The Devil To Pay

August 10, 2010 | Format: MP3

$7.99
Also available in CD Format
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3:45
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3:41
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3:37
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3:28
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2:57
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4:02
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3:37
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2:37
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2:35
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10
5:28

Product Details

  • Original Release Date: August 10, 2010
  • Label: Brett Shady
  • Copyright: 2010 Brett Shady
  • Total Length: 35:47
  • Genres:
  • ASIN: B003TCPS26
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #360,630 Paid in Albums (See Top 100 Paid in Albums)

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Most Helpful Customer Reviews

By K. Click on January 6, 2012
Format: MP3 Music
In all honesty this is one of the top 5 records on my playlist and has been since it entered my consciousness last year. The simple, yet soulful arrangements meld perfectly with Brett Shady's classic storytelling imagery. The lyrics leave enough room for personal application while clearly pouring straight from the heart of an honest, sensitive man.

There is an infectious optimism to songs like Angels, Ghosts & Demons that comes off as a balanced counterpoint to the despair of Red House Plea.

All in all a beautifully energized set of tales of love, loss and alienation; this is a record that has strong individual songs but plays best as a a piece - allowing the listener to move through the well orchestrated emotions contained in its 10 tracks. The Devil to Pay is not merely a sleeper songwriter's record, but a solid addition to any music lover's collection of records that stay relevant and songs that speak to your hear in soothing tones.
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Format: MP3 Music
The opening track of singer-songwriter Brett Shady's solo debut is very good (especially for the terrific lyric "For every somebody somewhere in love / there's somebody else"), but it's the defeated loneliness of the second track, "Jerome, AZ" that sets the album's emotional hook. Shady sings of giving up on his big city dream and heading for open skies. But even though he didn't give up on his own big city dream, his initial discontent with Los Angeles, born of the dislocation and culture shock felt by a gold country immigrant provides much of the album's emotional fuel.

Shady seems to have finally made himself at home in Southern California, but at the time he wrote these songs, his lack of connection became the locus of his songwriting. Like many lovelorn pop songwriters, he balances himself on the edge of self-pity and self-strength, wallowing in the darkness but mindful that the sun still shines on the other side of his drawn curtains. Shady follows in a long line of rock musicians whose later years led them away from the outward-bound excess of rock and punk to the introspective songwriting of folk and Americana. Dana Gumbiner's production nicely balances a minimum of studio decorations with Shady's simple combo of guitar, bass, drums, and banjo, leaving room for the lyrics to be heard and felt.

Shady first latched onto music as a child, and looking back to acts from the `50s and early `60s in the craft of "Darling." He suggests the song is seeded in Ivory Joe Hunter's "Since I Met You Baby," which you can certainly hear in the piano figure, but the vocal seems more heavily influenced by doo-wop crooning. Winningly, the production gives the whole song an indie-pop feel, which makes the `50s influences play more like ghosts.
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