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Samantha Crain plays album release show at Blue Door in Oklahoma City
The manager of the trendy bistro seemed to know Samantha Crain and didn't mind at all if she taped one of her concert fliers to his front window.
Her youthful face is probably familiar to many here in the Plaza Arts District. The poster advertised her upcoming concert at the Blue Door, celebrating the Tuesday release of her third full-length album, “Kid Face.”
It's a fitting title, considering the Shawnee-born singer-songwriter's smooth, round, dark Choctaw features look closer to 18 — her age when she released her first EP — than 26, which she turned last August.
Already an eight-year veteran of the stage, the road and the studio, the Dale High School graduate says she's reached a point in her life where she's ready to get fearlessly autobiographical with her songwriting, and that's what she's done with the country-driven indie-folk songs on “Kid Face.”
“Yeah, this is actually the first like fully autobiographical album that I've written,” she said, settling down for an interview at a patio table outside the restaurant, where the Friday afternoon air was a bit crisp but the traffic on NW 16 was less noisy than the interior of the eatery.
“I think before, even if I was dabbling in sort of autobiographical stuff, I always felt the need to kind of color things up with a little bit of fiction here or there, mainly just for my own anxieties about being too personal, probably. But I think, like, the older I've gotten, the more comfortable I've become with myself and with my own story, that it's been easier to write more autobiographical stuff.”
She seems to be addressing this new sense of honesty and accountability in the haunting and shadowy acoustic ballad “Taught to Lie,” with its eerily noir, rustic imagery:
“Yeah, late in the night / I've learned to tell the truth sometimes / And if you take Anderson Road, you'll find a box that I have stowed / Behind an old Conoco sign that's shiny silver in the night / And in the box there is a stone and a little red rattail comb / And seven motel keys, and a souvenir penny / Because I don't forget the past, and if that thought leaves your heart cracked / Then I'm gonna move away, I won't lead you on that way ...”
Passing the test
The new album was produced by indie-rock innovator John Vanderslice at his Tiny Telephone studios in San Francisco, a facility favored by top alternative acts these days.
“I worked with him on a seven-inch EP, just an A- and B-side seven-inch (“It's Simple” b/w “Cadwell Jungle”) last year,” Crain said. “It was kind of a test run to see if we worked well together, and I enjoyed working with him so much with the seven-inch that we ended up doing the whole album together.”
And she was very impressed with Vanderslice's studio.
“From the outside it doesn't look like much. Kind of like tucked in sort of an industrial area of The Mission in San Francisco. Inside, it's three different studios, and it's an all-analog studio. There's not a computer in the whole building. It's all run through tape. This is actually the first time that I've run completely analog. My first album and my second album, we recorded digitally and then during the mix-down process mixed it onto tape so it still gave it sort of a tape quality.
“But I think to record it all to tape not only affects the sound of it but it affects sort of your approach to recording, because there can't be a lot of tape so you have to be prepared as far as the musicians go, as far as what the arrangements of the songs are going to be, and you also have to be all right with things sounding not quite perfect, you know?