Thursday 31 Jul

Sobering sounds

Copperheads with Depth & Current, Dudes of America and Oblivious

10 p.m. Saturday


113 N. Crawford Ave., Norman



07/30/2014 | Comments 0

Pony expression

Wild Ponies

8 p.m. Sunday

The Blue Door

2805 N. McKinley Ave.



07/30/2014 | Comments 0

Music Made Me: Josh Hogsett

Few, if any, Oklahoma bands have seen a rise as meteoric as Tallows over the past year, yet its seemingly overnight ascension didn’t happen by chance. The Oklahoma City four-piece is well-versed in the ways of modern pop songwriting, drawing from both glitchy electronica and cathartic indie rock in equal measure. Last year, the band pulled off a rare musical feat with its debut album, Memory Marrow, which was steeped heavily in the breadth of recent history yet managed to sound like nothing else before it.
07/30/2014 | Comments 0

Planting the seed

Chelsey Cope’s new band, Elms, is as earthy and native to Oklahoma as the trees that are their namesake. The soulful folk four-piece’s debut EP, Parallel Lines, was recorded at Bell Labs Recording Studio in Norman and is on its way in September. But the band has already given us a tease, with its first single, “Burn,” going live on SoundCloud on July 14.
07/22/2014 | Comments 0

Commercial rock

Center of the Universe Festival featuring Capital Cities, Young The Giant, AWOLNATION & more
Downtown Tulsa 

07/22/2014 | Comments 0
Home · Articles · Reviews · Country · Mark Growden — Lose Me in...

Mark Growden — Lose Me in the Sand

Some great tunes, as well as some odd ones

Stephen Carradini March 4th, 2011

Mark Growden’s 2010 release, “Saint Judas,” saw him comfortably in mournful, New Orleans jazz mode.


His 2011 release, “Lose Me in the Sand,” sees him reinventing himself as a desert troubadour, but he’s a little less successful there. It’s a good album, but it doesn’t excel, as his previous incarnation did.

“Lose Me in the Sand” is written primarily on banjo, and Growden uses it in pieces frantic (“John Hardy”), funny (“Star Spangled Benz”) and forlorn (“Bones,” “I’m on Fire”). Just as in his previous disc, he skews toward the “dark and slow” idiom, but his preferred style is not as easily applicable to the desert country genre as it was to New Orleans jazz. None of the songs here are bad, but some don’t connect with the listener the way the gritty tunes of “Saint Judas” did.

“Takin’ My Time” almost sounds like a B-side from the previous album, with the crawling pace and mournful cast over the proceedings. It’s good, but ionly tangentially fits the country vibe he’s going for. The stark “Lovin’ Emma” comes off as creepy instead of affectionate, while “You Ain’t Never Been Loved” has a similar quandary.

But when he speeds up and lets it twang a bit, as in “Killing Time” and the charming “Settle in a Little While,” he succeeds in writing country songs that resonate with the soul and within the conventions of the genre.

Growden’s predilection for sad and lonesome things found a home in New Orleans jazz, and it’s hard to break out of something that comfortable. “Lose Me in the Sand” is good, but it has one foot in country and the other in jazz. This creates some great tunes, as well as some odd ones that don’t feel at home in either place.

Fans of Growden will celebrate his unique songwriting style shining through, no matter what genre he’s in; first-time listeners may scratch their heads a bit. Catch him at 8 p.m. March 16 at Istvan Gallery, 1218 N. Western. —Stephen Carradini

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