As 2011 has come to an end, we are taking a look back at some of our favorite posts of the year by our guest editors.
Tift Merritt is about as approachable as they come. An email inquiry to her press rep prompts an almost immediate response from the artist herself. “I’m happy to catch you up on what we’ve been up to lately and the like … just let me know if phone or email is better for you.” Merritt’s only stipulation: that any interview happen after 11 a.m., so she can get in her daily practice session on a piano she’s been using at a club not far from her Manhattan apartment. You could argue that, with a voice like hers, Merritt should be able to afford her dream piano by now. But while she may not be a household name (yet), she’s on a trajectory not unlike a few of her singer/songwriter luminaries (Emmylou Harris, Lucinda Williams), stockpiling critical plaudits and fan adoration for the four studio albums she’s released since 2002. Her most recent, See You On The Moon (Fantasy), is the scaled-back, introverted antithesis of what may be her only bid for a wider audience, 2004’s polished roots-rock zinger Tambourine. That’s the one that earned her a Grammy nod for best country album. (Guess no one bothered to tell the academy it wasn’t country.) Merritt will be guest editing magnetmagazine.com all week. Read our brand new Q&A with her.
Merritt: This soundtrack feels Paris. I love the different takes of songs. There are some amazing pictures of Miles Davis with his horn in Jeanne Moreau‘s ear from the recording sessions. Really dreamy. I bought this album a long, long time ago because I love anything French. I had not seen Louis Malle‘s Elevator To The Gallows. It is incredible, but so dark and torturous; the soundtrack is really more like late night in Paris without having committed any crime.
Video after the jump.
http://www.youtube.com/watch?v=lB721MToRkU
