What Time Is It, Mr. Fox?
Songs for the Tin Man
© 2005 Brian King (634479176234)
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Using voice, violin, piano, guitar, upright bass and singing saw, WHAT TIME IS IT, MR. FOX? fuses introspective folk and blues with neo-cabaret and eastern european carnival music creating a sound that could be called "acoustic noir."
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BRIAN KING: voice, keys, acoustic guitar
NATHAN COHEN: violin, trumpet
MIKE LEGGIO: double bass
LEIGH CALABRESE: singing saw
The new live EP from WHAT TIME IS IT, MR. FOX? showcases this eclectic band's dynamic range. Each song is like a mini-movie with its own scenery, story and mood. "Horror Cartoon" tells the tale of a boy who turns into a cartoon in a whirlwind of carnival cabaret. The dark and sensual "Deep Waters" blends goth folk with Irish fiddle, while solo piano carries "Song for the Tin Man," the sorrowful story of the broken-hearted Oz character searching for love in a bar full of the latest, shiniest, factory-made models.
The power of King's "chameleon-like" voice and Cohen's supple violin create a "rich, musical tapestry." Musical and literary references from Joni Mitchell and Oscar Wilde to King Arthur and Willy Wonka pepper these original compositions. The duo's performance was captured live at the legendary Club Passim in Cambridge Massachusetts.
The entire CD culminates in the final track, a haunting and unforgettable medley of "Strange Fruit" and "Summertime." Recorded live in the studio, Calabrese's eerie singing saw, Cohen's "sweet sad trumpet," and Leggio's warm earthy bass set the scene where innocence and ignorance collide.
In the mere 7 tracks of "Songs for the Tin Man", WHAT TIME IS IT, MR. FOX? manages to have a stirring conversation with the soul.
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MUSIC FOR BROKEN, RIPPED AND BLOODY HEARTS
author: Leah Callahan, THE NOISEBrian King has one of the most gorgeous voices I have ever heard, male or female. On a good night he can mesmerize; on a bad night---well he doesn’t seem to have them. King made the right decision to do most of his new CD almost all live. His voice has a richness that doesn’t need doubling or studio help---it can go from a soulful Ella Fitzgerald/ Alison Moyet to an angry growl. And though he cites people I don’t really get like Joni Mitchell and some other ’70s female singer/ songwriters, he has taken all of these influences and created something completely his own---not unlike what Marc Almond did in the early ’80s when he combined a sleazy disco club aesthetic and electro with cabaret. King and his bandmate Nathan Cohen could fit in with a traditional cabaret show, but I don’t think they want to. When Cohen plays violin, he can switch from early 20th century proto-jazz to traditional Irish fiddle, but it always has an undertone of what can only be described as a darkness of sorts. This is not music for hotel lounges, but music for broken, ripped, and bloody hearts. (Leah Callahan)
Mesmerizing!!
author: David GoudreauSimply mesmerizing! Each song transports me into a new realm. From the danger of Deep Waters to the hot, hazy, forlorn summer breezes of Strange Summertime Brian King creates detailed worlds full of emotion. Nathan Cohen’s incredible violin and trumpet playing add greatly to the atmosphere.
Amazing and powerful
author: Kristen MillerStellar violin playing by Nathan Cohen and Brian King's haunting voice and unique lyrics make this a winning CD. Pure poetry.