14 Songs, 1 Hour

EDITORS’ NOTES

Chicago singer/songwriter/violinist Andrew Bird mixes and matches influences until the music is purely his own. Break It Yourself evokes memories of other classic singer/songwriters, but the album retains Bird's personal stamp of world music, jazz, folk, and pop balancing the art. "Danse Caribe" is redolent of Van Morrison's Astral Weeks (side two of Into the Music, to be exact), with a violin casting its spell around an elliptical chord progression and swaying rhythm. "Give It Away" lopes with a country influence in its harmonies and Eagles-"Tequila Sunrise" camaraderie. "Desperation Breeds . . ." quietly enters with a sense of Ryan Adams' quiet ballads until the lyrics reveal an interest in the ecosystem. "Lazy Projector" slows into the 3 a.m. of the soul, where Neil Young often parks, with a melody that sounds like a beautiful moment on a Freedy Johnston record. "Lusitania" has a gentle vocal that follows up on the loneliness of Harry Nilsson's performance of Fred Neil's "Everybody's Talkin'." "Orpheo Looks Back" throws together an animated pizzicato that breaks into a modest jig. "Sifters" aches with the wanderlust of Tim Buckley. 

EDITORS’ NOTES

Chicago singer/songwriter/violinist Andrew Bird mixes and matches influences until the music is purely his own. Break It Yourself evokes memories of other classic singer/songwriters, but the album retains Bird's personal stamp of world music, jazz, folk, and pop balancing the art. "Danse Caribe" is redolent of Van Morrison's Astral Weeks (side two of Into the Music, to be exact), with a violin casting its spell around an elliptical chord progression and swaying rhythm. "Give It Away" lopes with a country influence in its harmonies and Eagles-"Tequila Sunrise" camaraderie. "Desperation Breeds . . ." quietly enters with a sense of Ryan Adams' quiet ballads until the lyrics reveal an interest in the ecosystem. "Lazy Projector" slows into the 3 a.m. of the soul, where Neil Young often parks, with a melody that sounds like a beautiful moment on a Freedy Johnston record. "Lusitania" has a gentle vocal that follows up on the loneliness of Harry Nilsson's performance of Fred Neil's "Everybody's Talkin'." "Orpheo Looks Back" throws together an animated pizzicato that breaks into a modest jig. "Sifters" aches with the wanderlust of Tim Buckley. 

TITLE TIME

Ratings and Reviews

4.7 out of 5

337 Ratings

337 Ratings

Fantastic as always

Woofticketz

Brilliant, things don't really get much better than this.

so good

ralroc

As good as music gets!!

Genius

Ilikdixinmibut

I have been listening to the power and brilliance of Mr.Bird since I was 9 years old. I'm now 21 and the music continues to aww me every time I listen to this inspiring and calming sound. Great album and great career.

About Andrew Bird

Since the turn of the millennium, few pop artists have established such a distinctive aural identity as Andrew Bird. A virtuosic violinist, singer, songwriter, composer, and expert whistler, his career has undergone a wide variety of stylistic shifts from his early days playing jazz and swing music to his mid-2000s reinvention as a savvy pop sophisticate and instrumental looping pioneer. A native of Chicago suburb Lake Forest, Illinois, Bird began playing violin at the age of four, eventually earning a violin performance degree from Northwestern University. His hunger to incorporate numerous traditions into his own work manifested itself on his 1996 solo debut, Music of Hair, a largely instrumental set of fiddle work that ranged from Celtic and gypsy styles to swing. His first commercial success arrived that same year via a collaboration with swing revivalists Squirrel Nut Zippers, who scored a surprise hit with their album Hot. Eventually forming his own retro-minded band, Bowl of Fire, Bird spent the remainder of the '90s fusing elements of New Orleans jazz, folk, gypsy, swing, and blues on records like Thrills and Oh! The Grandeur. By the time Bowl of Fire released their third and final album, 2001's eclectic The Swimming Hour, Bird's music had already begun to shift in a more pop-oriented direction.

A subsequent move out of the city to a rural Illinois farm prompted a sea change in the singer/songwriter's approach. Acting as a sort of bridge between the Bowl of Fire era and his tentative new solo career, the self-released 2002 EP Fingerlings combined a handful of stark new solo tracks with a scattering of live band cuts. The proper solo LP that followed, 2003's Weather Systems, signaled a new phase for Bird, introducing a more experimental and layered folk-pop style which he explored more fully on his ambitious 2005 breakthrough, Andrew Bird & the Mysterious Production of Eggs. With this release, Bird established what would become a signature sound based around elaborately multi-tracked violins and instrumental looping while also introducing fans to his remarkable prowess as a whistler. His 2007 follow-up, Armchair Apocrypha, continued to expand on this eclectic mix, framing his cryptic and highly literate lyrics with increasingly experimental indie rock propelled by new collaborator, drummer/keyboardist Martin Dosh. 2009's Noble Beast also featured Dosh as collaborator and, like many of Bird's previous releases, the wealth of extra material from the album's sessions yielded a companion release in 2010's instrumental Useless Creatures.

The following year, Bird composed the score for Jonathan Segal's independent coming-of-age film Norman. The film's soundtrack was his first offering for the Mom + Pop label, which released his sixth studio album, Break It Yourself, in March of 2012. Break It Yourself became Bird's highest-charting album to date, debuting at number ten on Billboard's Top 200. A companion EP, Hands of Glory, arrived later that year, followed in 2013 by the seven-song conceptual suite I Want to See Pulaski at Night. Newly relocated to Los Angeles and using his Hands of Glory backing band, Bird recorded his seventh album, 2014's Things Are Really Great Here, Sort Of..., a collection of cover songs of fellow Chicagoans the Handsome Family. Bird has had a long association with the husband-and-wife folk duo, first covering their song "Don't Be Scared" in 2003 on his Weather Systems LP, a song that he again tackled on this tribute album. 2015 brought the first volume of a new environmentally-oriented instrumental series called Echolocations in which the violinist was recorded performing deep inside Utah's Coyote Gulch canyons. His next studio LP, 2016's Are You Serious, featured collaborations with Fiona Apple and Blake Mills and saw Bird writing in a more personal style. It was followed in 2017 by the second Echolocations release, River, recorded under a viaduct on the Los Angeles River.

HOMETOWN
Chicago, IL
BORN
July 11, 1973

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