| 1. Break Down |
| 2. Enjoy The Ride |
| 3. It's About Time |
| 4. One Way |
| 5. Judgment Day |
| 6. Monopoly |
| 7. One Night Stand |
| 8. I Need Love |
| 9. Jeannie's Song |
| 10. Quiet Me |
| 11. Long Ride Home |
| 12. Hey Now |
Editorial Reviews
About the Artist
When Terri Hendrix released her last album, 2002’s The Ring, it marked the end of the first part of a long and rewarding creative journey that propelled the San Antonio-born, San Marcos, TX-based songwriter to some of the most celebrated performance venues in America, including the Austin City Limits Music Festival, Live at Mountain Stage and the Kerrville, Philadelphia, and Newport Folk Festivals. Supported by a dedicated grassroots fan base, Hendrix –who studied opera on scholarship at Hardin-Simmons University before dropping out to milk goats for guitar lessons and hone her chops on the central Texas open-mic circuit – has bypassed label offers in favor of releasing such albums as her 1998 breakthrough Wilory Farm and 2000’s Places In Between on her own Wilory Records. Her one-of-a-kind mix of folk, pop, country, and jazz-inflected roots rock has long been lauded by publications ranging from Mojo to Texas Monthly to Billboard and London’s The Guardian, but The Ring was the album that raised the bar.In doing so, The Ring quickly outsold all of her previous releases without costly trappings associated with most major distributors. In addition, Performing Songwriter declared it "thoroughly captivating" and one of the 12 best independent releases of the year. In the two years following The Ring’s release, between her relentless tour schedule and co-writing a Grammy-winning instrumental for the Dixie Chicks ("Lil’ Jack Slade"), Hendrix took some time off for a long, hard look at her life, career, and music. "It was time for a reality check –personally, with my business, and with my music," she says. "I had achieved my goals and I was restless for new beginnings." She was inspired in no small part by the Zen-like task of stripping away the layer upon layer of bad wallpaper that smothered her newly purchased, fixer-upper home in ducks and polka-dots. The raw beauty (and patches of just plain raw) she found hidden beneath mirrored the personal themes she was simultaneously exploring in her writing. "I realized that ‘wallpaper’ is everywhere," she explains, "from the news on the TV and radio to the way we all hide our true feelings from ourselves and the rest of the world on a daily basis. The more wallpaper I peeled away in my home, the more obsessed I became with stripping it away from my life, too, and writing about the truth underneath it all." And so began her brand new journey, the first chapter intriguingly titled –what else?—The Art of Removing Wallpaper.
If you've heard tracks like "Breakdown" and "Monopoly," you know that Terri Hendrix has some sharp, incisive views. She has the ability to cut through the chatter and get right to the heart of what's wrong in our world today. But if you listen to the album cuts that haven't been released to radio and podcasts, tracks like "It's About Time" and "Judgement Day," the lyrical content becomes leaden and declarative. She feels the need to spell everything out, like she can't quite trust her audience to follow what she's saying and come to their own conclusions. It's as though she lapses into a professorial mentality, lecturing to students who are hunched over their composition books taking notes.
Sonically, this album is sterling. Hendrix doesn't abandon the guitar-driven Texas country sound that has characterized most of her music to date. But she does incorporate a little more of a peppy pop aspect that steers her ringing voice into more Mariah and less Loretta Lynn. Reading over what I've just written, I realize that could sound like an insult, but I don't mean it that way. Rather, Terri uses the mainstream like a buffet, picking and choosing what serves the very individual hybrid sound she's trying to create.
Late in the album, she slackens on the political drive, and a sturdier, more organic lyric crive comes through. I admit to not liking Luka Bloom's version "I Need Love" from a few years ago, but Terri Hendrix makes it her own, and it works well. "Quiet Me" and "Long Ride Home" were both written by other artists, but Hendrix makes them her own, adding a welcome dose of personal introspection at the end of the disc.
Fans of Terri Hendrix will find plenty to like about this CD. So will fans of indie folk and lo-fi country. Even the weaker political songs have good musical resonance, including some violin and cello, and supporting vocals from Ruthie Foster. This album isn't a future classic, and it isn't even going to be remembered as one of Hendrix's better efforts. But it is going to be heard and remembered, and that's what really matters.
When Terri Hendrix released her last album, 2002’s The Ring, it marked the end of the first part of a long and rewarding creative journey that propelled the San Antonio-born, San Marcos, TX-based songwriter to some of the most celebrated performance venues in America, including the Austin City Limits Music Festival, Live at Mountain Stage and the Kerrville, Philadelphia, and Newport Folk Festivals. Supported by a dedicated grassroots fan base, Hendrix –who studied opera on scholarship at Hardin-Simmons University before dropping out to milk goats for guitar lessons and hone her chops on the central Texas open-mic circuit – has bypassed label offers in favor of releasing such albums as her 1998 breakthrough Wilory Farm and 2000’s Places In Between on her own Wilory Records. Her one-of-a-kind mix of folk, pop, country, and jazz-inflected roots rock has long been lauded by publications ranging from Mojo to Texas Monthly to Billboard and London’s The Guardian, but The Ring was the album that raised the bar.In doing so, The Ring quickly outsold all of her previous releases without costly trappings associated with most major distributors. In addition, Performing Songwriter declared it "thoroughly captivating" and one of the 12 best independent releases of the year. In the two years following The Ring’s release, between her relentless tour schedule and co-writing a Grammy-winning instrumental for the Dixie Chicks ("Lil’ Jack Slade"), Hendrix took some time off for a long, hard look at her life, career, and music. "It was time for a reality check –personally, with my business, and with my music," she says. "I had achieved my goals and I was restless for new beginnings." She was inspired in no small part by the Zen-like task of stripping away the layer upon layer of bad wallpaper that smothered her newly purchased, fixer-upper home in ducks and polka-dots. The raw beauty (and patches of just plain raw) she found hidden beneath mirrored the personal themes she was simultaneously exploring in her writing. "I realized that ‘wallpaper’ is everywhere," she explains, "from the news on the TV and radio to the way we all hide our true feelings from ourselves and the rest of the world on a daily basis. The more wallpaper I peeled away in my home, the more obsessed I became with stripping it away from my life, too, and writing about the truth underneath it all." And so began her brand new journey, the first chapter intriguingly titled –what else?—The Art of Removing Wallpaper.
The Art of Removing Wallpaper,Terri Hendrix,Wilory Records,Contemporary Folk,Country,Eclectic contemporary folk music with attention to detail and expressive lyrics. A light touch of country gives it an earthy, personable feel, echoing Dar Williams, Shawn Colvin and Michelle Shocked,Singer/Songwriter
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The Art of Removing Wallpaper
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ASIN: B00028CJK4 Release Date: 2004-06-08 |
Tracks:
- Break Down
- Enjoy The Ride
- It's About Time
- One Way
- Judgment Day
- Monopoly
- One Night Stand
- I Need Love
- Jeannie's Song
- Quiet Me
- Long Ride Home
- Hey Now
Customer Reviews:
This is the BEST.......2006-06-23
Some Very Good Songs on a Misfire Album.......2005-12-18
If you've heard tracks like "Breakdown" and "Monopoly," you know that Terri Hendrix has some sharp, incisive views. She has the ability to cut through the chatter and get right to the heart of what's wrong in our world today. But if you listen to the album cuts that haven't been released to radio and podcasts, tracks like "It's About Time" and "Judgement Day," the lyrical content becomes leaden and declarative. She feels the need to spell everything out, like she can't quite trust her audience to follow what she's saying and come to their own conclusions. It's as though she lapses into a professorial mentality, lecturing to students who are hunched over their composition books taking notes.
Sonically, this album is sterling. Hendrix doesn't abandon the guitar-driven Texas country sound that has characterized most of her music to date. But she does incorporate a little more of a peppy pop aspect that steers her ringing voice into more Mariah and less Loretta Lynn. Reading over what I've just written, I realize that could sound like an insult, but I don't mean it that way. Rather, Terri uses the mainstream like a buffet, picking and choosing what serves the very individual hybrid sound she's trying to create.
Late in the album, she slackens on the political drive, and a sturdier, more organic lyric crive comes through. I admit to not liking Luka Bloom's version "I Need Love" from a few years ago, but Terri Hendrix makes it her own, and it works well. "Quiet Me" and "Long Ride Home" were both written by other artists, but Hendrix makes them her own, adding a welcome dose of personal introspection at the end of the disc.
Fans of Terri Hendrix will find plenty to like about this CD. So will fans of indie folk and lo-fi country. Even the weaker political songs have good musical resonance, including some violin and cello, and supporting vocals from Ruthie Foster. This album isn't a future classic, and it isn't even going to be remembered as one of Hendrix's better efforts. But it is going to be heard and remembered, and that's what really matters.
She's the nicest person in the world........2004-11-11
Totally engaging.......2004-10-20
Terri Rocks.......2004-10-13
Music Album:
- The Back of Your Mind
- The Bristol Sessions, Vol. 1
- The Complete Mercury Recordings [Original recording remastered]
- The Dust Bowl Symphony
- The Hard Game of Love
- The Very Best of Jack Scott
- Twenty Year Blues
- Unchained//Son of the South [Import]
- Untold Stories
- Watching Life Through a Windshield
