Samantha Crain’s ‘Kid Face’ available on Society of Sound

Kid Face was recorded and mixed in just eight days in the San Francisco studio of producer John Vanderslice (the Mountain Goats, Spoon).

This wildly original album stands as the definitive statement thus far from an uncommonly insightful, fearlessly honest young singer/songwriter. It is available as a high resolution download on Society of Sound

The most apparent thematic thread running through the album is restlessness. The first-person narrators of these 11 songs are in constant motion, as they feel the tug of the far horizon or the need to escape from their present circumstances, ruminating about what may lie ahead and what they’re leaving behind—roots, family, a lover.

When asked about the impulse behind this prevailing theme, Crain explains, “The common element of these songs is me; I’m the narrator of all of them. It’s completely autobiographical, a musical journal of my experiences—things that have happened to me as I traveled and my thoughts about specific situations. In the past, I resisted writing about myself because I was ashamed of how normal I was.” She punctuates this admission with a quick laugh. “So I wrote about the people I met in my travels.

But having done this for a few years, I’ve gained confidence, and this time I wanted to tap into the feeling of getting older and knowing more about myself. I think that makes this record more relatable, more blue-collar.”

As it turns out, Crain came to her gift obliquely. “It may seem odd, but wanting to travel preceded my wanting to get good at songwriting and performing,” she confesses. “In fact, I started playing music in order to travel. Living in a small town in Oklahoma, there wasn’t much going on, and I got itchy, so I started going out on the road and playing everywhere that would have me. At that time, a few years ago, the coffeehouse circuit was more welcoming than it is now; usually, all I had to do to get a show was to send a demo to the booker.” Initially hitting the road as a duo with her roommate at the time, Crain began to satisfy her desperate need for raw material, and her experiences “traveling and meeting people and getting to see different places” began to feed and animate her songwriting, about which she was becoming increasingly passionate. In a sense, then, Crain was following in the footsteps of an earlier Oklahoma-born troubadour, Woody Guthrie.

A Choctaw Indian, Crain grew up in the small town of Shawnee listening to her father’s Dylan and Grateful Dead records, dabbling in painting (a pursuit she took seriously enough to later land a gallery exhibition in Oklahoma City) and trying her hand at writing short stories. When she became intrigued by the notion of writing songs, Crain reworked a series of stories she’d written while taking creative writing classes at Oklahoma Baptist University.

Ultimately, the movement in the songs of Kid Face is purposeful, as Crain searches for herself and her place in the universe. Think of Kid Face as a key early chapter in what promises to be an extended, enthralling personal saga. Woody would have been proud. samanthacrain.com

Production Notes on the making of ‘Kid Face’

All analog recording:

All tracking was done on Quantegy GP9 2″ tape

Recorded on a Studer A827 24-track tape deck

Mixdown was done on ATR 1/2″ tape

Recorded on an Ampex ATR 102 2-track tape deck

Console:

Neotek Elite (custom 40-channel)

Natural echo chamber used

Signal chain for most lead vocal tracks:

mic:  Josephson c715 in cardioid

mic pre:  DW Fearn VT-2

compressor:  Purple Audio MC77

Otari mx5050 1/4″ tape deck used for tape delay on lead vocals

Piano:

1904 Story & Clark Upright

recorded in stereo with Shoeps cmc6 with mk21 wide cardioid capsules

 

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