Jennifer Greer | Hey Tide

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United States - Mass. - Boston

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Pop: Piano Pop: Quirky Moods: Type: Vocal
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Hey Tide

by Jennifer Greer

Piano-driven drop dead gorgeous vocals with tendency toward serious groove! 'Hey Tide' charts the path of heartbreak to healing: grief, recovery and the emergence of hope; its also about the power of music to transform, with the moon and tide as a guide.
Genre: Pop: Piano
Release Date: 

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  Song Share Time Download
1. Say What You Want
4:08 $0.99
2. All These People
3:50 $0.99
3. Crater
4:32 $0.99
4. Maple Tree
3:45 $0.99
5. Mother Lode
2:52 $0.99
6. Pull Me
5:10 $0.99
7. Hey Tide
3:59 $0.99
8. Pirate Ship
2:54 $0.99
9. Wintered Over
3:49 $0.99
10. New Ground
4:07 $0.99
Downloads are available as MP3-320 files.


Album Notes
Jennifer Greer: Vocals, Piano, all background vocals
Jon Evans: Electric Bass
Dave Mattacks: Drums and all percussion
Duke Levine: Electric Guitar
Peter Adams: Keyboards and Synthesizer

Produced by Tom Dube (*there is an accent on the 'e' of his name*)

Engineered and Mixed by Tom Dube
Live band recordings by Dan Cardinal & Matt Malikowski at Dimension Sound Studios, Jamaica Plain, MA
Guitar, Keyboards & Harmonies recorded by Tom Dube at Playtime Studio, Somerville, MA
Mastered by Ian Kennedy at New Alliance East Mastering, Cambridge, MA
copyright 2014



to write a review

Sandra Miller

Add this to your collection of sublime female singer-songwriters
I love Rickie Lee Jones, Joni Mitchell, Shawn Colvin, and now Jennifer Greer. Her lyrics are rich and soulful. The music gets deep inside you. "All These People" is my favorite track. It's catchy and smart and a perfect example of how keenly Greer can merge music and story. A gorgeous collection.

Marc Zegans

Greer's Defining Record and the Perfect Break Up Album
If Jennifer Greer had been playing the songs on Hey Tide in Southern California in the early 70s, David Geffen
would have signed her. Jennifer’s work on this outward looking break-up album, swims happily in
the company of gifted, introspective, heartful, singer-songwriters who came of age during that era and walked freely on the paths laid by Joni Mitchell, Carol King and Janis Ian. Hey Tide’s opening track, Say
What You Want, in tone, voice and production style took me back to Karla Bonoff’s eponymous debut
album, a gorgeous recording whose songs sound as fresh today as when they were released in 1977.

Greer’s work is personal, intimate, quirky, vulnerable and thoughtfully expressive. She’s learned through hard
experience the craft of songwriting, and how to bring her gorgeous voice to the fore in this defining album. Her
piano forward style bears analogy to and historical antecedent in Wendy Waldman’s, album and title song, The
Main Refrain (1975), but Greer’s voice is a more capacious, honeyed and subtle instrument, and her piano playing, laden with lower register hooks, is distinctive, engaging and decisive. Greer never merely comps; the piano is a vital part of her expressive persona, her funky lines making her work instantly her own, defeating our expectations about women singer-songwriters, sitting at pianos, and bringing vitality to the tradition.

So now, what about the break-up? It animates every song in the album: “The White of the flower, dances in my eyes/ pearls of reason smashed to glory/you don’t know the other side, from the album’s title track; “You took a razor to my mouth, in "Wintered Over,” And maybe there’s no way to get you to the other side…but my heart is a river and the stones spell your name, in the sublime, “Pull Me.” But not as the delightful, catty, bruised, pop revenge offered up in Lilly Allen’s
brilliant debut album, Alright, Then. There’s something deeper happening in Hey Tide, much deeper. This isn’t a young woman, fresh out in the world, learning how to smile after the loss of her cheating boyfriend, Hey Tide is a call to the gods from
a woman who has loved and lost before, now grieving the impossible loss of the one she had “waited for.” Greer’s songs are partial, partisan and don’t mince words. As Dylan did in Blood on the Tracks, Greer gives us the relationship that mattered, and her passionate struggle to move beyond it, in all her fullness. It’s the album that we want to hear when we’re moving on, the one we want to listen to when we want to remember what we’ve come through, and the one we want to play just because of that voice.

You’ll find your home in this album the more you listen, and as you do, take a moment to soak in the restrained backing tracks by guitar master Duke Levine, which lend subtle texture and emotional depth, and a sensitive male presence to the proceedings, perhaps most wonderfully in a barely perceptible harmonic at the end of the third bar in Pull Me. When you hear that note, you know that Greer will find the light and love again.

Kythe Heller

fiercely attentive and exquisite subtlety
What is extraordinary about the songs on Jennifer Greer's new album "Hey Tide" is the fiercely attentive and exquisite subtlety she brings to every note of her performance. One trusts her authenticity immediately: there is no bullshit interfering with the sexy raw sensitivity of her voice. Like a traditional soul diva shaman, Greer's training is also hard-earned and is based on an acute receptivity to the vast emotional ranges at play in her life , and she is capable of undergoing and creating gorgeous melodies out of the heart-shattering experiences which we all know so well and which might, without this music, be simply unendurable. (Listen to Maple Tree and Crater, for starters.) These songs have a rocky wildness to them, a soulful energy that will not merely allow you to wallow but will accompany you through to the other side of the river and beyond.) If, as the philosopher Simone Weil writes, “Attentiveness is the natural prayer of the soul,” then Greer's music is in every respect a soul-infused, hard rock mountain moon ballad bird flight prayer that will soar us out of ourselves and make us feel every cell of our bodies fully at last.