Mark Brown’s long-awaited new CD, Skin and Bone, is finally here. And skin and bone it is, as it rips off the veneer of happy faces and genteel manners—forget easy living—and reveals the pain, longing, and despair you feel sometimes, be it for a lifeless tractor, a gal who just ain’t gonna be there, or just because the moon makes a face at you. Herein lies an artistic dilemma: if you only sing about happy things, you run out of material real quick.
Many artists produce their works on the fringes of the market and struggle to reach a large audience, despite their production being of equal, if not sometimes superior, to that of more famous names and supported by a worldwide distribution. Mark Brown is one of these musicians, who have a loyal audience, limited to a local area, gained through hundreds of concerts and continuous word of mouth among fans. Happy Hour is the third album released by the no longer very young American singer-songwriter, who moves between North Carolina and the state of New York. Apparently it might seem like a classic Americana album, a bit country and a bit rock. However, in some songs there are dissonant moments, and the explanation is found if you know those that the musician indicates among his first musical references, Johnny Cash and Tom Waits. Read More.
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