My Kind of Country

Country music from a fan's point of view since 2008

Tag Archives: Robby Hecht

Album Review: Caroline Spence — ‘Mint Condition’

I was first introduced to Caroline Spence when I reviewed her and Robby Hecht’s sublime collaborative album, Two People, last summer. I was immediately hooked on her voice and couldn’t wait to hear more. That “more” has arrived in the form of Mint Condition, her third full-length solo album, produced by Dan Knobler, which is her debut for Rounder Records.

The narratives of personal relationships, which Spence says she’s always been drawn to from a writing perspective, dominate the album thematically. She opens strong with “What You Don’t Know,” in which she hasn’t yet told her man how she truly feels about him. Spence is in a bar with an empty glass in her hand wondering “Who’s Gonna Make My Mistakes,” which she answers by saying ‘it might as well be me.’

She shows a beautiful venerably on “Sit Here and Love Me,” in which she confesses to her boyfriend what she needs from him. The sparse ballad, her real-life story, is stunning:

Like the moon in the sky

In the afternoon in July

A little darkness hangs there above me

I know you hate to see me cry

Don’t wanna look you in the eye

I just need you to sit here and love me

 

I’m alright, my dear

I’ve been this way as long as I’ve been here

I don’t need you to solve any problem at all

I just need you to sit here and love me

 

At the bottom of this well

Sometimes it’s hard to tell

If you’re up there or if you can see me

I’m still someone you know

Please recognize my shadow

This is the same place from where I love you deeply

 

I’m alright, my dear

I’ve been this way as long as I’ve been here

I don’t need you to solve any problem at all

I just need you to sit here and love me

Spence, who admits to suffering from anxiety, continues down the same path on “Who Are You,” in which she feels perplexed by her man, who always seems to find her when she’s enduring her darkest moments:

I take comfort in my silence

In an empty house

In leaving town

I take comfort in knowing

It’s not my time yet

But then you show up

 

Have I been betting on the wrong cards my whole life?

Trying to make a fire with the rain outside?

Hiding behind the line between black and white?

You got me asking questions

 

Asking who are you?

Who could know me

But my only one?

Oh, who are you?

 

I don’t take kindly

When you remind me

That I should lighten up

Show myself a little love

I don’t take kindly

To the way you can find me

When I’m trying to hide

And give up the fight

Spence finds herself exploring love on “Till You Find One,” an intriguing waltz, in which she attempts to convince herself she can’t stop fate. The title track came out of a writing exercise, in which she strived to write something good enough for Emmylou Harris to sing. She drew inspiration from her grandmother to craft the gorgeous acoustic ballad, which details a love too good to see fade away. In a twist of fate, Harris joins Spence on the track with her captivating harmonies.

My favorite song on Mint Condition is the album’s emotional centerpiece, “Wait On The Wine,” a soaring ballad where Spence uses the titular beverage to gain enough courage to tell her man how much she loves him. Another favorite, “Song About A City” is a Mary Chapin Carpenter-esque mid-paced number she co-wrote with Ashley Ray. It details her struggle with immortalizing places in her songwriting:

I used to take the train

Upstate to see the colors change

Nothing’s falling quite the same

No matter where I land

This New York City rooftop bar

Just looks up at the same old stars

Thought that I had come so far

But it doesn’t matter where I am

 

I took two steps in Austin

One back in Boston

Tried to love something new

I found a lonesome highway

Brand new skyline

But nothing could change my tune

Wish I could write a song about a city

Instead of songs about you

 

I thought I’d find a brand new leaf

Drive on out to Joshua Tree

Dry those tears in desert heat

But the silence was too loud

I wish that I could make the most

Of the magic on this coast

Can’t see the beauty through the ghost

That I’m still dragging around

Spence managed to do just that on “Angels to Los Angeles,” a sweet ballad detailing a classic runaway narrative about a girl with a dream who’s on her way to do something big to make it a reality. She realizes the reality of that dream on the uptempo “Long Haul,” where she puts her own spin on the life of a musician:

Town after town and it’s all the same

They say expecting something different’s the definition of insane

But here I go, I follow those highway stripes leading the way

Down that fine line between making a living and digging your grave

 

But I just shut up and drive

What else am I gonna do tonight?

I crossed my t’s, I dotted my i’s

And sold my soul to the 1-4-5

Never was looking for the glamour

Know I won’t find it here in Texarkana

Just trying not to lose my mind

‘Cause I’m in it for the long haul

Just feels like a long haul tonight

 

Same thing that keeps you up at night, gets you out of bed

Same thing that keeps you stuck, gets stuck in your head

It’s a funny little addiction with no cure in sight

So I keep breaking everything I’m fixing so I can be fixing to do it tomorrow night

Her long haul has led her to Mint Condition, a captivating collection of personal narratives articulated beautifully. She could’ve varied the tempo a bit throughout and thrown the listener some variety sonically, but what she’s given us is nothing to complain about. Spence is a female singer-songwriter in the truest form, and a woman with a perspective worth celebrating.

Grade: A-

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Album Review: Robby Hecht & Caroline Spence – ‘Two People’

Two People is the debut duo album of Nashville born singer/songwriters Robby Hecht & Caroline Spence. The pair met at the Rocky Mountain Folk Festival in 2013 and instantaneously hit it off musically. After two singles garnered eight million streams on Spotify, the duo decided to hunker down and record a full-length album.

While Two People is a duo album, Hecht & Spence are solo artists in their own right. If Robby’s name sounds familiar, it might be because I reviewed his solo record back in 2014, which I had almost forgotten about until Two People hit my radar screen last month courtesy of Juli Thanki from The Tennessean.

The album plays like an independent film centered around a charming and human love story worth rooting for and getting behind. The album traces that story through all of its facets, giving the listener eight perfect snapshots, each one capturing another moment in time.

Our story begins on “The Real Thing,” a warm ballad in which our couple meets at a crowded party. He knows she’s with someone else, a guy who wants nothing more than a fling. Our guy offers this girl an alternative — “We can ditch this crowd, we can ditch this scene, come on, take a ride with me.” He has money, and a car, but most importantly, he can offer her what her current guy cannot — a healthy relationship.

Spence takes the lead on “Trying,” in which our girl promises she’s doing everything she can to give our guy her heart. She’s having trouble giving in, letting go and trusting what’s right in front of her. “All On The Table” finds our couple laying everything bare in order to see if their relationship can go the distance. It’s Spence who takes the lead once again, using her sweet soprano to draw the listener in with her palpable venerability. This is the rare song that reenergizes my love for music, giving me the realization that real country music still exists in the world if you know where to look.

Hecht takes the lead on the romantic “Holding You,” in which our guy has found something to get him through the mundane day-to-day of life — her awaiting arms each night. When that proves not to be nearly enough he needs to spend “A Night Together” with her. He wants to go out but doesn’t care where — a country fair with a Ferris Wheel, a romantic dinner with an expensive bottle of wine that keeps them occupied until closing time — he doesn’t care as long as he can show her off and take her back home with him.

A time jump reveals the relationship began to crack and eventually fell apart. Spence leads the way on “I’ll Keep You,” a surprisingly sweet tale that finds her sorting through and boxing up the couple’s memories from their time together. It ends with a sign on the corner, pointing to their house, indicating a yard sale.

“Over You” finds Hecht embodying the guy’s gut-wrenching ache at the relationship meeting its end and finds him trying to convince himself he’s over her, as he continues to question everything he thought was right while they were together.

The album ends with an interesting thought. What if the couple had never been destined to meet in the first place? What if their paths had almost crossed but at the last second he exited the train, or he gave his seat to someone else just before she sat down? Those are the questions and thoughts raised by “Parallel Lines,” which was one of the two early singles that convinced the duo to make an album together.

I don’t want to suggest Two People is by any means autobiographical even though Hecht and Spence did write all the songs together. They are a magical pairing, bringing these songs to life with an effortlessness that cannot be fabricated. Spence is an otherworldly vocalist, with a similar tone to Ashley Monroe, while Hecht is a captivating conversationalist.

Two People is an independent release that likely won’t get the press coverage it deserves, especially in the crowed Americana/folk world it finds itself in. It may be a quieter album, but it’s powerful in its own unique way. I highly recommend everyone check it out.

Grade: A+

Album Review: Robby Hecht – ‘Robby Hecht’

robbyhecht_album_coverFor his first collection since 2011’s Last of the Long Days, singer/songwriter Robby Hecht turned to producer Lex Price to help him achieve the lush sound he desired. The resulting eponymous album is a quiet collection of songs that pack a significant punch.

Hecht, who hails from Knoxville, TN, knew music was his calling around age 18 and he spent the next decade of his life turning it into his career through travels in Europe and a stint in San Francisco before making his way back to Music City.

After being diagnosed with bipolar disorder, Hecht was truly able to find himself and gain the confidence he needed to begin a solo career in earnest, with his new album marking the latest step in his journey.

Robby Hecht isn’t an album to be taken lightly, treated as background music while you enjoy a shindig or drive in your car. The quiet simplicity draws you in, commanding your attention in the way only the most finely crafted albums can.

Excellent lead single “New York City” is one of those songs, tracing the psychedelic hold the Big Apple has on those who’ve walked it’s streets and ridden it’s subways. Through various pleas, Hecht begs the city to give him the hope he can only find within himself. Similarly themed “I Don’t Believe It” finds a man going through a series of repeating lines in an effort to keep from facing the bitter truth and continue a life in denial.

Nashville writer Amy Speace co-wrote “The Sea & The Shore” with Hecht and the results are a quietly haunting tune about impossible love. The sparse production – just soft acoustic guitar with ribbons of light piano – works wonderfully to compliment Hecht’s delicate yet commanding vocal. “Cars and Bars” traverses nearly identical ground sonically, while also featuring a nicely engaging story about an encounter with a girl that wasn’t destined to be anything more than a one-time meeting. Hecht’s tender vocal conveys a hint of sadness among his recollection of that day.

“Feeling It Now” is slightly faster in tempo with jazzy elements incorporated into the production track. It’s an excellent number about contentment that perfectly conveys one of the hardest emotions to convey properly in a song. “The Light Is Gone” falls on the opposite end of the spectrum and concerns the end of a relationship as indicated through his lovers’ eyes, which painfully illustrate the lack of love she currently feels for him.

One of the album’s standout tracks is “Papa’s Down The Road Dead,” a rockilin’ reflection on the passage of time – someone close to you may’ve died, but life goes on without exception. My other favorite track on Robbie Hecht is “Soon I Was Sleeping,” the only number on the record to contain steel guitar in the backing track. It’s a pure country number about a woman who’s moved on from her ex, with the gorgeously painful flourishes of steel wonderfully extenuating Hecht’s ache.

I freely admit that when I first heard Robbie Hecht I was overcome by the lushness of it, leaving the arrangements feeling somewhat too sleepy for my tastes. But the quietness actually works in his favor, allowing his delicate voice to shine in a way that big production values would’ve squashed. Hecht is an incredibly emotional singer, albeit in a quiet way, and this album is the perfect showcase for his abilities. He may be outside what is traditionally considered country music (and not in a 2014 Nashville sense), but his album works nonetheless. He isn’t the noisiest guy around, but as a singer/songwriter he shouldn’t be ignored.

Grade: B+