December 2001
Kaplansky’s vocals image nicely between the speakers albeit with a slightly veiled quality. There isn’t the breathless, airy quality to the vocals that characterizes reference quality, audiophile recordings. Nonetheless, on simple tracks such as the aforementioned "Broken Things" and "Song For Molly," the acoustic guitar weaves a touching lyric with the vocals that are both natural sounding and quite detailed. The rest of the album is also well recorded, especially for a multitrack recording, with good fidelity of the instruments and Kaplansky’s vocals. There is also good imaging and delineation across the entire soundstage, but the presentation lacks some depth and does not extend back beyond the plane of the speakers. Lucy Kaplansky’s Every Single Day is probably not an album that will find a large audience with either the masses or the audiophile crowd. By that I mean it lacks the universal appeal of a Jewel or Eva Cassidy album and the superior sound enjoyed by the recordings of Ani DiFranco and Rebecca Pidgeon, but I did enjoy this album on its own terms. As a thought provoking, but easy going and melodious collection of songs, Every Single Day did not exactly stir my soul, but it did make me sit up and take notice and wonder what the future holds for her subsequent albums. GO BACK TO: |
Lucy Kaplansky - Every Single Day
![[Reviewed on CD]](../format/regcd.gif)
The
lyrics are thoughtful and intelligent and it sounds very good, but Every Single Day
left me feeling as if I had not really connected with the artists. Cuts such as
"Written on the Back of His Hand," "Don’t Mind Me," and
"Broken Things" deal with subjects such as abuse, obsession, and coping with
heartache in a tasteful, restrained manner. The album is also a polished package with
excellent recording quality and fine performances by all of the performers. However, the
deep emotions expressed in the songs did not seem to have the impact that they should,
because there was a lack of urgency to the music that distanced me from it.