Customer Reviews

Manzanita

5 star:		(4)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

It took only three listenings to realize that Ms. Todd has created another masterpiece, the other one being, in my view, the Golden State. This is a sonnet to a troubled country, and the timelessness of love. Yes, there are still artists who celebrate love, and all of its dark reaches, and she is one of them. Beautiful.

From the pondering chords at the beginning of the first track to the refrain of the last, Mia Doi Todd's latest recording, Manzanita is a sonic treat meant to be savored over and over again.

Her contralto voice lilts through melodic soundscapes filled with delicate percussion and mellow electric and acoustic guitars. Occasionally, the tempo picks up into a mildly retro-60s groove, such as on the two-ships-passing-in-the-night song, "The Last Night of Winter."

Todd is a poet, as well as a stunning vocalist. Her lyrics speak of love and politics in artfully written phrases and word pictures. She is part philosopher, part lover and part prophet. In "The Way," she warns of the impending Armageddon of capitalism:

We all know they've got it fixed
in politico-economics.
We're junking bonds; we're dropping
bombs we've made by guzzling gasoline.
Public confidence is shaken
like the apple from the tree.


I think this is the first time I have heard someone use the phrase "politico-economics" in a song.

The second verse of "My Room Is White" made me catch my breath when I first heard it:

The tide comes in, and we're caught
by the rocks and the wetness neverendless.
We kiss for the first time, our lips and tongues
tied in fitness, infiniteness.
Then the ocean pulls back somehow,
to reveal a crowd of uncertainty.


The reggae-inspired "Casa Nova" is also one of my favorites from this recording. The musical hook is catchy and the "I'm over you and moving on" message in the lyrics has a universal appeal.

The flamenco-flavored "Tongue-tied" also stands out. Truly, this CD contains no duds and can be played on repeat without becoming tiresome.

With a few subtle exceptions (e.g., portions of her 2002 CD THE GOLDEN STATE), Mia's previous albums were basically solo performances (her voice, her guitar, and her songs). While I was fine with that, I've noticed some reviewers who thought that approach was -- to paraphrase -- a bit one-dimensional. While I don't agree, I do find that Mia's choice to perform with other musicians on much of MANZANITA has a positive effect by -- how to say this? -- magnifying the emotive and lyrical content via expanding the music even beyond the wide musical range Mia achieves with just her voice and guitar (or piano). As such, MANZANITA is probably the best introduction to Mia's music for those unfamiliar with her.

In other words, the musicians/arrangements are selected/crafted to illuminate each particular song. Which results in an eclectic yet coherent collection of fresh tunes, stylistically ranging from folk to alternative rock to reggae, and then some. For those of us who find her solo performances attractive, there's some of that, too. On the non-solo cuts, Mia and co. use familiar but not cliched aspects of such styles to support her voice and music. There are some general similiarities to the likes of Joan Armatrading, Joni Mitchell, recent David Byrne, and Sarah McLachlan on certain tracks, but whatever comparisons one might make shouldn't hide the fact that Mia is a unique, original artist, and not an imitator of anyone.

Mia Doi Todd is one you hear about very much in Los Angeles. She seems infinite connected. She is portable and infinite. There is something that is like Kurt Cobain in her voice. I haven't heard much of her first three albums, but I heard "The Golden State" a while ago, and it didn't do much for me. I heard Brent Rademaker and Rob Campanella were involved with this record and that got me interested. These are quality songs. Mia Doi Todd has a touch of Joan Baez and Buffy Saint Marie in her too. Maybe that is why some people might think she is pretentious and rarefied. It is precious music. There is a rawness and nakedness to her sound. There is no hiding behind the production. It is very human and very present. It's music to listen to when alone in a dark room. It is a personal statement.

I first saw her open for Jose Gonzalez in LA and enjoyed it as much as I did Jose.

This is the first CD i've purchased since TOOL's last album and it ranks up there with other great works of folk. I feel very lucky to have found Mia's music since she is apparently not as well known as she should be.

If you're new to her music and you enjoy music by Jose Gonzalez, Joni Mitchell, Tracy Chapman, Devendra Barnhart etc. you should check Mia out.