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If this were the late 90s/early 00s (all over again), I feel like people should be clamoring harder about Amanda Marshall. Sadly, she snuck by my radar a few years back, and I only recently discovered due to a blog post on one of the music blogs I frequent.

Marshall’s “Everybody’s Got A Story” is completely planted in the pop/rock field of the aforementioned time period. A few years later, it clearly sounds as though it were a period piece, but that makes it no less enjoyable. On the contrary, if you can suspend your current musical sensibilities, this is one hell of a fun album.

The title track is reminiscent of any number of tracks off of Natasha Beddingfield’s last album, just clean fun pop. Colleen (I Saw Him First) is a cute, mellow tune about two life long friends arguing over a boy. Sunday Morning After is a great tune for anyone who’s partied, perhaps, a little too hard on Saturday night; I think we can all relate to at least part of this tune.

In the end: The album feels like a throwback to an earlier time, because, really, it is. It definitely illustrates how the face and sound of pop music has changed, but it’s still an enjoyable piece, one that has a few tunes to keep your foot tapping. And, hey, if nothing else, she’s cute.

Technorati Tagged: Amanda Marshall | Pop Rock | 2002

After absorbing the beauty and splendor of Sia’s Colour the Small One, I had every intention of blowing through all of Zero 7 as well as this disc. I won’t lie: I failed miserably.

Thankfully, a co-worker had me put a mix together for her sister, and Fear off of this very album was on it. 8 months later, I finally got through the album. 7 times. And, while I feel Healing ebbs and flows, it is a solid album.

Before trying to make it in the Americas with Colour, Sia followed up her work with Zero 7 with a solo album, this very disc. While this disc would never have made it mainstream, and thus give Sia the attention she deserves, it is a great piece of musical and artistic work.

Somewhere between the heavy samples, some great bass lines, and studio instrumentation, she finds a home to nurture her voice and blow her listeners away. Hidden behind all of that are influences of blues, jazz, hip-hop, 90s R&B, lounge sound, and some good ol’ rock. Sia’s ranged voice allows the collision of these different elements to be both fun and amazing.

Lyrically, Fear is my hands-down favourite on the disc (and comes in second or third musically); Following it is Drink to Get Drunk which wins for title alone, but also for a solid beat and more great lyrics; I’m not Important to You has a 90s/ambient feel to it, and mixed with Sia’s airy vocals on the chorus, make this a must-listen; and Sober and Unkissed is a depressing title, sure, but the jumps between acoustic and electronic in the tune keep you interested.

In the End: This is a great album. Far less mainstream America than Colour the Small Ones, Healing is Difficult really shows Sia’s range and talents and should be immediately digested by anyone who knows this gal’s work.

On the Web: Besides The Hype Machines usual entries, I’ve also go her KCRW sessions for download, via gigasize.

Technorati Tagged: Sia | Zero 7 | 2002