Laurie Jones

When life gets rough, singer-songwriter Laurie Jones rides it out with her music. Taking her own life experiences and crafting songs is a natural solution for Jones, who has released her latest studio album Dark Horse.

Dark Horse is a 9-tracker showcasing her impressive storytelling. “It’s my version of a concept record twisting personal subjects, such as faith, self-acceptance, battling addictions and mental health into the message. Life can get messy, so it’s ultimately about making peace with all that messiness and landing on forgiveness,” states Jones, “being able to forgive not only others, but most importantly, yourself”. With a history for clever and sassy lyrics, Dark Horse paints a vivid musical landscape for all the above.

The record kicks off with ‘That Summer’, an infectious and nostalgic track that seems timeless with its driving rhythms, bright harmonies and lead guitar. This, setting the scene for the rest of the album and inviting the listener into what feels confessional and sacred. Up next ‘Light Side’, a straight on rocker, has a powerful energy, incorporating gritty guitar riffs and a catchy chorus that feels like a gutsy teenage anthem. The song ‘Dazed,’ however takes on a mellow and smooth approach with its opening acoustic guitar and unique drum pace, leaving space for Laurie’s distinctive and emotive vocals. Dazed is also the one track on Dark Horse that was written by Torin Jones, who is also Laurie’s son.

Deeper into the album, ‘Good Man’, the shortest of tracks, presents a reflective and melancholy approach. Produced with a clear visual in mind, it’s a warning of sorts. Written from the perspective of the antagonist ‘the truth can hurt you, and so will I’, ‘Good Man’ is a cautious tale. This leads perfectly into ‘No Hell’ which offers a powerful gospel-like vocal with the melodic hook of strings and blazing guitars as Jones belts “ain’t no hell like a hurt woman” with conviction and certainty. Later, and bringing the album to a definitive close is the song ‘Letting Go,’ which is the cleansing and emotional finale that leaves Jones “ready to take the dive” and clearly willing to forgive and move on. Noted and rightfully recognized is the emotionally packed performance that you will hear throughout this album. No doubt, Jones delivers am emotional vocal punch that commands attention from the listener.

Dark Horse is a cathartic product that came from the turbulence of 2020. Jones was forced to slow down and observe her own life during an unprecedented time. Waking in the early hours of the mornings, and struggling with insomnia, she found respite with a guitar. “I was reminded of the best therapy”, which is music. Inspired by the likes of Tom Petty, Sheryl Crow, The Rolling Stones and Melissa Etheridge, Jones creates a sound that is completely her own. Recorded at The Halo Studio in Windham Maine, Dark Horse is Jones’ first album working with Producer Darren Elder, Co-producer Mehuman Ernst and Engineer Kevin Billingslea. Because of the pandemic, it was necessary to rely on a team approach to see the project through. Mirroring the album itself, the record required patience, trust and the ability to let go. These elements, no doubt resulted in a confident and even more defiant return for Laurie Jones who has delivered a very brave and bittersweet Dark Horse - Bad Mother Hype

Lubec-born and currently Saco-based singer-songwriter Laurie Jones released one heck of an album on Oct. 22. “Dark Horse,” her seventh, comprises nine solid-as-rock tracks.

“That Summer” kicks things off on a bright note as she sings about the proverbial golden days of summer youth with the car radio blaring. Though there’s also some angst swirling around in the lyrics, the tune mentions Talking Heads and gives a nod to Stevie Nicks with the line “Ride the edges of 17, that summer I wore your jeans out.”

“Light Side” is a 1,000-watt rock tune in which she somehow manages to slip in the word “supercalifragilistic.” “Come on over now and put your favorite records on,” invites Jones, vocals blazing.

“Dazed,” is a slower, bittersweet account of a relationship that’s fallen on hard times. “This meant to be, this make believe. It’s all I need, a glimpse of your face, it’s leaving me dazed,” sings Jones.

The rest of the album shines with Jones’ mighty but gorgeous vocals on songs like “Good Man” and, especially, “No Hell.” As soon as you get to the end of the “Dark Horse” closer, “Letting Go,” you’ll find yourself firing it all up again for another round. This album wants volume, so be sure to give it a righteous crank rather than putting it on in the background. Trust me on this.

The album’s name didn’t come to Jones until she was done making it and recalled a dream about a dark horse that had followed her home and comforted her. She told others who worked on the album about it.

“We talked about that for a long time and how that was impacting my writing,” she said. The horse imagery revealed itself again while Jones was writing the song “Good Man.” It also brought to mind her late father, who was a fan of the dark horse analogy. “This record is a dark horse, I am a dark horse, an unexpected underdog, fighter, overcomer and an unlikely contender that might just knock you out,” explained Jones.
Jones said that “Good Man” is close to her heart because it’s the song that changes the album’s tone. “It’s sweet and it is sharply to the point. It’s forewarning that things are going to get messy,” said Jones. “Running from your little lies. Truth could hurt you and so will I,” declares Jones in the song. And messy indeed is where the album goes next with “No Hell,” another standout track that’s moody and bold.

“Dark Horse” closes with “Letting Go,” which brought Jones to tears when she recorded the vocals. “This whole experience was like a long therapy session, and getting to that level, with the team I have, took a great deal of trust,” said Jones, who hopes that listeners can feel the vulnerability and rawness in her songs. I, for one, certainly do.

Jones told me that her songwriting process varies, but because “Dark Horse” was mostly written during the pandemic during the worst of what she referred to as the “staying put” stretch of time, Jones would often wake up with melodies in her head.

“My writing time was 4:40 a.m. consistently. I would hear a melody, and then words, and I would get up and write it out.” Sometimes she’d grab her guitar in the predawn hours to work on chord patterns. “Regardless, it’s critical I get out my recording device, because I’m so afraid of losing the melody or lines.”

Jones has been singing for as long as she can remember. She started to play the electric guitar when she was 9 and took lessons from Down East guitar legend Harvey Cox. Writing songs came later when she played in a rock band as a teenager. “I felt I could write better material than I was hearing on commercial pop radio and what my all male bandmates were asking me to play.” During those years, Jones gravitated more toward artists like David Bowie and Joan Jett. “I did not want to play Lynyrd Skynyrd!”

Jones said she is really proud of “Dark Horse” and hopes that people hear and see themselves in the songs and that it lifts some heavy burdens. “Life is beautiful and messy, and being able to make music with good people has been an absolute joy,” she said.

Jones dedicated the album to her parents and, in fact, her mother passed away a few days after the track “That Summer” was released in September. “That part really sucks and makes this so bittersweet for me,” said Jones, who added that there’s also cause for happiness, as she is celebrating six years of sobriety this month.

“Dark Horse” is available on streaming platforms, iTunes, at Bull Moose stores and at lauriejonesmsuic.com. Recorded and mastered at The Halo Studios in Windham, it was co-produced by Darren Elder and Mehuman Ernst and was engineered and mixed by Kevin Billingslea.

The musical contributors are Elder on percussion, Billingslea on guitars and bass, Jake Wertman on drums, Torin Jones on acoustic guitar, Glen Kavin on keys and strings, and Amy Gauthier on backing vocals.

Jones will play an acoustic show at Blue in Portland on Sunday that will also be available to stream. It will be her first live, in-person show since 2019, and although she told me she’s freaking out about it, I have a feeling she’s going to nail it. I know I’ll be there. ~Aimsel Ponti

Laurie Jones
5 p.m. Sunday. Blue, 650A Congress St., Portland. portcityblue.com - Portland Press Herald

Laurie Jones, “Good Man” — Showing you don’t have to be 17 to drop a single with emotional power, Jones here releases a slow-burning rock piece, “truth could hurt you/ And so will I.” Clocking in at just 2:20, it leaves you wanting more. ~Sam Pfeifle - Portland Phoenix

A seasoned singer/songwriter, Laurie Jones creates a sound that’s both tender and tenacious. Often compared to a cross between Dusty Springfield and Tom Petty, she’s also been described as “Chrissie Hynde with a folk guitar,” while sharing references to Lucinda Williams and Sheryl Crow. All of those elements come into play with her expressive new album, Dark Horse, a set of songs that share a variety of emotions with a distinctive dynamic. Jones gleans her skills from years of playing, performing and recording, but with her new album she’s reached a higher plateau, one that finds her ready for the mainstream and the wider recognition that’s eluded her far too long. The songs are emotionally charged, flush with a searing sense of urgency and intent. All but one of the nine songs was penned by Jones herself, adding extra emphasis to her efforts overall. Credit her for crafting what will likely be considered the most essential effort of her career. ~ Lee Zimmerman - Goldmine Magazine

Laurie Jones
Dark Horse
Saco-based rocker Jones’s guitar-drenched, up-tempo seventh album is loaded up with songs that ought to filter from open car windows on balmy summer evenings or blare outside ski lodges on bluebird days — it has that just-right low thrum of adrenaline.

Standout track: The propulsive
album opener, “That Summer.” - Downeast Magazine

Full interview available at interview link.

Laurie Jones is an American Singer/songwriter that has been dubbed “the missing link between Dusty Springfield and Tom Petty. She has been referred to as “Chrissie Hynde with a folk guitar” and compared to Lucinda Williams and Sheryl Crow for her Americana and Folk-Rock influences. These comparisons she happily and humbly accepts. Influenced by a multitude of styles, Jones combines the craft of songwriting with her own unique sounds that ranges from Rock to Gospel. Whether playing her songs acoustic solo, or backed by her rock solid band, Jones delivers the lyrical sass and musical punch she has built her reputation on.

Laurie Jones’ latest release, Dark Horse, is available wherever you prefer to stream music - Making a Scene

“Dark Horse,” in October. The first single was the sensational, upbeat track “That Summer,” and she just released “Good Man” with an accompanying video.

The clip premiered on Jan. 21 and is closing in on 11,000 views. (in the first 2 days) Jones said that she hopes the song – which includes the line “the truth will hurt you, and so will I” – empowers women. In less than two-and-a-half minutes of moody guitar, bass, drums and vocals, Jones exacts revenge with dark sarcasm on a man who is “running from his little lies.”

~ Aimsel Ponti - Maine Today

Laurie Jones


Reversing Recordings (RR16)

Grade: 4 Stars



Versatility is one thing, but on her

new, self-titled, third album, Laurie Jones

displays a remarkable malleability that

finds her shifting her stance and delivering

what is arguably the best effort of

her still-budding career. It's impressive

that she's opted to open the set with an

¨¢ cappella reading of a traditional hymn,

"It Is Well With My Soul," before adjusting

the energy for a series of taut, riveting

salvos that brandish both her attitude

and aptitude.

Jones shows an ability to garner

an instant impression, whether it's the

relentless, razor-sharp riffing of "Hey

My DJ," the rugged, fiddle-fueled amble

of "Torin's Revolution" or the sway and

swagger of "I Only Wanted You." Jones'

vocals ¡ª an authoritative presence

that combines the brash confidence of

Chrissie Hynde and the outward defiance

of Alanis Morissette ¡ª is front and

center, giving these songs an instant

and indelible imprint. When on "Goat

Dance," she rebuffs the object of her disdain

by insisting, "Don't you point your

gun at me," there's no question of her

ability to disarm, literally and figuratively.

Jones reconciles the need to hold on

to her day job while musing over the

possibilities of fame and fortune in the

song "Overrated," a hard-hitting shuffle

that finds her showing her savvy. Still, in


a perfect world, she'd already be a star,
and these songs would be staples on

iPods everywhere. While the new album

might not propel her all the way to stardom,

at very least it finds her moving in

the right direction.

¡ª by Lee Zimmerman
www.goldminemag.com - Goldmine Magazine- Lee Zimmerman

Laurie jones
Nick Zaino

maybe it’s the approaching thunderstorm.

Maybe it’s the bad phone connection. Whatever the cause, when Laurie Jones picks up the phone for her scheduled interview, the conversation moves slowly, talking about her new self-titled album or her frustrations with the music industry in general.

Maybe it was for the best, then, that the interview had to be cut short when her voice turned into a series of squawks and static more appropriate to Skinny Puppy than a roots rock songwriter. When she answers the phone less than twenty-four hours later, it’s a completely different story. Since then, she has written a song.

“So today, here it is, this is the roller-coaster of the songwriter,” she says. “Because today I’m thinking this is the greatest thing that ever happened, being a songwriter is so much fun.

It’s wonderful, because when you finally get one, you feel like, ‘yeah, this is what I’m supposed to do. This is my destiny.’” Frustration and fatigue have been common themes for Jones over the past half decade.

Her band toured endlessly with her second album, Better Days, flirting with success but never finding satisfaction. That includes a gig at a death metal club, courtesy of a clueless booker. “When we started playing, I think they thought it was the Pee Wee Herman Show or something,” she says. “We were not anything near what they had probably expected, and the club owner actually asked me to stop playing at the end of our set.” That’s when Jones left the road to rediscover her songwriting side at her home in rural Maine. Inspiration came slowly, but the result is a more intimate, stripped-down affair than Better Days. Jones swaps her eighties pop/ rock touches for a more organic sound, rough hewn southern rock with the occasional Celtic fiddle, closer to her first album, After the Crash.

Not surprisingly, several of the songs deal with the music industry (“Overrated,” “Hey My DJ,” “Another Road Trip”), as well as the lethal combination of love and medication (“Wonderful and Cheaper”).

“I almost felt that this CD was full circle back to that, where I could be vulnerable and I could say what I wanted to say again. I selftitled this Laurie Jones because that’s what it is.

If this is my last CD ever, this is what it is, this is what I do.” Jones did write a song that reached the mainstream, recorded by X-Ray Actress and played as background music for several MTV shows. It was bittersweet for Jones to see the song get played and replayed on TV, but she did earn enough from publishing rights to see songwriting as a separate career. She could see herself running off to Mexico or London, playing a few pub gigs, and devoting all her time to writing.

“They could just pay me in cider,” she says.

“They wouldn’t even have to pay me. I would just play at some Irish pub and they could just make me Snake Bites and I would be happy.”



- Skope Magazine

Czékus Mihály
2008. április 18. 10:15

Egy rekedtes, erotikus hang
LAURIE JONES: LAURIE JONES


Mivel az amerikai származású énekesnõ és dalszövegíró, Laurie Jones neve nem sokat mond a magyar közönségnek, ezért a zenéjét - a könnyebb beazonosíthatóság érdekében - valamilyen szinten szükséges pozícionálni. Jones hangja és énekstílusa leginkább a Bonnie Tyler, Sass Jordan és Shelby Lynne által képviselt vonalhoz áll a legközelebb.

Az energiától és erõtõl duzzadó, egy kicsit rekedtes talán még erotikusnak is mondható hang az énekesnõ igazi védjegyévé vált már a tengerentúlon. Jones Amerika szerte és annak határain túl is szívesen koncertezik, akár egy szál gitárral, akár a muzsikusaival együtt. Azt, hogy mennyire fontos számára a közönség reakciója, egy nyilatkozata is megerõsíti. Melyben arról beszél, hogy a koncerteket sokkal jobban szereti, mint a stúdiók steril világát. Méghozzá többek között azért, mert "élõben" azonnal olvashatja a kritikát a közönség arcáról.

Az énekesnõ új albuma önálló cím nélkül (hivatalosan a lemez címe az elõadó neve) jelent meg. A lemez borítója a kicsit szürreális szimbólumaival egy egészen más zenei világot sejtet. Vagyis a jelen esetben is igaz a mondás: ne ítélj elsõre!

A lemezen található 10 dalból 9-et Jones jegyez szerzõként. Az egyetlen kivétel az album leginkább egy himnuszhoz hasonlító nyitódala az "It Is Well With My Soul" (H.G. Spafford-Philip Bliss).

Az énekesnõ gyakran úgy jellemzi önmagát, hogy õ a hiányzó láncszem Dusty Springfield és a Rolling Stones között. Kétségtelen, hogy a zene produkciója igen sokszínû. Többek között rock-, blues-, folk-, rock'n'roll- és nem utolsó sorban country behatásokat érzékelhetünk muzsikájában. Jones - 1-2 kivételtõl eltekintve (pl. ilyen a már említett nyitószám és az "I Only Wanted You") - az egész album során olyan ritmust diktál, hogy nincs ember, aki kibírná mozgás nélkül. Úgy gondolom, hogy az énekesnõ bármelyik hazai zenei fesztiválon is lépne fel, ott a közönség azonnal a kegyeibe fogadná.

A produkciót igazán esszenciális rangra a meghívott vendégzenész "csapat" által megszólaltatott "hangszer arzenál" emeli. Hiszen a hegedûtõl kezdve a harmonikán keresztül a mandolinig megannyi hangvilágból kapunk ízelítõt. De, korán sem tolakodó módon. Egyik "kiegészítõ hangszer" sem próbálja elnyomni az alap instrumentumokat.

Az együttes tagjai: Laurie Jones / akusztikus gitár és ének, Nail Salisbury /elektronikus gitár, Walter Howland /basszusgitár, Stebve Peer /dobok és ütõsök valamint gitár és ének.

Vendég muzsikusok: Dave Beaney /elektronikus gitár, Colin Grant /hegedû, Chris Keefe /harmonika, Sam Keefe /trombita, John Keefe /trombita, Lauren Peer / cselló és szaxofon, Michael Towsend /ütõsök, Pip Walter /háttér ének, hegedû és mandolin.

Kiadó: Reversing Recordings
Mûsoridõ: 42:23
Honlap: :www.lauriejones.org
- Gondola, Hungary

On her new CD, Jones' song spectrum is as diverse as the Beatles' "White Album." Soaring vocals and witty lyrics ride atop glam-progressive rock-anthem hooks and even fiddle-driven Celtic punk. Jones has a chiming, spine-tingling timbre when she hits the sweet spot in her vocal register, which she does effortlessly even in live performance. She is backed by an energetic band that includes Steve Peer on drums, Neil Salisbury on guitar and Walter Howland on bass.

"Better Days" is getting prominent airplay on radio stations in eastern Maine. The tune "Coffee Shop" is in the regular play rotation at Bangor's WKIT.

The bottom line as to whether a new song gets on the air is the quality of the music," program director Bobby Russell says. "The content of Laurie's songwriting is as good as any I've heard." - Bangor Daily News

LAURIE JONES
REVERSING/HEMIFRÅN


Amerikanska singer/songwritern Laurie Jones
släpper nu sitt tredje album och fortfarande
är det samma mix av americana, folk och
gitarrock som bildar grunden. Men enligt
egen utsago så har hon den här gången även
vävt in infl uenser av gospel och sydstatsrock i
melodierna.
Och resultatet är faktiskt inte alls oävet.
Lauries röst låter både tonsäker och laddad
med attityd och fl ertalet av låtarna får
åtminstone undertecknad att stampa takten.
Särskilt gillar jag den avslappnade attityd och
de sköna riffen som kan avnjutas i trallvänliga
Another road trip. I sina mest poppiga ögon
blick så är hon inne och sniffar på Sheryl
Crows domäner och den här skivan innefattar
fl era låtar som skulle passa fi nfi nt i P4:s
låtlistor i sommar. Musik som gjord för lata
och soliga dagar i hängmattan.

THOMAS RÖDIN
- Groove Magazine- Sweden

by Lee Zimmerman

First impresssions can be deceiving. Cat Song the agitated, aggressive rocker that jump-starts After the Crash finds singer/songwriter Laurie Jones in Chrissie Hynde mode - full of cock-sure confidence and edgy anxiety. So it's going to be another one of those - a seething diatribe by a bitter, disenfranchised woman determined to lash out at every guy who ever did her wrong. (Alanis Morissette, are you listening?)

Fortunately though, that's not the case here. Jones is confident, but her confessional style provides depth and diversity. Most other songs - Take Another Look, Dragonfly, and Don't Look Up, chief among them - come across as melodic mid-tempo attempts at conveying heartfelt emotion in a manner that's affirmative yet accessible. Jones' path to discovery unlocks many emotions, but hers is a less turbulent trek; on these songs, Jones offers empathy instead of anger, solace over cynicism, contemplation rather than contempt.

Her worldly view is closer in style and substance to, say Bonnie Raitt rather than Morissette or Fiona Apple, for example a song such as Maybe We Could shows she can be resolute without resorting to venomous diatribes. Wide Awake is sensual and seductive, but in a way that's both enticing and intriguing. Road Trip parlays a playful approach reminiscent of the B-52s. Nashville finds her in acoustic mode, offering up the kind of world-weary ballad that's most often associated with a more seasoned singer. A hidden bonus track, a contemplative unadorned take on Smells Like Teen Spirit effectively melds her soulful sensibility to a modern angst anthem.

Jones' arrangements, which incorporate a tasteful use of violin, cello, brass even bagpipes in spare but effective touches, also betray the mark of an accomplished artist. Given some well-deserved exposure, Jones has the makings of a major star.

- Goldmine Magazine

Deze naar zichzelf getitelde cd brengt Laurie Jones - een zangeres en songschrijfster uit New England in de States - in de schijnwerpers. Dit is al haar derde album waarbij eens te meer haar sterke en krachtige stemgeluid ten volle tot uiting komt. Op haar MySpace-site geeft ze aan beïnvloed te zijn door artiesten als Pretenders, Blondie, Lucinda Williams, Ani DiFranco, Johnny Cash, Nirvana en Counting Crows. In het korte openingnummer “It Is Well With My Soul” - een 19e eeuwse hymne die a capella wordt gedeclameerd - geeft Laurie Jones al aan dat het haar momenteel goed vergaat. Daarna gaat ze meteen behoorlijk stevig tekeer in de eerste single uit het album “Overrated” waarin ze de muziekindustrie een serieuze veeg uit de pan geeft en klaagt over het feit dat je van muziek alleen niet kan overleven en een vaste dagjob noodzakelijk blijft. Daarna etaleert het verhalende “Give Me A Moment” haar vocale kwaliteiten. De muzikale begeleiding op deze cd komt van haar vaste begeleidingsband bij live-optredens (Walter Howland, Neil Salisbury en Steve Peer) en enkele gastmuzikanten. De songs blenden op een knappe wijze gospel- en countryinvloeden met stevige rockmuziek. “Hey My DJ”, “Goat Dance”, “Another Road Trip” en “Paradise” zijn daarvan duidelijke illustraties. Maar ook emotionaliteit komt aan bod in enkele nummers die een wat rustiger tempo aanhouden, zoals “Torin’s Revolution” met Keltische fiddle-muziek en het mooi gezongen liedje ‘I Only Wanted You”. Ook afsluiter “Wonderful And Cheaper” is een ballade die zorgt voor een rustig einde van deze cd. Qua stem kan Laurie Jones vergeleken worden met Chrissie Hynde en hier en daar met de soulvolle stembanden van Ani DiFranco. Dit energieke album krijgt het label Americana Roots mee van de redactie maar kan evengoed in de rekken van de popmuziek geklasseerd worden.
(valsam)
www.rootstime.be - Rootstime Radio Belgium

By staff and wire reports
Laurie Jones has been immersed in music ever since she can remember. From performing in country bands when she was a small child at her grandmother’s behest to rocking out with a band in her teenage years, music has been integral to Jones.

"I think I became addicted to the adrenaline rush," she says. "I think I'm still addicted to it."
With the release of her new self-titled album, recorded in Portland, Jones cements her status as a full-service independent singer-songwriter.

Her third album is refreshingly genuine and musically to the point. Backed by her long-time touring band, Jones crafts each song with a strong melody and lyrics that can be surprisingly frank and emotionally complex.





























Laurie Jones' third album fins her blending her country and gospel roots with modern rock 'n' roll.
Front and center is her remarkable vocal performance; opening with "It Is Well With My Soul," Jones sets the album's tone via a glorious 19th century hymnal that evolves from despair and grief to forgiveness and liberation.

"This record comes from the music I really love," explains Jones. "I allowed my gospel and country influences to face off with my rock demons." In doing so, Jones feels she has created a work of trans-genre rock 'n' roll, and devoted fans can look forward to finding hidden confessions and other surprises throughout the album.

She considers herself to be a poet almost more than a musician. "I've been writing songs forever," she says. "I wrote everything myself on the latest album."

Trying to make living in the music industry is often difficult. The track "Overrated" finds Jones confessing the truth about the mainstream music industry. While all in fun, she references the challenge of straddling the grandeur of pop celebrity and the gutter of maintaining a day job.

"When you're doing this, it's a very serious business venture," she says. "It's like starting up a restaurant. We have to be business minded and I think people should try to support things like this."


"It's just like starting a restaurant," said Jones during a recent interview. (Photo by Franklin MacMahon)

Such support for the industry, according to Jones, is a concept almost foreign to a generation that bootlegs their music from the Internet, and newer artists just trying to make a living are the ones hurt most by piracy on the Internet, not the record labels that produce it.

While Jones continues her alliance with Walter Howland on bass, Neil Salisbury on guitar and Steve Peer on drums, she's also invited a variety of guest artists to help create a rich palette of soul, rockabilly, Celtic and southern rock sounds.

For those who need to classify and label her style, Jones' latest effort may fit into the “non-commercial adult rock” bin, or perhaps someone else would call it "Americana roots." However, she soars way above the pop rock fray and prefers "none of the above." She blazes her own trail as a unique songwriter with style and power to spare.

For more information, check out Laurie Jones online at www.lauriejones.org. Her albums are also available locally at Bull Moose Music.
- The Maine Edge

Four years ago, when Laurie Jones released her second album, "Better Days," she and her band hit the road. They toured. And toured. And when they got done, they toured some more.

"We played our guts out," said Jones, who is in her 30s. "I think the whole process taught us a lot, but we almost played too much. Too many shows. I started to forget how much I liked being a songwriter."

She returned home to Ellsworth a year ago and sat through a nasty period of creative drought.

"I was so scared that that would be the end of my songwriting. I went a good six to eight months without writing anything," she said. "But one day I had this song that wouldn’t give up. I had to surrender to it. And then it all just happened."

The songs that Jones wrote during that burst of inventiveness form the basis of her new album, a self-titled collection of raw, confessional folk-rock songs that Jones said she feels encapsulates her mind-set better than anything she’s written so far.

Jones’ slow-burning, deeply personal songs come to life on the album, a more stripped-down affair from "Better Days," which she says was indebted more to bands like Blondie and Roxy Music. "Laurie Jones" features her road-tested backing band, and bears more in common with Ani DiFranco or early Joni Mitchell, with flashes of country and gospel throughout — though, as a self-proclaimed "rocker chick," there’s an element of grit and punk rock that shines through, even on the acoustic tracks.

"I really stuck to my guns with this one. I wanted it to sound like what you’d hear in a live show. It’s what the band sounds like," she said. "On my last album there was a lot of experimentation. Like Laurie Jones on steroids. This is just more organic. No synths. That’s why it’s self-titled, ’cause it’s just me."

The cover art, done by Bangor area artist Robert Dowling, features a forlorn-looking wind-up doll, and Jones has no qualms letting people know that she identifies with the painting.

"I did an art show with [Dowling], and when I saw that painting I couldn’t stop looking at it," she said. "Some people say it’s creepy, but it really spoke to me. We all get to that point, where we feel wound down. I don’t really feel that way anymore, though."

Jones, a Lubec native who has lived in the Ellsworth region for five years, has managed to amass both a local and regional following while still living in rural Maine — which is no small feat, as any local musician can attest to.

"It’s pretty difficult as far as going out and playing live gigs. It’s not a good idea if you’re trying to make money, though that can be done," she said. "But because of technology now, I’m able to live here and do what I do. I’m here at the end of the world and am able to write songs and put out CDs. Sometimes I think about moving to New York City or something, but I don’t see that really enhancing my songwriting."

That brutal self-honesty is one of Jones’ trademarks.

"I wasn’t being honest with myself before. I didn’t know what kind of music I wanted to play," she said. "With this album, I got a real sense of it. I’m really happy with it."

Laurie Jones’ self-titled third album is now available at www.cdbaby.com. For information, visit www.lauriejones.org. Emily Burnham can be reached at eburnham@bangordailynews.net. Check out her blog at www.community.bangordailynews.com.


- Bangor Daily News

Dit is de derde plaat van deze Amerikaanse met een voorliefde voor de vrouwelijke popsterren uit de jaren tachtig (Blondie, Chrissie Hynde). We horen hier een jongedame die vooral indruk wil maken bij de fans van melodieuze gitaarpop. Het begint nochtans totaal anders. Er wordt namelijk van wal gestoken met een zuiver a capella nummer. Meteen herinnert ze er ons nog eens aan dat haar vocale vaardigheden zeker niet te versmaden zijn. De daarop volgende r&r met stevige countrytint en zinsneden als ‘I’m not stinking but I’m still drinking’ en waarbij ze ‘overrated’ laat rijmen op ‘fornicated’ kan ons ook nog bekoren. En als ze wat verder gitaar en fiddle aan elkaar koppelt, stijgt ze ook boven de middelmaat uit. Voor het overige horen we echter vooral goed gestroomlijnde powerpop. Het klinkt allemaal wel lekker in het oor maar de eerste prijs voor originaliteit zal ze hier zeker niet mee wegkapen in Europa. Wel uiterst geschikt voor Amerikaanse college radio’s. (GTB) - Mark Nolis- Editor Roots Town Music