Anny Celsi: Press

Al Kooper’s ‘Cream of ’09 Musical Crop’ (Boston Herald)

“I’m a fan!” – Al Kooper

(Full reviews can be found below these select quotes)

 

“… Byrdsian jangle and exquisite psyche-pop harmonies perfect for a long car ride…Fans of classic sixties pop influences should pick this one up right away.” – Aaron Kupferberg, Powerpopaholic 

 

“… a glorious and lovingly crafted tribute to an era that continues to resonate to this day.  In an age of throwaway dance anthems and cookie-cutter R’n’B, it is refreshing to have dedicated artists and musicians remind us of the beauty and wonder of what pop music once was in its heyday.  That such wondrous music can still be re-created in our modern times gives me hope and encouragement for the future.”  –Kevin Mathews, Bucketfull o’ Brains

 

“Chock full of slightlydelic pop jangle and West Coast harmonies…just a few seconds into the opening title track, and you’re being pulled into the same paisley patterned swirl as the one The Bangles caused…” – Goran Obradovic, Shindig!

“I didn’t have the opportunity to properly make Tangle Free World’s acquaintance until relatively recently.  Had I been able to give it a proper listen sooner, however, it definitely would have earned a place in my 2009 year-end top 10…Anny Celsi’s beautifully expressive voice…is at once sweet and soulful, with a depth and richness that eludes many singers.”  -- John Borack, Goldmine

 

“I have a feeling that a good many Maverick readers will readily embrace this excellent album… they don't come much better than Now You Can Hurt Me, which could have been a 1960's DeShannon classic or the country-flavoured First Love Freezes with its Byrds-vibe and lush string arrangement. Yeah, seek out and enjoy.” – Alan Cackett, Maverick

"Tangle-Free World has so many of  the things that got you to fall in love with pop music in the first place-evoking but never imitating.  If you look beyond the gorgeous and catchy melodies you'll hear lyrics that read like great short stories and production ideas that tell you that you're on to something special" -- Gary Stewart, former A&R, Rhino Records

 

I was blown away by this CD from the very first listen.…gorgeous, melodic … virtually every song could be a single.  One of the best albums of the decade.” -- John Etherington, nickdrake.com

 “…be amazed but, more importantly, be won completely over with an artist that catapults over her previous work and makes an album filled with first-class musical craftings.” -- Bruce Brodeen, Not Lame

“Retro yet original, this disc is one world in which there's nothing wrong in getting tangled.” -- Steve Ferra, Absolute Powerpop

 “A multi-faceted gem of musical brilliance…Ever hear a song that literally makes you feel electric? Something so beautiful and moving that you feel kind of numb and awe-struck? Put on the title track of "Tangle Free World" (and) expect a wonderful auditory experience. Beautiful melody, catchy, exquisite harmonies, and a rhythm track that would make for perfect driving music.”  Laurie Biagini, Songwriter (on Amazon.com)

 “The perfect balance of polish and raw soul. You know those favorite recordings where EVERY cut is a gem? Tangle Free World is one of those.” Amazon.com Listener Review

“…a winner and should appeal to a wide range of fans…it comes with my highest recommendation.” – Cabin Essence http://surfermoon.com/blogs/?p=570

 

“…(a) terrific second album that should deservedly see her success and reputation flourish…Mike Davies, Netrhythms

‘Westcoastpop van het zuiverste water, zoals verderop ‘First Love Freezes’ en ‘The Night She Learned To Drive’ met hun sprankelende countryfolkpop het gehoor strelen….Tangle- Free World’ is een veelzijdige en bloedmooie popplaat, waar ook de meer puristisch ingestelde americana liefhebber, veel luisterplezier aan zal beleven.” -- Huub Thomassen, Real Roots Café

 

“Ook "Tangle-Free World" bevat weer gedreven rootsmuziek met een stevig rock 'n roll randje. Eén beluistering van dit door Nelson Bragg - percussionist in de Brian Wilson band en drummer bij Anny - geproduceerde en ook grotendeels zelf bij elkaar gepende geheel volstonden alvast om te weten dat dit een juweeltje van een rootsplaat is geworden, een plaat waarin we kunnen genieten van elf nieuwe Celsi-songs…Anny Celsi zingt vol passie en beschikt over een prachtige stem. Bovendien zijn haar songs zo toegankelijk dat je ze de komende tijd echt niet meer uit je hoofd krijgt.”  -- Rootstime

“Tangle-Free World, kortom, is voer voor liefhebbers van verzorgde Amerikaanse kwaliteitspop..” –Peter Bartlema, Kindamuzik

 

“Anny duidelijk in de lijn van grootheden zoals Aimee Mann, Lucinda Williams, Suzanne Vega en Jackie DeShannon… Zelden straalt een album zo’n karakter uit. Er valt geen enkele song uit de toon en dit op zich is al een hele prestatie. Zowel muzikaal als tekstueel, knap wat deze dame uit Highland Park (Los Angeles), Californië ons voorschotelt.”  -- Philip Verhaege, Keys and Chords

Fans of the US Pop Underground will not need to think too much about what to do with this wonderfully 60’s pop-channeling delight. Celsi (pronounced Chelsea) has spared no effort in realizing the pure pop perfection required to present her faithful 60’s pop creations. To that end, she enlisted the services of producer Nelson Bragg (whose impressive credentials include playing in Brian Wilson’s touring band!) and pop underground stalwarts as session players. Those firmly ‘in the know’ would no doubt recognize the likes of Probyn Gregory (Wondermints), Rick Gallego (aka Cloud Eleven), Robbie Rist, Steve Refling, (the late) Amy Farris, Nick Walusko (Wondermints), Adam Marsland and Evie Sands, among the credits listing. All of which contributes to a heavenly concoction of 60’s country and folk rock as well as soulful balladry that reflects the heavy influence of many of the classic 60’s bands and artists but most particularly, The Byrds and Dusty Springfield. This is a glorious and lovingly crafted tribute to an era that continues to resonate to this day. In an age of throwaway dance anthems and cookie-cutter R’n’B, it is refreshing to have dedicated artists and musicians remind us of the beauty and wonder of what pop music once was in its heyday. That such wondrous music can still be re-created in our modern times gives me hope and encouragement for the future. So, kudos to Anny Celsi and Nelson Bragg for keeping the dream well and truly alive.

This one’s been out for a while, but due to a variety of reasons that I won’t bore you with here, I didn’t have the opportunity to properly make Tangle Free World’s acquaintance until relatively recently.  Had I been able to give it a proper listen sooner, however, it definitely would have earned a place in my 2009 year-end top 10.  Produced for the most part by the ridiculously talented singer/songwriter/multi-instrumentalist Nelson Bragg (from Brian Wilson’s band), TFW is jam packed with tuneful, heartfelt gems that run the stylistic gamut from jangle-pop to lite soul with slight detours into folk and ’60s girl group goodness.

The one constant that ties the package together is Anny Celsi’s beautifully expressive voice, which is at once sweet and soulful, with a depth and richness that eludes many singers.  Whether the tunes are brisk (such as the disc-opening title track, which is highlighted by a wonderful backing vocal arrangement courtesy of LA-area musician Adam Marsland) or downcast (the Stax love letter “Now You Can Hurt Me”), Celsi puts ‘em across with equal verve and style.

Bragg’s production is sympathetic, allowing Celsi’s voice to take center stage among layers of instrumentation that include strings, horns, various keyboards, slide and pedal steel guitar, sitar and more.  Bragg and Celsi employ a bit of Brian Wilson-esque lushness on one of their two co-writes here, the simply gorgeous “Own Sweet Time.”  While Bragg strums 12-string acoustic and electric guitars and lays down the backbeat, Probyn Gregory (another LA session cat) adds some sweet-sounding trumpet flourishes, fluid bass runs and a nice, George Harrison-inspired slide guitar bit at the song’s closing.  Toss in stately keyboards, a lovely string arrangement (all played by the late Amy Farris) and ever-so-sweet backing vocals by Celsi and Teresa Cowles and you have the perfect complement to Celsi’s perfect lead vocal, which is equal parts innocence and sadness.  The other Bragg/Celsi songwriting collaboration, the touching “First Love Freezes,” might just be the best thing here, with its gentle, flowing melody supplanted by another 5-star Celsi vocal and cascading guitars and strings.

While Bragg duets with Celsi on a cover of Lee Hazlewood’s ’60s chestnut “Some Velvet Morning” and the rest of the tunes feature the aformentioned backing musicians and others of equal talent (including Scott Bennett and Nick Walusko from Brian Wilson’s band, jack-of-all-musical-trades Robbie Rist, Evie Sands and Cloud Eleven’s Rick Gallego), the true stars of the show are Anny Celsi’s alluring voice and her straight-from-the-heart songs.  Visit www.annycelsi.com for more info.

If you combine equal parts of Laurie Biagini and The Gripweeds Kristin Pinell, you may likely end up with Anny Celsi. Anny Celsi is a west coast musician with links to Brian Wilson band alum Nelson Bragg, who produced the album. The title track is a good example of the Byrdsian jangle and exquisite psyche-pop harmonies perfect for a long car ride. Anny's follow up song "Thanksgiving In Hollywood" starts slow but grows to a rich folk tapestry of guitars, and then she does a country ballad on "First Love Freezes" with a melancholy, but beautiful vocal lead. The Motown soul balladry of "Now You Can Hurt Me" is a nice change of pace here, that compares well with those classic girl groups of the 60's. A bit of Bacharach styled pop is visible on "Own Sweet Time," and it's a gorgeous tune but I expected Anny to belt this one out, and her voice just stays too gentle and sweet here. A cover of Lee Hazelwood and Nancy Sinatra's "Some Velvet Morning" (with Bragg and additional members of Brian Wilson's band) is so effective, I would be really cool with a full album of this type of material (okay guys, get to work). Another highlight here is the strong hook of "Piece of Heaven," full of jangle guitars and floating background harmonies. Anny is super talented here and the production work is superb as well. Fans of classic sixties pop influences should pick this one up right away.

"Though this came out last summer, it's too good for us to have ignored, so here goes. Hailing from sunny California, Anny Celsi is a stunning singer-songwriter steeped in the traditions of Jackie DeShannon, Suzanne Vega and Nicolette Larson. Though she is more classic pop than country or rootsy, I have a feeling that a good many Maverick readers will readily embrace this excellent album. She has surrounded herself with some crack West Coast sessioneers including Brian Wilson band members Probyn Gregory, Scott Bennett and Nick Walusko, keyboardist Carl Bryon and the late Amy Farris. There is a stunning revival of Lee Hazlewood's Some Velvet Morning with producer Nelson Bragg's vocal proving to be the perfect evocative counterfoil to Anny and Sally Go Round the Roses featuring Evie Sands. The rest are all Anny's originals, and they don't come much better than Now You Can Hurt Me, which could have been a 1960's DeShannon classic or the country-flavoured First Love Freezes with its Byrds-vibe and lush string arrangement. Yeah, seek out and enjoy."

Anny Celsi's new disc may be a "tangle-free world" but it's certainly not a jangle-free one as she evokes a Byrds-by-way-of-Beach-Boys sound here. The LA jangle-pop mafia is out in full force on this, with Nelson Bragg producing and the likes of The Wondermints, Robbie Rist and Adam Marsland contributing. The opening title track captures the sound here, 12-string guitars and sitars galore, with Celsi's voice a perfect match for the proceedings. "Thanksgiving in Hollywood" has just the kind of noir-ish jangle feel that recalls "King of the Hill", Roger McGuinn's team-up with Tom Petty. Bragg steps out from behind the mixing board to contribute vocals to Celsi's tres cool cover of Nancy Sinatra's "One Velvet Morning", making Sweet & Hoffs sound like kids by comparison, and Evie Sands joins for a cover of the 1963 Jaynetts classic "Sally Go Round the Roses" that sounds completely in place here. Retro yet original, this disc is one world in which there's nothing wrong in getting tangled.

With 2003’s ‘Little Black Dress and Other Stories’ Anny Celsi certainly left her mark on any music fan who loves the classic pop sounds of the sixties. While the songs conjured up memories of Jackie DeShannon, the Brill Building, Spector and more it was all wrapped up with a contemporary edge. The searing guitar solo of the title track was an early indication that here was an artist that was capable of more than just cloning a classic sound. Much like some of Amy Rigby’s work, Anny used the past while still keeping it original.

There was a summer vibe to much of the album ; hailing from California and with song titles such as ‘Summer Fling’ we expected as much and everything about Anny, from the outstanding cover of that first album to her vocals which are warm, familiar and inviting the very first time you hear them, is so appealing. Anny is adept at writing melodies that are instant yet never cloying and lyrically she really is something else. Anny is one of those artists whose lyrics stand on their own even without her melodies. But at the end of the day it’s in her vocals, while hours could be spent discussing which traces of our favourite female singers from the last 50 years can be heard in her songs, Anny does have a sound of her own and she is the owner of one of those voices that you can’t help but fall in love with. Anny is, simply, a superb vocalist.

It was some six long years before Anny released a follow-up album to ‘Little Black Dress’. Positive reviews met the release of ‘Tangle-Free World’ last year and most critics made much out of the fact that Anny had gathered some well-known and respected musicians to play on the album this time. It’s surely a measure of how much respect other musicians have for Anny when she can not only acquire the services of Nelson Bragg (percussionist/vocalist for Brian Wilson) as producer and multi-instrumentalist on ‘Tangle-Free World’, but also get a helping-hand from Probyn Gregory and Nick Walusko (Wondermints, Brian Wilson, Lisa Mychols), Evie Sands and Amy Farris to name but a few.

While classic pop and Byrds influences are noted in those reviews what many fail to mention is just how soulful Anny can sound at times. ‘Now You Can Hurt Me’ is an outstanding vocal performance by Anny that can break even the hardest of hearts. Again, despite superb backing it’s Anny’s vocals that draw you in.

After recording an unexpected but outstanding Christmas song, ‘Christmas in the Pines’ which you can download via Anny’s site at www.annycelsi.com,( and where you can also sample some of the songs featured on Anny’s albums) Anny is just about to embark on a European tour which hopefully won’t be hampered by volcanic ash as her planned tour was last year. But before Anny hits the road she was kind enough to find the time to answer a few of our questions:


PB: Your debut solo album, ‘Little Black Dress and Other Stories’, was released, I think I’m correct in saying, in 2003. Was that the first time your music had been commercially available or had you been in bands before that?

AC: My first band was the Tearjerkers. It was three girl lead singers, a male drummer and guitar player. We released a single – on vinyl!- with three songs on it, and we signed each and every copy by hand. If you see one on E-Bay, buy it! I also released a CD titled 'She Walks In' under the band name Annyland.

PB: It’s taken you about six years to follow up ‘Little Black Dress…’ with ‘Tangle-Free World’. That’s quite a gap. Were you still involved in music during that period?

AC: It took me a long time to get going on a follow-up album. I was in a little bit of survival mode, working four or five jobs, raising a son and all the logistics that entails. I did still play music and even toured a few times. But a big reason it took so long is that I was incredibly proud of 'Little Black Dress'. Kevin Jarvis, who produced it, had done such an amazing job of bringing the songs to life. I was terrified I wouldn’t be able to live up to it on the next record.

It took me a long time to get a start on new songs, to find the right producer and recording situation, and, oh yes, the money. Once I started to feel some momentum, things began to take on a life of their own. The songs fell into place, and it turned out to be a very exciting project – and a completely different album from 'Little Black Dress'.

PB: How would you describe the music you make? There’s a distinct sixties feel to ‘Tangle-Free World’ which I think many have overlooked especially when comparing your music to that of Aimee Mann and Sheryl Crow.

AC: ‘Tangle-Free World’ has more in common with early Amy Rigby than Sheryl Crow.

There's a tendency to lump female singer/songwriters together by gender. But when people make those comparisons, they're putting me in company with women who have something of substance to say, which is flattering.

I think Amy and I have the same love of sixties-pop, hook-oriented music and are influenced by those writers. Sheryl Crow seems more into seventies guitar rock, which I didn't pay much attention to when the actual seventies were happening. For me every song comes down to a good lyric,a good story, which is straight out of the Tin Pan Alley/Brill Building aesthetic. A great song has a point of view, a beginning, middle and end - maybe even some mystery. That's true of pop, country, folk, whatever bag you're in and whether you're male or female.

PB: You’ve got some well-respected musicians involved on ‘Tangle-Free World’ including Nelson Bragg and Evie Sands. How did they get involved?

AC: We're fortunate here in Los Angeles. World class musicians make their home here and play in other bands around town when they're not on the road. Everyone gets to know each other as you circulate through the clubs. Half of Brian Wilson's band lives here; Evie is a friend and plays in a band whose gigs I haunt regularly.

I met Nelson at a big jam night we used to have at Highland Grounds every month. When it comes time to record, almost anyone you ask is happy to pitch in if they're in town, just to be playing good music. I feel extremely lucky and I take advantage any time I can!

PB: Did having Nelson producing the album shape the final takes of the songs greatly from how you originally envisaged them?

AC: Very much so. I knew Nelson as a drummer but it was a revelation when I discovered what a great producer and arranger he is. Nelson brought a much wider musical landscape to the sound than I had before. We both love old-school production, the world of Bacharach, Jimmy Webb, the Byrds, but I wouldn't have had a clue how to get that sound in the limited recording situations we had. Not only that, he took the songs in directions I would never have thought to do.

PB: Apart from a couple of songs the whole album is self composed. When working on songs which instrument do you use?

AC: I write on guitar. It's the only thing I know how to play.

PB: Lee Hazlewood’s ‘Some Velvet Morning’ fits in perfectly with your own songs on ‘Tangle-Free World’. That particular song has already been covered by so many artists. What were your reasons for including it on your album?

AC: My son Ivan is a pretty eclectic music listener. After he heard some of the songs we'd recorded for the album, he played me that song and suggested it as a duet for Nelson and I. I wasn't familiar with it and it blew me away, that combination of Spaghetti Western, Americana and whiskey-fueled psychedelia - all stuff I love.

Not that many people seem to know the song over here but when we go over to the UK, everyone knows all the words and gets up and dances to it - which isn't easy to do!

PB: It appears from the notes on the cover that the songs you wrote for the album are linked in some way. Do they reflect a certain period in your life?

AC: I don't set out with a set of linked songs to make a record. There might be four or five to start, and the rest come along in their own time through the process of making it.

Towards the end, I start to look at sequencing and seeing how they're related, and the connections start to become more apparent - the tangled threads, as it were, start to untangle, until you arrive at a through-line. That's a very exciting moment, when you begin to see what the record means as a whole.

But from the first day, I did know that 'Tangle-Free World' would open the album and 'Paper Umbrella' would close it. Everything else served as the journey between.

PB: ‘Now You Can Hurt Me’ is one of the most soulful performances you have recorded. It’s not the only heart-tugging ballad on the album but it’s steeped in that old Southern Soul sound. There’s a new breed of female singers who are making their mark cutting whole albums where they recreate that classic soul sound. But they seem forced at times whereas your vocals on ‘Now You Can Hurt Me’ sound so natural. Is this a side of Anny Celsi we can look forward to hearing more of?

AC: I love all those great soul singers, but I've never been in that league as a vocalist. When I've tried to sing like that, it's never come off right it sounds forced, as you say, and I always regret it. Even though I wrote that song I was intimated by it, thinking it would be better served by a vocalist with more raw power. So I just had to approach singing it the way I do best, which is just to tell the story and stay out of the way, not try to show off. It's a natural and personal song, and I hope that's what the listener hears - not my lack of belting chops.

PB: There have been many glowing reviews for ‘Tangle-Free World’. You must be pleased with the reception the album has received.

AC: Yes!

PB: You’ve toured the U.K. before and return again in March. I understand you had to cancel gigs in the U.K. last year due to erupting volcanoes! That must have been a major setback. Was the whole tour cancelled?

AC: We landed at Heathrow on the morning of April 15th, one of the last planes to land. We were supposed to go on to Amsterdam but within hours, every flight had been cancelled. It was a very confusing few days - nobody knew what was happening or when the planes would fly again. We couldn't get a train, car, reach anybody by phone, anything.

We missed five dates in the Netherlands before we could get there, which was by ferry, the following week. As soon as I got back to the US, I got on the internet and started trying to rebook everything we'd missed. And here we are.

PB: Are you bringing the musicians who backed you on the album over for the tour or do you have a regular touring band?

AC: I travel light - I just bring Nelson, who plays percussion and sings. His whole drumkit fits in a suitcase. We have a few friends who'll join us on the road to fill things out: Roland Wolff, of Riviera, lives in Germany and plays with us in Holland, Belgium and Germany. Duncan Maitland, who has played with Pugwash and has a fantastic new CD out, will play with us in Ireland, Scotland and some of the England dates. Richard Snow, another UK powerpop luminary, will join us on a couple of shows in the Midlands.

PB: What can we expect from the gigs? Are you planning on unveiling any new songs?

AC: We've just recorded a single that should be on the airwaves by the time we get over - a cover of a Peter Holsapple song that we duet on. It's the beginning of the next album...

PB: Have you started work on that yet?

AC: it is going to be an album of duets between Nelson and I. It's been hard to find recording time - maybe we'll be able to put in more time after we get back from the tour.

PB: You must get tired of this question but who has influenced your music? What or who do you draw inspiration from?

AC: You've certainly heard the 60's influences - Phil Spector, Laura Nyro, the Byrds and the Beatles, 'Dusty in Memphis', all things Brill Building.

I also love literate songwriters like Elvis Costello, Bruce Springsteen, Steve Forbert, Nick Lowe. And besides music, I'm inspired by writers like Mark Twain, Dickens, Steinbeck, Theodore Dreiser - people who really know how to tell a story. I'm always looking for ways to do that in a song.

PB: Finally it would be cool to know what music you are currently enjoying.

AC: Loving Springsteen's 'The Promise'. Listening in on the creative process that led to 'Darkness on the Edge of Town' is a songwriter's dream! The new Crowded House CD 'Intriguer', is fantastic, and anytime my son sits down to play the piano...that's my favourite thing to listen to.

PB: Thank you.

Tangled Up In Soul  Anny Celsi is part of the extended family of Los Angeles musicians with extensive links to Brian Wilson. Indeed, her latest album is produced by Nelson Bragg, and Anny and Nelson have been touring Europe together. I reviewed her first album a few years back, and she has now released her second full-length album, Tangle-Free World.

The new album is a winner and should appeal to a wide range of fans – it should be essential listening for Brian Wilson fans as well fans of Nelson Bragg’s smooth Day Into Night.  There is a lot of variety on the album, but also a lot of care on each track- some highlights include the classic country pop of First Love Freezes, the soulfully brilliant Now You Can Hurt Me, and the wonderful pop sounds of Own Sweet Time. Nelson Bragg shares vocals on the cover of Lee Hazelwood’s Some Velvet Morning, while the other cover Sally Go Round The Roses features Evie Sands. My personal favorite is the aching closer Paper Umbrella which is really lovely and deserves a lot more exposure.

Nelson Bragg brings in some of the smooth West Coast production touches of his own solo, but there is also a great sense of the Wrecking Crew sound of Brian Wilson’s most famous works. Overall, there is genuine quality here and it comes with my highest recommendation.

RAGAZZA MUSIC - Once in a blue moon a great L.A. style pop album comes around. For sheer pop genius this time out, it’s the 2009 CD release of Tangle-Free World by Anny Celsi. It’s near impossible to escape the fantastic pop and rock music lineage of L.A. From the innocent beginningsof Brian Wilson and The Beach Boys to the great psychedelic flourishes of L.A. and sister city San Francisco by the end of the 1960's, California leaves a music legacy second to none. A thoroughly modern singer-songwriter and guitarist looking to move the California folk-rock and power pop sound into the millennium, Ms. Celsi’s album has it all, including a valuable historical context within which she weaves her pop magic. Critics may cite influences like The Bangles to The Byrds within her music, but dig deeper and the sound further unfolds with fresh covers of the Lee Hazelwood / Nancy Sinatra track “Some Velvet Morning” and there’s even a cover of “Sally Go Round The Roses” with a vocal cameo from L.A. singing great Evie Sands. Key to the album’s success is the outstanding production and arranging from Nelson Bragg, who also mixed the CD, as well also a top band including guitarist Rick Gallego, Brian Wilson band members Scott Bennett (keys) and Nick Walusko, who’s also a member of The Wondermints. Considering the ‘60s vibe throughout the set, Wilson himself would dig this eclectic retro-rock album. The packaging is fantastic too with its fold-out multi-panel digi-pak design featuring all the credits amid a swirl of paisley pop art designs. A trip into the musical time tunnel, Tangle-Free World is an essential cross-section of 21st century L.A. pop.

A Multi-Faceted Gem of Musical Brilliance!  Every once in awhile, an album comes along that impacts me such to a point that I simply have to write about it. I purchased Anny Celsi's album "Tangle-Free World" through iTunes on the weekend and after the first few bars of the title track, this album grabbed my attention, and I turned the volume, up - way up! By the time I got to the third track I decided that it's time to put on my writer hat and review this gem of a record.
 
 Ever hear a song that literally makes you feel electric? Something so beautiful and moving that you feel kind of numb and awe-struck? Put on the title track of "Tangle Free World" and if you're like me, expect a wonderful auditory experience. Beautiful melody, catchy, exquisite harmonies, and a rhythm track that would make for perfect driving music. This song will head to the front of the list of my favorites to listen to while driving fast along scenic highways.
 
 "Thanksgiving in Hollywood" is another favorite on this album. Starts out with a bit of a melancholy introduction then picks up the pace with plenty of jangly guitars (which I love) and some very cool organ and lead guitar contributing to a wonderful folk-pop sound. The mood is a bit dark and mysterious, yet uplifting at the same time. One of my favorite tracks on the album.
 
 Another favorite is "First Love Freezes", a beautiful melody and Anny's soft and haunting vocal is perfect for this very pretty ballad. Again, complemented by lush harmony vocals and I absolutely love the guitar work in this one.
 
 "The Night She Learned to Drive" is a wonderful tune that has such heartfelt lyrics, and is performed with a vibe of re-assurance and hope. The song has the perfect feel to match the theme of the lyrics. It's another song that features a travelling rhythm that would be great to listen to on a road trip. A beautiful example of classic Americana in its most perfect form.
 
 Also add "Piece of Heaven" to my list of favorite tracks on this album - a fun, upbeat jangly pop tune with a classic Monkee-esque sound from my favorite pop era. This one will not only get your toes-tapping, but you may easily find yourself singing along to this very catchy track.
 
 "Sally Go Round the Roses", a fantastic cover of the Jaynetts 1963 hit, is pure fun. Pop music legend Evie Sands and Teresa Cowles provide backing vocals which add another dimension to the overall girl-group feel of this great song. The sixties vibe is well-preserved in the production, but with a cleaner, fresher sound. The "tangle-free" outtro at the end was quite a pleasant surprise as well!
 
 I previously had somewhat limited interest in Lee Hazelwood and Nancy Sinatra's "Some Velvet Morning", but the version on this album so beautifully performed by Anny Celsi and Nelson Bragg, has garnered repeated listens. Their flawless soulful vocals, combined with a beautifully performed instrumental track have resulted in a new interest in this classic for this listener.
 
 This album has so many dimensions to it that really give the record an overall dynamic of several moods and vibes that intertwine together so well, yet keeping a smooth path or 'tangle-free' experience for the listener. Anny really shines in this album. A must-have for your collection, this album has been added to my favorites and will inevitably get extensive play from this fan.
 10 out of 10!

One of the best albums of the decade....

I'm completely blown away by this CD. In fact, it's the first album for at least two years that I had to replay instantly! "Tangle-Free World" is gorgeous, melodic, musically interesting and totally enjoyable. There is absolutely not one dud track on the album, and I would go as far as saying that virtually every song could be a single. The first track "Tangle Free World" is delightful - kind of like Mamas and Papas meet "Marakesh Express" on "Pleasant Valley Sunday"! There are some lovely touches of sitar and a trumpet arrangement that would be at home on "The Notorious Byrd Brothers". 

All that said, Anny Celsi is an excellent songwriter with a unique and affecting voice. Everything sounds so good here, that I hesitate to pick favourite tracks, but Thanksgiving in Hollywood", "First Love Freezes", "The Night She Learned to Drive" and "Own Sweet Time" are the songs that particularly stood out on my first listens. 

"Now You Can Hurt Me" has the soulful sound that you might hear on Van Morrison's "Beautiful Vision". As well as Nelson on drums and percussion, it features Scott Bennett on organ and piano, Paul Von Merten on saxophones and Nick Walusko on Electric Guitar. "One Sweet Time" features Probyn Gregory on bass, trumpet and slide guitar and a string arrangement by Paul Von Mertens. The guitar playing at the end sounds uncannily like George Harrison's on "Cloud Nine". 

Nelson's creativity shines throughout the album, giving several songs a jingly-jangley Bydsy sound that could also be likened to Suzanne Vega's "Luka" or the best of the Pretender's music. Anny and Nelson's cover of Lee Hazelwood's "Some Velvet Morning" is a wonderful surprise, and one of the rare occasions where a cover version does full justice to the original. Incidentally, Brett Simons is featured here on bass guitars. 

"Sally Go Round the Roses" (which I seem to recall Joan Baez singing in "Don't Look Back") is here developed into something much more interesting. It has lovely harmonies and organ playing not unlike that of Ray Manzarek. After a (Sixties style) brief reprise of "Tangle-Free World" the album closes with the beautiful and poignant "Paper Umbrella". 

Despite all the instruments featured (including violas, violins, cellos, horns and piano) Anny’s voice remains at the heart of the music. In conclusion, “Tangle-Free World” is a triumph for all concerned – for Anny, for Nelson as producer arranger, and for the members of the Brian Wilson band who display their remarkable versatility and talent. I’ve nothing else to say right now, except BUY IT! 

11 tracks of sonic beauty. Anny's effortlessly cool vocals sit on top of a beautiful production,largely by Nelson Bragg.

Along the the way you pick up a vibe of Burt Bacharach, Chrissie Hynde, Glen Campbell, Jim Webb, Paul Williams, Lee Hazlewood and Nancy Sinatra. Talking of whom, there is a first class cover of that couples "Some Velvet Morning" Anny and Nelson share the vocals and fellow Brian Wilson bandmate Nick Walusko provides the haunting baritone guitar. Dare I say it, for me it beats Lee and Nancy's version.

"Thanksgiving in Hollywood" brings to mind Tom Petty or The Pretenders in one of their Byrds influenced moments. It's my personal favourite on the record, play it loud!
"The Night She Learned to Drive" and "Dream Boy" really show case Anny's cool voice. They're both about as fine examples of songwriting as you'll find anywhere.
The latter, at one point breaks down to a wall of breathtaking harmonies.

I put this album in my top 10 for 2009. Buy it, you'll love it too!

* * *

Morning Bliss  I was lucky enough to be given a copy of Anny Celsi's new CD as a gift and I love it so much. The music, lyrics, singing, instrumentation and production are all incredible. I've seriously been listening to this CD every morning ever since I got it. It's become my favorite way to start the day. Now I plan to give copies as gifts to friends during the holidays. I highly, highly recommend Tangle Free World to everyone who appreciates original, smart, soulful, singer-songwriters.

* * *

Tangle Free World is a true find  Anny Celsi's new recording has everything I love about great music. The melodies are gorgeous and the harmony is rich and unpredictable. More importantly there is such a great vibe on this CD that I want to listen to it over and over. Her lyrics are so smart too, weaving images and stories like a classic indy film. Nelson Bragg's superb producing bring it all together with the perfect balance of polish and raw soul. You know those favorite recordings where EVERY cut is a gem? Tangle Free World is one of those.

* * *

I have had this CD for several weeks now and it has quickly become one of my favorites. It hasn't been easy waiting for this new CD from Anny ever since I heard that she was working on it. It has certainly been worth the wait. Tangle-Free World doesn't disappoint and is a must for any fan of Anny Celsi's or her previous album Little Black Dress. Anny's songwriting is absolutely magical with lyrics that paint a picture and music that invites you to come along for the ride. It is a great CD with 11 perfect songs. The special guest artists and Nelson Bragg's production are a perfect complement.

* * *

Scintillating American Pop  The rewards for listening to this roots-pop are profound. With a master's touch, Nelson Bragg, member of the Wondermints collective and great artist in his own right, has produced engaging, disparate tracks from an authentic American star, Anny Celsi. This review is based on four tracks, the utterly winning, hit-worthy "Sally;" the propulsive Bangles-update of "Tangle-Free World"; the short-story epic of "The Night She Learned to Drive; and the Bragg-Celsi pop duo of "Some Velvet Morning." Like a tour through America's recent past, these tracks are where independent American pop beats all contenders, makes you proud to know such underground talent.

* * *

‘Westcoastpop van het zuiverste water, zoals verderop ‘First Love Freezes’ en ‘The Night She Learned To Drive’ met hun sprankelende countryfolkpop het gehoor strelen….Tangle- Free World’ is een veelzijdige en bloedmooie popplaat, waar ook de meer puristisch ingestelde americana liefhebber, veel luisterplezier aan zal beleven.” -- Huub Thomassen, Real Roots Café

 

“Ook "Tangle-Free World" bevat weer gedreven rootsmuziek met een stevig rock 'n roll randje. Eén beluistering van dit door Nelson Bragg - percussionist in de Brian Wilson band en drummer bij Anny - geproduceerde en ook grotendeels zelf bij elkaar gepende geheel volstonden alvast om te weten dat dit een juweeltje van een rootsplaat is geworden, een plaat waarin we kunnen genieten van elf nieuwe Celsi-songs…Anny Celsi zingt vol passie en beschikt over een prachtige stem. Bovendien zijn haar songs zo toegankelijk dat je ze de komende tijd echt niet meer uit je hoofd krijgt.”  -- Rootstime

“Tangle-Free World, kortom, is voer voor liefhebbers van verzorgde Amerikaanse kwaliteitspop..” –Peter Bartlema, Kindamuzik

“Anny duidelijk in de lijn van grootheden zoals Aimee Mann, Lucinda Williams, Suzanne Vega en Jackie DeShannon… Zelden straalt een album zo’n karakter uit. Er valt geen enkele song uit de toon en dit op zich is al een hele prestatie. Zowel muzikaal als tekstueel, knap wat deze dame uit Highland Park (Los Angeles), Californië ons voorschotelt.”  -- Philip Verhaege, Keys and Chords

"Haar songs hebben stuk voor stuk een pakkend karakter, voorzien van een heerlijk vrijgevochten retro-geluid. Ook haar zang is gepakt op dezelfde prettige ruimtelijke manier waardoor de sound iets herkenbaars geeft die vergelijkbaar is aan de zestiger jaren a la Jackie DeShannon. (Even terzijde: Jackie schreef eveneens uitstekende eigen songs, terwijl ze primair bekendheid verwierf met covers) Producer Nelson Bragg (van the Brian Wilson Band) gooit er een toepasselijk vet arrangement overheen, waardoor de Lee Hazlewood cover Some Velvet Morning zich automatisch thuis moet voelen tussen de recent geschreven nummers. Haar vorige CD “Little Black Dress & other Stories” was me ontgaan, maar wordt dusdanig geroemd dat ik later zeker terug zal grijpen op deze eerdere release. Die plaat schijnt een film noir sfeer op te roepen. Sally Go Round the Roses is eveneens een cover die oorspronkelijk was geschreven voor het meidengroepje The Jaynetts in 1963. (Meteen duidelijk waar Buckley de mosterd gehaald heeft!) Featuring Evie Sands luidt het, omdat zij hier een waardige hoofdrol vervult….Anny Celsi – ik kende haar niet! – maar ben verrukt geraakt door deze uitstekend gemaakte cd, die pretentieloos een aaneenschakeling van ogenschijnlijke spontaniteit ten gehore brengt. Muziek van deze tijd, maar eentje die teruggrijpt op de kwaliteiten van het rijke muzikale verleden – uit een tijd waarin popmuziek in de kinderschoenen stond. Now You Can Hurt Me had toen een sensationele hit opgeleverd." – Rein van den Berg, AltCountryForum.nl

Although she's not repeated the pulp noir narrative fragments of Little Black Dress And Other Stories, the LA singer-songwriter's sophomore solo album does echo its themes of interconnectivity in human relationships or, as the blurb puts it, "the many ways we find ourselves entangled the moment we allow ourselves to be touched by another, and the ways those tangles reach into other lives and back to touch us again."

More to the point, produced by Brian Wilson's drummer Nelson Bragg (who also co-wrote two numbers), it further underscores the 60s and folk pop influences that inform her own music. Her list of influences on her MySpace page doesn't actually mention The Monkees (ok, she does include Mickey Dolenz), but listening to the opening title track, it's hard not to find yourself thinking of Pleasant Valley Sunday. She does, however, cite The Byrds and they certainly take flight on the ringing guitar wings of both Thanksgiving In Hollywood and First Love Freezes while the swaying, horns packed Now You Can Hurt Me brings together her love of soul, Dusty and 60s girl groups and the dreamy pop of Own Sweet Time oozes pure Bacharach.

But, while you might want to point to a pinch of Julie London on the lilting piano flecked Paper Umbrella or suggest Piece Of Heaven is how Debbie Harry may have sounded had Blondie been a 60s flower pop outfit like the Cowsills, the fact remains while Celsi isn't just recycling her record collection. Like her voice, her songs, lyrics and melodies have their own distinctive character.

Listen, for example, to the soft country shuffling The Night She Learned To Drive which draws on memories of a road trip she took with her now teenage son Ivan (who, incidentally, sings back up here and plays trumpet on the title track) and turns them into a bittersweet story of a mother taking her young child and fleeing an abusive relationship. Or then again there's the deceptively lilting Dream Boy which, building over dark twangy guitar and an almost Orbisonesque sense of drama, weaves a tragic noir tale of a failing marriage, drunk husband, jealous rage, an old flame and murder.

My only reservation come with the album's two covers. For her debut she put her own spin on a track by 80s guitar outfit Translator but here she's gone back to the 60s and simply replicated the originals.

There have been many versions of Sally Go 'Round The Roses' (Great Society, ? and the Mysterians, and even Donna Summer among them), but, joined by Brooklyn born minor legend singer-songwriter Evie Sands, Celsi's hews almost identically to the Spector produced 1963 original by girl group The Jaynetts, complete with the original Artie Butler arrangement. Then there's the duet with Bragg on Lee and Nancy classic Some Velvet Morning. Bragg makes a reasonable pass at sounding like Hazelwood, but given the unique quality of the original, unless you're going to totally deconstruct the song in the manner of Vanilla Fudge, I'd have to say that sometimes it's better to just stand back and admire.

This, though, is just a minor knot in what is an otherwise terrific second album that should deservedly see her success and reputation flourish.

3 STARS "clever...and the music is consistently strong to boot."
-- Ken Barnes, USA Today

"affecting, pop-smart tunes" - Chris Morris, Billboard

 

"Think of Victoria Williams, Aimee Mann, Suzanne Vega and Sheryl Crow mixed together and you begin to get the picture...Anny is pretty much their equal as a songwriter."
-- S.P. Clarke, Two Louies

 

"An ultra-cool, ultra-hip album that is one of the best new releases I've heard in a long time. Check it out." --  Ed Kociela, Utah Daily News


  "well deserves my five stars top rating!"
-- Hugues Orsetti, CROSSROADS (France)
 

"The music is all in Celsi's writing, which is direct, killing...needing no ornamentation..."-- Greil Marcus, Real Life Rock Top Ten


"Little Black Dress & Other Stories is a hell of an impressive debut,
and Anny Celsi is a talent to watch."  --Michael Toland -- highbias.com

"There isn't a weak track in the set, which is no small achievement."
-- Adrian Zupp, HARP

"Hit material folk pop" -Tom “Tearaway” Schulte – Outsight Communications

“A musical journey in the best sense, "Little Black Dress" unfolds like a tightly written script. ” – Mark Spangler, The Oregonian

"...a marvelously cool, hip, subtle singer and songwriter...equally convincing with a Dusty Springfield/Jackie DeShannon style ballad as a Peggy Lee-ish torch song...."  -- John Conquest, 3rd Coast Music

 

"Overall, a nice collection from the indie side of the street with enough twists to keep listeners interested." -- Gillian G. Gaar, Goldmine

"One of the most literate, appealing albums of 2003...Celsi has produced
a superlative set of song novellas that demand you hit the repeat button." 
-- Paul Andersen, San Gabriel Valley Papers

"In the classic singer-songwriter mode, Anny’s sunny/dark folky-rock took me to a “Raymond Chandler-esqe” Los Angeles of hard lessons learned and the high cost of love. Dig it! It’s black and white 50’s film-noir in color!" -- Two Louies

"Anny Celsi possesses such a radiantly reassuring voice that it almost doesn’t matter what she’s singing about..."  -- Falling James, LA Weekly


"Anny Celsi has proved the Lee Hazlewood style of pop mining in the service of a pulp fiction song cycle is alive and thriving." -- Eric Olsen, Blogcritics.com

“It's not often that listening to a record evokes the same buzz of satisfaction that one gets upon finishing a particularly ripping book. Seldom does an album sustain an arc of characters and situations that is consistently surprising, amusing and touching. "Little Black Dress and Other Stories" is all this and more… whether you're following her written words or bouncing a foot to the surplus of winning melodies, "Little Black Dress" is a perfect fit.” – John Chandler, Portland Tribune

"...a beatnik-cool performer who veers from poppy, bouncy beats to jazzy piano bar riffs and sexy come-ons... she’s sensitive but no wimp and a fellow traveler to Aimee Mann and Sheryl Crow.  The “pop-noir” soundtrack of her solo debut, “Little Black Dress,” wears a veneer of L.A. Confidential style." -- Bob Ruggiero, Houston Press

“When she starts to sing she's got something to say, and she says it in this way designed to separate the boys from the men, if you know what I mean and I think you do.”
-- Ben Varkentine, Ink19.com

"With a hard-boiled writer’s sense of economy, Anny Celsi pulls you into the disturbing scenarios of thwarted romance, peopled by the usual suspects with fickle hearts and fatal flaws..."
-- Larry O.Dean, Amplifier

“We played "Empty Hangers," and I tell ya, if the rest of her record's as good as that one track, then we've got another Brand New Fave here...”  (Dana & Carl, THIS IS ROCK N' ROLL RADIO, WXXE, Syracuse, NY)

"I don't understand much of what is going on in these 13 songs, but I think I like it...Her voice is staggeringly lovely, the songs are all very well put together and feature attractive mixes and colors that you can't get out of your head and whether I understood anything going on here or not, I certainly end up heartily recommending this odd but lovely little disc."
-- P. Kellach Waddle, FolkWax

"When her genre skimming peaks, it’s sharp and rewarding. “Summer Fling,”  equal parts Motown and Bachrach, is breezy, bouncy and flitting with Audrey Hepburn abandon. “Wicked Little Heart” is swift and sexy, a track that could easily appear on a Julee Cruise record...As the album sketches out gone wrong women and situations, her lyrical knack for snagging human nature is astounding..."
-- Terry Sawyer, indieworkshop.com

"Anny Celsi has a knack for selecting telling symbols that illuminate the interior lives of characters inhabiting her songs...her original material matches smart, insightful lyrics with a hugely singable melody...[using] seemingly mundane objects to dissect relationship politics with sometimes acidic precision."
-- Bliss, Pasadena Weekly

"Doesn't the title alone stir you up?  Well, she delivers, combining crackerjack lyrics and songwriting with attitude and an alt-country feel that 's hard to shake."
-- John Koenig, Discoveries

"...a fine debut album of folk pop and songs about cheap booze, hopeful losers, femme fatales and female empowerment with a soft but slightly burred voice somewhere between Aimee Mann, Chrissie Hynde and Sheryl Crow" -- Mike Davies, NetRhythms.com

"Her songs with wild and sensitive make us feel the LA breeze...it will make you feel like turning over the toy-box. Full of variety, though unified....just like a kaleidoscope." -- Shuichi Iwami

"Ihr Debütalbum unter eigenem Namen ist ein gelungenes Werk mit Konzept, Charakter, Stil und Klasse – eine perfekte Einheit vom pulp-style Cover über die 60er Jahre Artwork bis zu den mehrdeutigen Texten und der letzten (Twang)  Anny Celsi ist definitiv anders – im spannendsten Sinn des Wortes!"
-- Glitterhouse.com

"De vanuit Los Angeles opererende zingende liedjesschrijfster Anny Celsi is met “Little Black Dress & Other Stories” niet echt aan haar proefstuk toe, maar het heeft er pas nu eindelijk alle aanschijn van dat een doorbraak nakende is." -- ctrl.alt.country (Belgium)

"Met dat laatste zal het wel goed komen trouwens want Anny Celsi heeft talent, dat mag duidelijk zijn." -- Real Roots Cafe (The Netherlands)