"I'm awed by this album! It's absolutely beautiful!" ~ Steve Jerrett, Music Director, KOPN FM
"This album captivates from beginning to end" ~ Gerrit Vermeij, Muziekvenster.nl
"Sweet-voiced but tart-tongued and no-nonsense, Auld, from California and East Nashville by way of Australia, is a singer, songwriter and storyteller deluxe. She’s touring with a new CD, “Come Find Me.” One of the best country singers anywhere, Auld is a troubadour who takes no guff while singing songs such as “You Wish” and “Nails,” but she can be tender as well as “Beautiful Garden” proves, and “The Butterfly Effect” is about as good as a common sense anthem gets." My San Antonio.com Aug 18, 2011
Don’t mistake the title of Audrey Auld’s Come Find Me as any kind of shy retreat. Call it what she does: an “invitation.” “Come find me, come find me, I want to be found,” she offers on the album’s winsome opening waltz, then seals the deal with an offer hard to refuse: “You’re welcome to glorious me.”
She sings it sweetly, but with a flirty flash of unmistakable, cocky cheek — almost a dare, really, as befits a fiercely independent artist who’s been self-releasing albums for more than a decade now under the tell-all banner of “Reckless Records.” Simply put, Audrey Auld does not do coy. Songwriter’s songwriter Fred Eaglesmith calls the native Tasmanian “one of the most honest original artists I know,” and, true to form, Auld is candidly forthright in her pride over Come Find Me, her fifth full-length solo album and ninth release over all. “I’m really keen to show it off,” she enthuses.
From the 5-star review in the UK’s Country Music People magazine: “Audrey Auld is an amazing talent. Like a special flower in your garden. Her songs are a kind of beacon of hope, from a woman who cares, in this deeply cynical world we are all stranded in. You need to relax more, play this album.” ~ Paul Riley
Auld recorded Come Find Me with producer Mark Hallman (Tom Russell, Eliza Gilkyson, Hot Club of Cowtown) at the storied Congress House Studio in Austin, Texas. Although she’s lived mostly in East Nashville (after a 3-year stint in California) since moving to the U.S. back in 2003, Auld has had a thing for the Lone Star State for years — even naming one of her albums Texas. Not surprisingly, she calls working with Hallman — long on her list of dream producers — “a dream come true.”
“It was the happiest time I’ve ever had recording,” Auld continues. “No stress, no problems. I wanted to focus on the performance and work with someone who would get the best out of me, and we wanted to make the best record I’ve ever made. I think we succeeded on both counts.”
The end result is an album that’s equally appealing both as an introduction to Auld for newcomers and, for veteran fans, as the latest and greatest in a long line of acclaimed releases going back to 1999’s Looking Back to See, the country duets album she cut with Australian songwriter/guitarist/producer Bill Chambers. Auld made an auspicious solo debut with the following year’s The Fallen, which nabbed her a “Best Country Album” nomination in the Land Down Under, while subsequent releases like 2003’s Losing Faith, 2005’s Texas and 2006’s Lost Men & Angry Girls secured her status on the Americana music map right alongside such notables as the aforementioned Eaglesmith, Kevin Welch and Kasey Chambers. Her dozen new songs on Come Find Me find her confidently moving from folk and country to swinging jazz, rock and even an intriguing bit of talking-blues-style rap (on “Petals”). That it all holds together as a seamless whole is testament to both her impressive artistic range and seasoned, devil-may-care confidence. “For me, it’s more about the song than the genre,” she says matter of factly.
Subject wise, the songs are equally diverse, ranging from the surprisingly tender (for Auld!) “Just Love,” which she co-wrote with her husband, former Navy sailor-turned-“romantic”-plumber Mez Mezera, to the conversely snarling rocker, “You Wish.” It’s also chock-full of sincere, heartfelt tributes, with loving shout outs to her peers (Jon Dee Graham in “Petals” and Mary Gauthier in “Orphan Song”), civil rights icons Rosa Parks and Martin Luther King (“The Butterfly Effect”), her beloved homeland (“Tasmania”) and even, with “Bread and Roses,” the inmates of San Quentin Prison, where Auld has performed and teaches songwriting workshops. And what would an Audrey Auld album be without a Texas- (if not Australia!)-sized helping of her sassy humor? In “Forty,” the wickedly funny portrait of the artist as a hard-traveled and hardened middle-aged survivor, Auld observes with patented self-deprecating snark, “I got a little snow on my roof, I’ve learned to speak half the truth / The good die young, here’s the proof — I’m forty.”
“These songs represent where I am in my life and where I am on the Earth,” Auld explains. “This collection of songs reflects the people I’ve met in my travels, the awareness of life passing, and my reflections of being in America. And I think it’s also about the state of my heart, as a happily married woman. I’m very content with where I’m at right now - troubador, gardener, chicken farmer.”
That’s the Audrey Auld you’ll find on Come Find Me. Who can fault the satisfied Tassie girl for feeling so, well, glorious?
Click the links below to read online reviews of 'Come Find Me'
Review by Broken Jukebox
Review and Podcast by CountryHQ.com
Review by InDaily's Blog
Dutch review by AltCountry Forum
Review by Sue Jarvis, Capital News
Review by Sam Pierre, Sweet Songs Never Last Too Long (French)
Review by Johan Schoenmakers, AltCountry Forum (Dutch)
Review by Gerrit Vermeij, Muziekvenster (Dutch)
Review by Firdaposten (Norwegian)
1. Come Find Me 2:40
2. Just Love 3:22
3. Tasmania 2:52
4. Forty 3:46
5. Petals (for Jon Dee) 3:09
6. Orphan Song (for Mary) 1:24
7. Beautiful Garden 3:05
8. You Wish 4:28
9. Tree 3:29
10. Nails 2:00
11. The Butterfly Effect 4:08
12. Bread and Roses (for San Quentin) 2:59
Reckless Records RECK011 2011
Produced by Mark Hallman
Recorded by Andre Moran at the Congress House Studio, Austin, TX
Mixed and Mastered by Mark Hallman
Instruments played by Mark Hallman, except where noted.
Audrey Auld - Vocals, guitar
Come Find Me:
Andre Moran - electric guitar
Marty Muse - pedal steel
Anne McCue - harmony vocal
Rick Richards - drums
Michael Ramos - piano
Chris Maresh - fretless bass
Warren Hood - violin
Brian Standefer - cello
Anne McCue - harmony vocal
Phil Hurley - electric guitar
DropCard design by J. William Myers
Photo by Robin Dodd
Lyrics available from AudreyAuld.com
© Audrey Auld-Mezera 2011
All songs written by Audrey Auld (Audrey Mezera Music/APRA-ASCAP)
Orphan Song (for Mary) - Terry McArthur & Audrey Auld
Just Love - Mez Mezera & Audrey Auld
COME FIND ME
This is an invitation to me; a waltz with a Celtic flavour written on a train rocking along from Winnipeg to Churchill, Manitoba in Canada, going to see Polar bears. Warning: do not play this song to polar bears.
A beautiful love song, being my husband Mez's first co-write. He sent me a very romantic email one Valentine's Day, thus the first verse was created. I say "just love" to my rescued dog, Gypsy, and stroke her to calm her when she's fearful or aggressive. I think it helps her trust in love. I think it's helped me too as I never used to write love songs!
Acoustic mountain music - Mt Wellington that is. The Apple Isle is the home that's in my bones. I'm so fortunate to have grown up in a land that boasts more trees than people, in a house filled with music and enquiry. I'm a proud representative of Tasmania all over the world.
A swinging jazz song that will keep me forever young. I could add a verse every decade. This track features a very cool studio band, including Michael Ramos on piano. He’s toured with Lucinda Williams, John Mellencamp and Patty Griffen. His playing moves me because it reminds me of my Dad’s style – under-played and groovin’.
PETALS (For Jon Dee)
An Aussie rap song for a Texan icon. Jon Dee Graham is an Austin legend; he's a unique writer, singer, musician and entertainer. He's a cat with 99 lives who can't kill himself no matter how hard he tries. He survives drugs, booze, car wrecks, falling off ladders, ruptured organs and busted hearts. He roars through it all with poetry and passion.
ORPHAN SONG (For Mary)
A pure a cappella song for Mary Gauthier. Sydney writer Terry McArthur gave me the lyrics after meeting Mary, hearing her story and listening to her songs. I read the lyrics and immediately it came to me as an entire song. I feel a to-the-bone yearning and an open-heart-calling when I sing this song.
This is a gentle ballad for the midnight hour. It was inspired by a garden in Austin which is also a private music venue, the Rock Garden. It's a labour of love, sweat and beers and literally grows more beautiful as nature prevails and the magic of music imbues the stones. Gardens, given the time and opportunity, offer solace, meditation, peace and answers.
Nothing beats exorcising a bad mood like writing a rock song. This one came from a sleepless night, a troubled mind and a search for the truth. As a writer, it's good to lean into the feeling, embrace the hurt and create a jewel out of a crap situation.
A pretty song with a '70s country feel, some pedal steel and the lovely voice of Anne McCue singing harmony. A few years back the TV news covered major flooding in India. One shot depicted a woman huddled on a rooftop with flood water up to the eaves. The shot was framed by a massive tree. I thought, "I'd like to be the tree in that situation." This song is influenced by the Buddhist philosophy. Plants and animals are so very un-self-conscious. Humans, on the other hand, with the advent of mirrors and cameras, have become very self-focused, whereas thinking of and helping others is what ultimately serves us well.
In my head I'm Johnny Cash when I sing this song and I hear Luther Perkins picking guitar. It’s country music - three chords and the hard-won truth.
THE BUTTERFLY EFFECT
The power of groove, the power of standing your ground. Since relocating to Nashville I've delved into the black history of the South; a story of suffering, greed and cruelty giving rise to faith, courage and solidarity. A great American trait is the belief that the individual can make a difference and effect change. This song celebrates the courage and conviction of Rosa Parks and Martin Luther King to speak up in the face of bigotry, racism and fear, to simply hold firm and change the course of history.
BREAD AND ROSES (for San Quentin)
This acoustic folk song was inspired by an impending visit to San Quentin Prison, made possible by the Bread and Roses organization in California. One of the various rules laid down by the prison was to not give anything to inmates. I realised I could give the inmates a song, and it was extremely moving to sing them this song and witness their responses. Music connects us all and lifts the spirit. Proceeds from digital sales of this song benefit BreadandRoses.org.