Maggie Council | Not In The House

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Not In The House

by Maggie Council

Americana that grooves with intelligent lyrics.
Genre: Folk: Progressive Folk
Release Date: 

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1. Nebraska Avenue
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3:30 $0.75
2. You Were Dancing
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2:16 $0.75
3. When Mama's Happy
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3:03 $0.75
4. Palm Trees In My Backyard
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5. Waking Up
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2:14 $0.75
6. Ordinary Dias
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3:21 $0.75
7. Not In The House
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3:28 $0.75
8. Coulda Been
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3:13 $0.75
9. These Two Boys
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10. Picket Dancing
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ABOUT THIS ALBUM


Album Notes
Organic, progressive Americana.

Intelligent lyrics. Cage-free vocals. Slinky grooves.

With influences from art rock to Chicago blues, Motown to mbaqanga, and funk to folk, Tampa-based Maggie Council\'s mostly-acoustic music is minimally processed; no click tracks, steroids or artificial flavors.

A self-taught musician, she writes songs on guitar, bass and piano. Maggie has shared bills with a diverse array of artists, such as:

Acoustic Alchemy, Joan Armatrading, The Band, Guy Clark, Steve Earle, Steve Forbert, Hot Tuna, Robert Earl Keene, Jr., Ronnie Milsap, Matt “Guitar” Murphy, Michelle Shocked, Chris Smither, Al Stewart, Townes van Zandt, and Warren Zevon.

Produced, arranged and engineered by Rob Constable, \"Not In The House\" features the talents of Ray Villadonga, Dave Rogers and Danny DiPietra among others.

“One of Tampa Bay’s most respected and admired performers,
Council has an interesting style, combining the understated slink of, say, JJ Cale with the lyrical conscience of Bob Dylan or Joni Mitchell.
–Craig Michaels, JAM magazine

Maggie is a happily married mother of three, originally from the Chicagoland area.

A few words from Maggie about the songs:

Nebraska Avenue – Ode to southeast Seminole Heights neighborhood of Tampa. Every word is true. All the extraneous sounds are actually from on or near Nebraska Avenue, where Robert hung out with a field recorder. That’s dedication. One of the only songs with drums on this CD, the rhythm section is from my old band, Maggie and the Trashmen of Ybor (Maggie y los Basureros de Ybor), Ray and Danny.

You Were Dancing – Wrote this one for my dad, a Marine drill sergeant, shortly after he passed away. It was the pinnacle of my recording experience to play the Marine Corps Hymn on a toy piano into a $4,000 microphone.

When Mama’s Happy – Wrote this for my oldest son before he left for college. I gathered the lyrics from women who I thought were exceptional moms.

Palm Trees in My Backyard – A nod to Chicagoland and the girls I grew up with. My youngest son sings a harmony line. Now he wants his own album.

Waking Up – Composed on the Warwick bass my boys gave me for Mother’s Day. I don’t really play bass, but I like making up songs. Bassed [heh] on an instrumental riff mostly written by Andy Irvine. The lyrics reflect a daily struggle I think a lot of people can identify with; getting out of bed and going to work.

Ordinary Dias - Revisiting a song from my very first album. I combine it with an entirely new song. It’s my tribute to the spirituality of quantum physics.

Not In The House – OK. I was watching a Jeff Berlin bass instructional video and reading a book about using words to frame arguments called “Don’t Think of an Elephant” while wondering what would happen if the single mom with 4 kids I saw at the Laundromat [on Nebraska Avenue] ever became President. Rob Constable does the death star vocals. :D

Coulda Been - The only song I wrote on piano that I can sing at the same time, I wrote this long ago during a sad time. Dave Rogers put a sweet accordion part on there.

These Two Boys - This really happened to the Wayuu people in Colombia less than 5 years ago, and I have a hard time extracting it from the continuing saga of the Mothers of the Disappeared.

Picket Dancing – My tribute to the un-group Anonymous, whose pickets against the Scientology organization have allowed stifled voices to be heard. They seem to be sparking a new direction in social change; it’s more fun with dancing and cake.


Reviews


to write a review

Colin Ward

Get One for Your House...
Songwriters are advised to write about things they know and Maggie follows that advice admirably by writing about her street, her kids and other family members, and her life. She writes these personal songs in such a way that we can relate to them which makes them fun.

She is a great singer with a great voice and lots of influences. I haven\'t seen her mention Paul Simon as one but I heard a hint of his style somewhere on the CD.

The accompanying instruments including Maggie\'s guitar are just right....not overdone - just enough to keep things interesting.

Get the CD!

Barb Frim

Refreshing!
Totally refreshing... each song a bit different than the next, and most, situations you can relate too. My favourite is Ordinary Dias... love it. Maggie explained to me this was two songs which became one... incredible. I will definitely be looking forward to the next CD. I think this CD has something for everyone.

Bruce Kula

That is a horse, that is a cult, and this is art
The first time I set ears on Maggie Council was in November 1991. The first thing that struck me was she was no strummer: she’d get a funky groove going and then, impossibly, sing against it.

When she mentioned in her blog not long ago that she got a Warwick bass guitar for Mother’s Day, that element of Ms. Council’s sound suddenly made sense: too many people get behind an acoustic guitar and channel Bob Dylan; she gets behind an acoustic guitar and channels maybe James Jamerson.

Really, I think I’m onto something here: listen to how the bass in “When Mama’s Happy” insinuates itself increasingly until it’s one with the guitar...

In any event, that’s only one of her sounds in general and on this CD. There’s a gorgeous samba here (“Ordinary Dias”), a breathtakingly raw parlor-piano blues (“Coulda Been”), and a bittersweet and lovely timeshifting tribute to her father (“You Were Dancing”). She can be as artistic as you like (“Waking Up”) and as straightforward (“Nebraska Avenue”).

And, brother, she can break your heart. There’s something about her harmonies that could melt stone. At least it’s my simple opinion that if the chorus of “These Two Boys” doesn’t break your heart, you’ve got the entirety of what it takes to be a professional music critic.

Supporting musicians are crackerjack all around. I reserve special praise for the producer, Dr. Robert C. Constable, Jr., who applied the same sort of surgical skill to layering sounds that a certain kind of woman can apply to putting on her makeup: in the end you think the woman isn’t wearing any makeup, the same way Constable makes you think all that music organically just came out that way.

That’s art.

Karren Doll Tolliver

Vintage Council
Thank heavens Maggie is back! She hasn't lost a thing since her last album. In fact, she's honed that writing ability of hers into mature, listen-able tracks that make even stronger statements than ever. I can't wait to tell all my friends to get this album. Run, don't walk, to get this new work!