There are a lot of singer-songwriters these days, and then there’s Michael Fracasso. For decades he has been a beloved songwriter among serious fans and peers and also among younger artists such as John Fullbright, who has played with him on many occasions. In a twenty-five year career, Fracasso has made nine records that place him alongside the greatest singer-songwriters in all of folk, Americana and indie-pop. As one critic said, “He’s a one man catalogue of American music.”
Now with his brand new recording, Here Come The Savages, Fracasso has once again asserted himself as a miraculous American songwriter and truly exceptional singer, as well as a gifted interpreter of well-chosen cover material. The album serves as a virtual clinic in progressive roots music, highlighting his wise lyrical introspection and stylistic vocal excellence.
With a track record of startlingly varied accomplishments, Fracasso is a genre-crossing artist incapable of repeating himself. His critically acclaimed work includes nine distinctive solo CDs, recorded duets with both Patty Griffin and Lucinda Williams, an epic reinterpretation of John Lennon’s “Working Class Hero,” memorable tributes to Woody Guthrie, Mickey Newbury and Townes Van Zandt, and two amazing albums created alongside his gifted friend/producer/guitarist Charlie Sexton (Back To Oklahoma: Live At The Blue Door and World In A Drop Of Water). Fracasso’s oft-celebrated songwriting has reached new heights on his latest collection, Here Come The Savages. From the emotive, atmospheric opener “Say” to the breathtaking “Open” and searing vulnerability of “Blind Man On A Bicycle” and “Boy In A Bubble,” he writes from an autobiographical vantage point that is artful and uniquely reflective, demanding of one’s strong empathic consideration. Mixing his observant, personal song-craft with compelling interpretations of 20th Century neo-classics, Fracasso revives 60’s favorites like Beach Boy Brian Wilson’s “Caroline, No” and the Young Rascals smash hit “How Can I Be Sure” with impressive results. He also boldly re-imagines some less familiar anthems of the heart, including treasured reggae nugget “No, No, No (You Don’t Love Me),” Johnny Thunders’ revered cult-ballad, “You Can’t Put Your Arms Around A Memory,” and closes out the new album with Ray Davies’ forgotten Kinks-Klassic “Better Things.” This is an amazing work from one of the best writers and singers in music today.
Here’s the Kickstarter video for the successful Here Come the Savages campaign. Much love to everyone who made this evening possible!
Annie Oakley is an all-girl Americana band founded by Oklahoma City singer-songwriters Sophia and Grace Babb. Their music and compelling harmonies have a soulful, indie-folk feel that has been described as coming “straight from the heart.”
The Americana music the sisters write and play combines elements of folk, bluegrass, country, indie, and soul. It seems to grow from Oklahoma’s red clay-and no wonder, since the sisters descend from pioneer Land Run Okie stock on both sides of the family. High school seniors concurrently enrolled in college classes, the girls frequently perform with friends Nia Personette on violin, and Gabee Rolla-Danley or Frank Lawrence on mandolin.