CD Every Night Fight for Your Life (CD 6676469),
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Every Night Fight for Your Life
1. Aren't You the One
3. Stakes Is High
4. Girl on the Train
5. Fire for You
7. Take Me Down
9. Funeral Date
10. Fresh Young Mouth, The
11. 1,000 Blue Eyed Girls
13. Crushed Out
Manufacturer Part Number (MPN): 5
Chris Mills; Chris Mills; Brian Deck
Personnel: Chris Mills (vocals, acoustic & electric guitar, organ, bass); Edith Frost (vocals); Steve Poulton (vocals, melodica, bass); Charles Kim (electric & steel guitar, accordian, melodica); Brian Deck (electric guitar, piano, organ, synthesizer, drums); Brennan Ovendorf (electric guitar); Deanna Veragona (cello); Matt Reed (piano, Moog); Ryan Hembrey (acoustic bass); Glen Kotche (drums).
Engineers: Mike Hagler, Brian Beck, Mark Schwartz, Chris Mills.
Recorded at Kingsize Soundlabs & Uber Studio, Chicago, Illinois.
Personnel: Chris Mills (vocals, acoustic guitar, electric guitar, organ); Steve Poulton (vocals, melodica); Edith Frost (vocals); Charles Kim (electric guitar, accordion, melodica); Brian Deck (electric guitar, piano, organ, synthesizer, drums); Matt Reed (piano, organ); Ryan Hembrey (upright bass); Glen Kotche (drums).
Audio Mixer: Brian Deck.
Recording information: Kingsize SoundLabs, Chicago, IL; Uber Studio, Chicago, IL.
On the one hand, Chris Mills' sometimes-rough voice and general nods to everything from Beatles pop/rock to alt-country moodiness and twang suggest a purist in full effect; on the other hand, Mills and his backing musicians have something which many neo-traditionalists don't on this, his first effort. Namely, a sense of fire and fun -- even if a song like "Delaware" sounds like something a bar band could create on a hot night, the point is more that it's like the best bar band in the universe, tackling the song and ripping through it. Mills lives up to the accompaniment easily and it helps capture the full atmosphere of Every Night Fight for Your Life, where many things combine to create something beyond the obvious influences. It doesn't hurt that Mills' co-production with multi-instrumentalist Brian Deek actually has a sense of depth and range; without being overtly commercial, it's clearly a studio-created effort that doesn't feel the need to be lo-fi. Mills' gentle acoustic parts aren't backed with tape hiss (though it's consciously used, and beautifully so, on the piano-led "Pontiac"), his voice comes through clearly, and with the other performers the end results are full-bodied rather than apologetic. That wouldn't mean much if the songs themselves weren't much, but Mills has an ear for unexpectedly sharp images (from "Funeral Date": "She reads Final Exit seven times a day") and even sharper guitar parts. If that's his lead on the blasting "Fire for You," the man is terribly underrated on that front. Turning from the less-than-a-minute solo acoustic "Girl on a Train" to the Ronettes-quoting "The Fresh Young Mouth," Every Night ultimately comes across as an intriguing alternative to Guided by Voices -- genre-mixing without effort, without wearing out its welcome, and with a clear sense of when less can be more. ~ Ned Raggett
Option (3-4/98, p.98) - "...The record is cranky and raw, a knowing work that seems to be influenced equally by both Merle Haggard and Red Red Meat..."
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