AMY SPEACE: Fable

Amy Speace

Fable

© 2002 Amy Speace (791022183122)

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Twangy folk-rock-pop with an indie edge, "Amy's songs move beyond the traditional borders of acoustic music...a pixie version of early Tom Waits." (Jayson Buterin, ESP Magazine)

tracks

1 Restless
2 Rosalie
3 I Know It Well
4 Idle Hands
5 Arizona 160
6 Fairytale
7 The Morning After the Ball
8 Fallen
9 Seven Year Itch
10 Two Ships
11 Transatlantic Conversation

notes

"Undeniably earnest and commercially accessible" wrote Billboard Magazine about Amy Speace's 2002 solo debut Fable. Songs from this album won honors in the USA Songwriting Competition and The John Lennon Songwriting Contest and were featured in independent films. "Fable" has been gathering a grassroots buzz among AAA and college DJ's. Jim Graves of Fayetville, NC's WFSS says that "Fable" has "kickbutt lyrics and a feel that goes from hard-edged to tender."

NYC based Amy Speace moved to NYC after college to study acting and worked with The National Shakespeare Company for years before she even picked up a guitar, taught herself, and started putting her poetry to music and hitting NYC's open mics. Her first band, the now-defunct pop-folk duo Edith O., released their debut cd "Tattooed Queen" in 1997 to critical raves and attracted the attention of major labels. After the painful breakup of that project, Amy went on the road for a year with a theater company. "That time away from the city gave me space to figure out what I really wanted to write," she says. She returned to NYC with more than a handful of new material, put a new band together and made her debut as a solo artist in the clubs of NYC with a grittier edge in her powerful voice and songs that "move from gutsy to vulnerable on the same breath" (Raleigh's Spectator Magazine).

"Fable" was produced by John Abbey and includes a track produced by James Mastro (Health & Happiness Show, The Bongos). The 11 songs weave through rhythms of alt-country, acoustic folk, toe-tapping pop and even a hint of old-time jazz, while winding through stories of love lost and won. ESP Magazine recently wrote that Amy's songs move beyond the traditional borders of acoustic music...[she's] a pixie version of early Tom Waits."

reviews

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  • Amy Speace: a totally original, powerful artist!
    author: Rachael Sage

    FABLE is gorgeous, richly produced and impressively performed, and Amy's voice is unlike anyone else's out there. Melodically and musically ambitious like Joni and lyrically adventurous like the Indigo Girls on topics of love, struggle and survival, Amy's music falls somewhere between folk and country and is as modern as it is classic. My favorite track is "Rosalie", an instantly memorable ballad that any woman will be able to relate to and in which Amy's voice reaches impossible but effortless heights with a beautiful, unique vibrato almost operatic in its power, but always controlled. The lushness of many of Amy's songs will put you into a trance and will stay with you beyond the record's end; what more could you ask from music than to create a mood so strongly? An honest, beautiful record from a human being with the same personal qualities. Congrats Amy!

  • Amy's songs move beyond the traditional borders of acoustic music.
    author: Esp Magazine, North Carolina (jaysen Buterin)

    Twangy folk-rock-pop, inspired by Joni Mitchell, Elvis Costello and Willie Nelson, Amy's songs move beyond the traditional borders of acoustic music...a pixie-version of early Tom Waits. The lyrics from songs such as "Rosalie" and "The Morning After the Ball" are sure to have you hitting the repeat button on your stereo again and again...[her] melifluous voice and razor sharp lyrical wit...[are] a welcome return with open arms to soulful, heartfelt and simplistically beautiful music.

  • Folk-rock free spirit Speace moves from gutsy to vulnerable on the same breath.
    author: The Spectator, Raleigh, North Carolina (jennifer Layton)

    NYC folk-rock free spirit Speace moves from gutsy to vulnerable on the same breath. She explores every mood. Fable starts with the spunky, sexy "Restless" and soars from there. Her pure voice climbs to gorgeous heights in "Rosalie" and gets downright dark and sinister in "The Morning After the Ball". The standout is "Arizona 160" which breathes life into the open road under a starry sky. Her songs are openly brazen, yet sung so sweetly. Follow her where she goes.

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