era and her work with Andy Barlow in Lamb. Her producers well-documented analog reverb-and-psychedelia fetishism proves a real plus here. He imbues Rhodes lithe, economical melodies with an expansive sense of space and dimension and canny yet simple orchestrations. He frames these guitar-based tunes in cellos, harps, hand percussion, pianos, analog synths, and earthy drums. His warm approach to capturing the physicality of the recording studio presents her thin reedy voice in settings that offer balance and sometimes something approaching an airy grandeur. Opener "All the Birds" juxtaposes her vocal with fingerpicked acoustic guitars, a wordless backing chorus, two-note bassline, and organic percussion. In "Sea Organ," strummed guitars, sweeping harp, shakers, and layered backing vocals blissfully engage her singing as it celebrates nature worship. A piano and rolling military snare introduce "Them," with Rhodes voice way out front. Strings and backing vocals add heft to a melody that owes a reverent nod to Judee Sill. The lone cover is the xxs "Angels." The original, though lovely, is spare, seemingly leaving scant room for reimagination. But by simply joining a skeletal fingerpicked acoustic guitar to cavernous reverb, an ethereal harp, gently sweeping strings, and synth, the tenderness and depth of the protagonists romantic commitment are reaffirmed with emotional weight and spiritual heft. "Circle Song" is more directly psychedelic. Byrts reverb boxes are put to excellent use added to his keyboards, electric guitars, snare, and a behind-the-beat staggered backing vocal chorus. Rhodes comes close to swooping in her ghostly delivery. "Full Moon" joins acoustic folk-blues to a chorale. The singing could easily accompany a Sunday cathedral ritual. Theyesandeye isnt perfect, however. Despite its musical attractiveness, Rhodes needs an editor. In her obvious wish to evoke the sounds and spirits of Laurel Canyon she seems to have forgotten that the periods best songs contained lyrics as impeccably crafted as their melodies. The obvious post-hippie vibe in her tomes may be sincere, but lines like "...one color is good, the other is bad..." and "...brothers and sisters of the sun..." are just hackneyed -- and there are more than a few just like them. That aside, the way shes moved forward on this date, wedding her musical identities, makes for a striking if uneven listen and bodes well for future recordings. | ||