Stephanie Hatfield | Traces

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Rock: Adult Contemporary Folk: Folk-Rock Moods: Solo Female Artist
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Traces

by Stephanie Hatfield

Hatfield's 3rd album reveals a vast space of abandonment and rue. And yet it is undeniably beautiful, not in spite of but because of its evolution—and the traces of stories trembling in the air, ready to be spoken to those who dream, imagine, and listen.
Genre: Rock: Adult Contemporary
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  Song Share Time Download
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1. Leigh's Song
4:11 $1.29
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2. Stay Lover Strong
4:13 $0.99
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3. Season Too Soon
4:18 $0.99
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4. Lost from Me
4:48 $0.99
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5. Talking to the Dead
4:46 $1.29
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6. Taste the Air
4:09 $0.99
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7. Wrap My Limbs
4:41 $1.29
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8. Sold and Stolen
2:57 $0.99
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9. Confession
5:35 $0.99
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10. Exposed
4:30 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
In the photograph on Stephanie Hatfield’s third and latest album cover, Traces, Hatfield, painted by sunlight, looks over her shoulder into the dark, dreamy, and decrepit interior of an abandoned Detroit factory. Peeling metal pillars, grids of small, broken windows in rusty panes, and wooden beams with worn-away gray paint reveal a vast space of abandonment, forgetfulness, and rue. And yet it is undeniably beautiful, not in spite of but because of its evolution—and the traces of stories trembling in the air, ready to be spoken to those who dream, imagine, and listen.
It’s a perfect symbol for Hatfield’s latest effort. “I had no idea what to call my third album, so I just referred to it as ‘Tres,’” she said. “Which became ‘Trace,’ then ‘Traces.’ This time, so many of my songs came from traces of images and dreams. I took inspiration from the trace, and then made more of it.”
She did so not just by spinning songs, but by summoning a new sound for them marked by Latin influences, including Mariachi guitar and trumpet, layered with “my more folk rock heritage, in the style of Calexico.” It’s dark and luminous, moody and transcendent. Traces differs from Hatfield’s second album, The Tracks, which she says was “more rock, more walls of sound, with a prominent electric guitar. Traces is more about a journey, a sophisticated experience, as opposed to more power.”
It’s also the first album she took the lead on producing. And what are some of the qualities is she most proud of?
Integration. “We recorded it live in the studio, most of it, in ten hours. And apart from the trumpet and mariachi guitar, which we added later, all of the musicians played their instruments at the same time, which was very interactive. You can feel it.”
And collaboration. “I had the pleasure of working with two member’s of Santa Fe’s Mariachi Sonidos del Monte, Eric Ortiz on trumpet, and Santiago Romero on guitar.” Her good friend from San Antonio, Texas, R. Bruce Phillips, played keys and piano. Upright bass player Noah Baumeister “is a gem,” she says, and Arne Bey, “who has been drumming since twenty years before I was born,” played the drums. And of course, her husband Bill Palmer on lead guitar.
Stephanie Hatfield and Bill Palmer produced Traces and recorded it at Frogville with Palmer engineering. Mastered in LA by Brian Lucey of Magic Garden Mastering. Hatfield will be performing songs from Traces at festivals and special events. Learn more at stephaniehatfieldmusic.com.

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Reviews


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Grit

Spans time and place.
This is a five-star album. If I hadn’t clicked four stars, you’d think I was a shill and wouldn’t bother to read this. So HAH. Now, about the album. Stephanie’s trademark pipes are slow and moody, dripping with great depth and emotion. She’s not afraid to take a note and hold it - something rare these days. I think we’ve all had enough of warblers. I love how Bill Palmer’s guitars are more muted throughout most of this album - Stephanie is in the forefront, but the guitar foundation is still strong. Less ‘in your face’, more ‘slipping in the seat beside you’. The trading of subtleties works very well, IMHO. The addition of mariachi flavors takes me back to West Texas, before it turned into a tourist spot. I’ve worked in Big Bend, I live in Santa Fe … this music is *inextricable* from place. I hear the desert, the border culture, woven in and through this entire work. This music might just be the miracle that cures a mezcal hangover (and if you don’t know how much mezcal you have to drink to GET a hangover, you need to buy this album and visit the Southwest as soon as possible).

This is proper driving music for the hours you spend going places in the West. That’s my highest recommendation.
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