I’m in New York, staying at Lauri Spitfire’s… it’s been a blast and I have no time to really talk about it right now, but hey guess what, I got to meet Elliott Smith last night! And saw him play, which was fantastic, AND saw Danielle Howle play at the same show. The Drag City revue on Thursday went great… maybe I’ll tell ya all about it later. I can’t tie up Lauri’s phone line too long here! …I went and saw the Waco Brothers at the Bloodshot barbecue this afternoon (after visiting my poor hospitalized Holler Sister) and I’m about to head over to the Knitting Factory to see Plush.
A review of my Ancestors single that appeared in the U.K. music tabloid MELODY MAKER…
Edith Frost has a mesmerising, ghostly presence. Her voice is fragile and sickly — it feels at first a bit like a cold hand on your shoulder. It’s funny that she should be singing about ancestors, because she has a voice from the past, a gentle, curious oddity from another time and culture. Sometimes she sounds like the memory of a century old Sioux spreading terrible wisdoms. Sometimes she sounds like the madwoman in the attic. Actually, she’s probably a wee woman from Partick who runs a laundrette, but then music is alchemy, isn’t it?
Drag City Revue with 17 different bands playing 15 minutes each. Bands included Aerial M, Appendix Out, Chestnut Station, King Kong, Will Oldham, Royal Trux, Smog, Mayo Thompson, USA, and emcee Neil Hamburger
My band: Jim O’Rourke (guitar); David Grubbs (keyboards); David Pajo (bass); Rian Murphy (drums)
Photo by Luke J. Ferdinand.
A review of CALLING OVER TIME by Eddie Huffman that appeared in the September/October 1997 issue of Option magazine…
The timbre of Frost’s voice holds its own with Margo Timmins of Cowboy Junkies, Liz Phair and Barbara Manning. The lonely desperation and emotional struggles of the lyrics make Frost a peer of Lisa Germano. The murky, acoustic production suits Frost’s songs and voice. So why doesn’t Calling Over Time work the way a Lisa Germano or Liz Phair record works? Because it’s too quiet, the songs lack strong melodies or structure, and the whole thing just sounds too damn dreary and offhand. Or maybe not dreary enough: This music, at worst, sounds merely dim, not truly dark. Only on the solid final cut, "Albany Blues," (vaguely reminiscent of Bobby "Blue" Bland’s version of "St. James Infirmary"), does Frost break out of her mildly downcast mode and launch into something more direct and memorable.
I guess I’ll finally upload this thing and take it live… I’m busy getting ready to leave for New York tomorrow night to play at the Drag City showcase at CMJ. Should be a lot of fun. I’m hoping to catch Elliott Smith’s show while I’m out there… I actually wrote that guy a fan letter last week! :-)
I stayed up real late watching the news. It’s so sad and tragic and unbelievable — how could this have happened?? It was a stupid thing, something that could have been avoided. How awful…
Played at the Terrace (Univ. of Wisconsin) with Mollycuddle opening
My band: Michael Krassner (guitar)
Hello… welcome to my online diary. Feel free to read all you like, though I’m not exactly doing this for *your* benefit… it’s mainly for myself, so I can keep track of major events. I have a bit of a bad memory for events… uhh… and people, names and faces… okay I just have a shitty memory, period. Without my computer I’d be a woman without a past! And, you know I have such a one-track mind… why not put it on the web, I’m thinkin’? It’ll probably be nonsense to 99% of my viewers, but so be it.
Appeared in the August 27 – September 2, 1997 issue of The Onion…
Edith Frost will never in a billion years hear her songs played on mainstream country radio, but listen to her recent Calling Over Time, and you’ll hear some of the most emotionally honest country-influenced music around. Spare and simple, with no insipid cornpone to dumb things down, her songs are what the genre should aspire to be.
Well, it’s just been a long, long, slow, hot summer. I got back from touring at the end of June — there have been a few gigs since then but mostly I’ve just been working at my straight job, and spending most all my free time working on new music, writing new songs and doing some recording with Michael Krassner over at Truckstop. (Mike was one of the prime conspirators in the making of the Dutch Harbor soundtrack, by the way.) You can expect to hear some of this work on my next album though I can’t say when that’s going to be finished. The Truckstop tunes sound amazing but I want to do some songs with Jim O’Rourke as well, in his studio.
A review by Jason Zengerle that appeared in Salon‘s column Sharps and Flats…
Save for her gender and melancholy, the 31-year-old Edith Frost doesn’t have much in common with the doe-eyed celebrations of womanhood currently basking in the glow of media adoration. Even though Frost’s achingly beautiful debut album, Calling Over Time, is an exercise in heartbreak, it’s remarkable for the fact that it never once manages to trip the treacle-detector.