Wendy Wall | Two Birds

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Folk: Folk Pop Rock: Acoustic Moods: Solo Female Artist
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Two Birds

by Wendy Wall

A mix of poetry and rhythm, intimacy and nuance, heartbreak and transcendence, innocence and wisdom, delivered in a voice "as deep and seductive as the still of midnight" Called "shamanic and holy" Two Birds has many threads to explore
Genre: Folk: Folk Pop
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  Song Share Time Download
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1. The Long Goodbye
3:43 $0.99
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2. Water Water
5:29 $0.99
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3. The February Thaw
3:27 $0.99
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4. The Last Days of Winter
3:04 $0.99
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5. Time to Say Goodbye
3:41 $0.99
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6. Healing Hands
4:45 $0.99
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7. Two Birds
2:35 $0.99
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8. Every Now and Then
3:02 $0.99
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9. Time Traveler
3:48 $0.99
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10. Fall From Grace
4:51 $0.99
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11. By the Light of the Moon
2:37 $0.99
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12. When a Wild Thing Goes Free
4:54 $0.99
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13. When My Father Was Tall
3:40 $0.99
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14. Birdsong
1:40 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Listening to Wendy Wall's music is like appreciating a particularly lustrous fabric weave. Sesac Magazine hailed it “pure talent…timeless music…soul baring lyrics and goosebump inducing vibrato…depth and hard won authenticity.” Fans have called it “wonderfully philosophical, lusciously listenable music” and called Wendy “one of our greatest national treasures, and one of our best kept secrets”

Wendy Wall is a singer, songwriter, arranger, producer, and independent recording artist.
Wendy's self-titled debut album on the SBK/EMI label, produced by Rob Fraboni, was a New York Music Award winner and seven-fold nominee, including nominations for Best Female Vocalist and Best Songwriter.

Wendy has recorded 3 studio albums and is currently working on her 4th. She has had videos on VH1 and been the musical guest star on David Letterman, The Joan Lunden Show and Nile Rodger’s inner visions on VH1. Her song “Postcard to the Stars” was featured on VH1’s Earth Day Special in the 90’s. She is a New York Music award winner and seven fold nominee, including nominations in the best female vocalist and best songwriting categories.

Wendy’s songs serve as sonic oases, offering both sustenance and a vantage point for putting life's terrain into perspective. And for Wendy, in fact, the release of Two Birds in 2001, her first independent release, was the culmination of journey through tough terrain.

Wendy's first foray into the world of music was in a cover band in southern California that played biker bars and paid $10 a gig. "I was an audience to the audience - out on the dance floor were brawls, on the bar, girls stripped. My father would come and pick me up and I would ride home, my eyes big like saucers. We graduated to the military bases - for $40 apiece, riches. At Camp Pendleton I got a standing ovation for just walking on stage. One of the guys yelled ‘Let's hear it for the tambourine player’ and the whole room was on its feet. So far, it's the most impassioned standing ovation I've ever gotten."

Her next musical evolution took Wendy back to New York, where she got a job as a singing waitress and there met Ellie Sarty and Lynne Robyn. Together they wrote their first songs and ventured out into the world with them, a cappella. "We started out singing on Columbus Avenue - don't ask me where we got the nerve ‘cause we were all a little stage shy…well, actually, we'd buy a big jug of red wine and put it on the street along with the hat, so there you have it. We were a hit. We'd form big crowds and snarl traffic, the hat would fill up with dollar bills, the upstairs neighbors would dump water out the window to shut us up and someone in the crowd always had an umbrella to hand us. We'd do a set and then go down the street to a sidewalk cafe and spend the profits. It was great - an unequaled experience, actually." Winter came and the trio now called Fine Line formed a band and moved to the clubs, performing to a growing fan base. "That time with Fine Line was one of the most important times in my life. It felt like such a boy's world out there, but we learned how to be women in music together - how to be songwriters, bandleaders, performers. I guess I could have found my way another way, but I'm glad I didn't. To this day, Ellie Sarty and Lynne Robyn are two of my favorite artists and lifelong friends. Those are the kind of experiences that make you feel like your life is really guided."

After Fine Line, Wendy got a job at the Bitter End in Greenwich Village, and the club became her home base. "The Bitter End really embraced me. It felt like home – and literally became home when I moved into the apartment upstairs and the ceiling of the club was my floor. I waitressed, booked comedy, did publicity, did office work and played there. Baker Lee, who became my guitarist, did sound there and Dug Rock, my drummer, was the night manager and we built the band from there. At that time, the music was so loud, if you were waitressing, you'd be screaming at the top of your lungs and lip reading.Kenny Gorka, who booked the club, was a big believer and gave me a Tuesday night residency at 1 am - a regular gig - loud, really loud. I paid the band by passing out flyers on Bleecker Street - you'd get a buck a head for anyone you brought into the club. In the winter, by the time you got onstage, your lips were so frozen you could barely sing. But it was music school - 24 hour a day music school. If I had an idea, I knew Baker would be in for sound check at 4pm. At 4 am we all went to the after hours clubs - all the musicians, everyone who worked in the clubs - to dance til noon or philosophize or sit out on the curb and write or play some more. Not the best place to be sober - but that's another story."

Eventually the noise got in the way "in my head and outside it" and Wendy made room for nuance by going totally acoustic -"horrifying at first - you can really hide behind all that noise" but eventually adding the band back, with a different sensibility. Wendy recalls that Don Rubin from SBK got a tape, came down, saw the show, called Wendy over and offered her a deal "at table D-2, a table I'd waited on a hundred times. Baker and I went around the corner on Thompson Street and had pasta and relived the moment over and over 30 times, laughing til we cried, laughing til we fell off the chair. I don't know if I've ever been that excited. The next day we went up to the 42nd floor to see Don, wondering if he was going to take it back, but he didn't."

Those heady days were filled with naivete' about the music business. "I think every musician at some point dreams about getting that big record deal, and for some it works out great for life and some just for awhile. I was very much like a deer in the headlights. I was having this big experience and when we were mixing the record, my dad got really sick and when we were releasing the record four months later, my mom got really sick, so the whole time I had this record deal, my parents were dying. My dad died in December of 1990, my mom in October of ’91, and a week later my label dropped me. I know you're supposed to get right back on the horse in this business but I think I had to let the horse go find someone else. I remember sitting at an outdoor cafe with a friend of mine and she was giving me a talking to about staying up on things and I looked at her across the table from a million miles away. The world of popular music seemed so ridiculous to me after what had just happened and it stayed that way for awhile. But in time I came to understand it in a different way and it all made sense to me - the incredible timing of it. My mom told me at some point in the middle of it all that I had no idea what I was giving them - that in the middle of this awful thing, this wonderful thing was happening. She told me how my dad sat up in bed the night I was on Letterman and her words help me to understand the whole experience. I really believe that record deal was for them. And I'm very grateful for that."

Thus began a rough stretch of road marked by deals that didn't quite pan out, record companies that didn't survive, partnerships that felt like struggles, and restless searching. "I guess that's the story of my life, maybe a lot of artist's lives. If you're living life as an artist, then you're always in the process. Even when it feels like you're running up against a brick wall, it's carving you, every experience you have, every minute you breathe, everything you listen to, everything you take in is going to come back out."


With the release of Two Birds, Wendy tapped the power of the Internet to connect with her audience - an eclectic crowd made up of those who have been waiting more or less patiently since Wendy Wall, and those discovering her unique sound for the first time.

"In a business like this, music, there can be lots of people who whisk in and out of your life...lots of promises...lots of words that ring in your ear - but when the proverbial cigar smoke settles, you're left with you and it's up to you where you go from there: Is this going to be the knockout punch or are you going to see that experience as another challenge, another step that leads you to the path you're really supposed to be on, but you had to go here and here to get there

On the first record Wendy has a song called Postcard to the Stars, mostly a commentary on planet earth and the humans that inhabit it, but there's one line from the narrator that reads "Greetings to the stars you've traveled lightyears for your light to fall on human eyes sometimes I feel the same/Do you still exist or have you vanished by the time that you've been seen?" Wendy comments, "Well, I used to feel that way, and there are days that I still do, you know, that the journey is taking so much from you, by the time you get there, you and your dream are unrecognizable to each other. But now I think it's the other way around. That you and your dream transform each other, that the journey is the prize and what you describe along the way is your human experience. It's about faith and learning to find it in yourself. It's about knowing who you are and what you mean to do here in your time on this planet. I've had a vision for a while now and I'm free to pursue it. And I haven't vanished. I'm right here."


*Press Quotes for Wendy Wall
"A rich sonorous voice...it swirls outward like a subtle stream of sweet incense"
People Magazine
"Earthy...wonderfully alive."
Cover Magazine
"Intelligent and highly literate songs...brilliantly performed and conceived with lyrics worthy of a first rate novelist...memorable melodic hooks and an intoxicating fervor..."
New York Daily News
"An intriguing debut...soulful vibrato, peculiar phrasing...naïve beauty..."
Billboard
"A fresh face in a promising debut...poignant lyrics..."
Boston Globe
"A voice as deep and seductive as the still of midnight..."
Hits Magazine
"A true bohemian chanteuse...wonderful songs washed in terrific pop melodies and inspired vocals..."
New York Review of Records
"Polished and assured...strong melodic frameworks...a prepossessing debut for a singer whose time has come."
Allentown Morning Call
"Elegant compositions about life and love...contemplative lyrics....highly imaginative, even exotic with the strong internal rhythm of good poetry..."
Metroland Weekly
"Long leisurely lines whose charm lies in the way the words almost outrun the melody..."
Daily Hampshire Gazette
"A few words come to mind as you listen to Wendy Wall's 'Two Birds', harmonic, observant, creative and most important: flawless."
Flick Music Reviews
"Audacious craft...raw essence and raw power...visually stimulating and reflective...Wall is a true poet at heart...fruitful melodies and in depth thought provoking musical poems...intelligent, crafty, poetic...absorb as much as you can, you won't be served a hot dish like this again for sometime."
Media Plus Magazine
"A very special artist who will touch your heart...don't let this one get away - remember Wendy Wall."
The Stage Newspaper - Connecticut
"In a voice that will haunt your dreams, Wendy Wall makes songs of raw emotion and tender reflection. She conducts the players with a flutter of her diminutive hand in arrangements so artful as to be inextricable from the songs themselves. 'Two Birds', produced by Wall and Peter Gallway is a dense collection of warmly intense songs - phrases and melodies that spin in your mind long after the CD player has stopped."
Marilyn Rea Beyer
Music Director
WUMB Radio - Boston
"rich, beautiful voice...crafty lyrics...strong percussion..."
Courier News
"Aching vibrato... a bittersweet mix... her voice, rich and sensual, is instantly inviting... her lyrics communicate her experience in a way that makes the personal universal... let's hope she never stops."
Richard Winham, WUTC, Chatanooga

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