Penelope Houston
Birdboys
© 1988 Doctor P.P. Music (BMI) (0029561006320)
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The singer of San Francisco's legendary Avengers, she also makes brilliant, literate folk pop, that Billboard Magazine calls "a beam of sunlight on a dreary winter morning. A rare find."
tracks
- 1 Harry Dean
- 2 Talking With You
- 3 Voices
- 4 Living Dolls
- 5 Out of My Life
- 6 Waiting Room
- 7 Bed of Lies
- 8 Wild Mountain Thyme
- 9 Putting Me in the Ground
- 10 Full of Wonder
- 11 Summers of War
- 12 Stoli
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albums you will love
- THE AVENGERS: The American in Me
- PENELOPE HOUSTON: The Pale Green Girl
- PENELOPE HOUSTON: Once in a Blue Moon
- PENELOPE HOUSTON: The Whole World
- THE AVENGERS: Died For Your Sins
- PENELOPE HOUSTON: karmal apple
genres you will love
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notes
Penelope's first acoustic album.
The All Music Guide gives it a 4****1/2-Best-of-Artist rating.
"The band provides stunning backdrops for her voice--always an impressive instrument, and now possessed with a roundness more akin to British folk-blues artists. Compares with the best of Pentangle. The skill with which the Birdboys execute their jazz-folk-blues rhythms makes the comparison appropriate. The record is a fine achievement ..something quite fresh."-Puncture.
A CMJ Jackpot! review called Birdboys "light years away from the Avengers sound, though no less fervent. Penelope's voice takes on a lilt and range that is sweetly infectious enough to warm the most cynical of ears. If life hasn't meant much to you since Richard and Linda Thompson broke up, Penelope's acrobatic vocals, and lyrics that deal deftly with adult themes like love and politics will give you purpose once again."
This album is also available on cassette(!) from www.penelope.net, and by download here (your best way to support the artist) or on iTunes.
reviews
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one of the more underrated alternative music statements of the late 1980s
author: Richie Unterberger @ AllMusic.comA moody, melodic debut that evokes the spirit of Nick Drake and Sandy Denny with its brooding images of loss. Mandolins, accordion, acoustic bass, and sparse percussion (usually tambourines and bells) almost qualify this as a contemporary folk album, but Houston's biting and somber approach draws from her punk and alternative-rock roots. The writing is inconsistent, and Houston's fragile voice is sometimes not as forceful as the material seems to demand, but overall this is one of the more underrated alternative music statements of the late 1980s.