Cathy Davey
The Nameless
Angela Macari O’Looney
Her unique vocal style and endless talent as a musician and songwriter leave Cathy Davey one of Ireland’s jewels where female artistes are concerned. Tantalizing rhythms, candy sweet melody lines and her flirtatious, elfin delivery leave your head in a spin long after you’ve heard them. Out on her own, it’s not at all surprising she’s been chosen with the cream of the crop for the choice finals of 2011.
This album is her third and was a smash hit immediately after its release in May 2010. Cathy’s second album Tales of Silversleeve was short listed for the Choice Music award for Irish album of the Year in 2007.
Her achievements include representing Ireland at Eurosonic music Festival in Groningen, Netherlands in ’08, appearing in the South by Southwest festival in Austin, Texas, and several live performances on such gigs as Electric Picnic and Indiependance.
She has appeared on The Music Show at the R.D.S., on RTE’s Late Late show and performed guest vocals on certain tracks from The Duckworth Lewis method album, which was a choice music finalist last year. Cathy also guest appeared on Bang goes the Knighthood, by The Divine Comedy. Neil Hannon performs and is involved in arrangements on this album.
Davey isn’t comfortable with being compared to other female singers. I agree with her entirely, having listened to and enjoyed each number in this new collection. Seeing her perform live twice at The Music Show, I find Cathy to have a charm all her own. Each song is entertaining and involves clever lyrics and incredible arrangements and her newfound interest in the banjo is evident.
The Nameless
The title track from this CD, this number begins with a hummed intro, accompanied by harpsichord notes and plucked strings. It has a dramatic melody line and trickling notation throughout, which gives it a moody atmosphere.
Backing vocals continue the hummed intro during the chorus, with the dynamic gradually lifting and for a split second the minors turn to majors in this powerful piece.
A military style drumbeat adds to the sobriety of this song which is a lament of sorts.
Army of Tears
String arrangements by Cathy and Shaun Davey are superb in this song. It reminds me of a theatrical tango, with sombre notation and choppy rhythm. Descriptions are fantastic and convey a sense of despair then alarm, where she personifies her tears as an Army that could threaten the whole world there are so many of them. I like the way the pace alters to a military march for the army part of the song.
Also impressive is the part where a chorus of harmonic oohs lend to the scene that the lyrics paint; The whole world will have its day with my Army of tears.
Cathy’s vocals are extremely flexible and here you can hear them change from light to punchy and powerful!
In he comes
The vocal hook in the intro here is delightful and also plucky guitar notation, which continues throughout the entire piece.
The choppy pace is wonderful and the melody line haunting and memorable.
Cathy’s vocals take on a Japanese quality, where she wavers across the elaborate lilting notes of the chorus. Percussion is exciting and drums dynamic, with backing harmonies extremely effective. It’s an age old love story about the woman’s devotion to her man, who totally takes her for granted.
Habit
Cathy’s banjo comes to the fore in this beautiful number and flavours it, along with the slinky beat.
In this she inspires in me memories of musician/singer Kate Bush with a temptress style that is very alluring.
My favourite line in this amazing piece is where she dumps the guy; Leave your keys out in the door as you leave, so next in line can creep beside me easily.
What a perfect way of saying ‘You’re dumped’!
Then you hear the rattle of a set of keys.
The ooh refrain in Little Red gives it an old fashioned pop song feel.
Cathy and Shaun Davey add string arrangements to this number and it suddenly switches from a catchy pop number to a fabulous orchestral masterpiece!
The melody line is candy sweet and the dancey beat cheerful. Cathy’s vocals are feminine and a tad reminiscent of American singer Cindy Lauper’s girlish charm.
Happy Slapping
The happy notes and percussive style intro give this song a ‘couldn’t care less’ mood. Whistling adds to the upbeat atmosphere and also harmonic backing vocals. Despite the sweetness of the melody line, lyrics have bitterness in them and are poignant.
She describes how totally dependant on one another a couple can become, so that if they part, life becomes meaningless; When you’re alone do you just sit and weep, or do you keep the fire lit with photographs of you and me.
Cathy’s banjo is infused throughout this track and lends to the happy slappiness.
Beginning with just percussion chopping out a beat, Dog is a fun number, where a delicious baseline frames each seductive note. The bosanova style rhythm of the chorus is wonderful and you can hear the banjo do things that are quite novel, with Neil Hannon’s piano coming in to the scene later on. The harmonies are absolutely gorgeous and equally so the chord combinations which are exotically sexy.
Bad Weather reminds me of Mamas and Papas number ‘Dream a little Dream of me’. It’s a wonderful slow piece, with divine guitars in it. Piano comes in with delicious chords and notation. Key changes are incredibly effective here and the musical arrangement awe inspiring.
The instrumental for the middle eight is soothing and with harmonic oohs lifting it up it’s a key feature.
Brushes on drums create a sense of smoothness and Cathy’s vocals are Smokey and enticing, with superb harmony added to put the icing on this tantalizing cake.
Here, the jazzy woman emerges from the fey-like creature and demonstrates this lady’s ability to adapt her vocals to suit the song. Descriptions in the lyrics are just as amazing as the musical content; your rattle is melody and rhyme, sweeter than honey to my ears. No don’t disappear. Play away without fear, and then maybe he’ll call it a day.
The Touch is a twelve bar blues, with lots of minor chords in it. Cathy maintains her jazzy vocal style in this number, with the piano (Cormac Curran), drums, guitar and banjo all giving the scene a sense of deep, moody gloom.
Wild Rum begins with a scary Hello, Hello that is quite threatening. I totally adore this number, with its p…d off quality!
Drums and percussion are splendid, as is the input from electric guitar. The thumping chopped out beat gives a sense of tragedy and the cynicism of the lyrics is brilliant.
The chorus of flute that comes in for the middle eight puts a sharpness into this melancholic piece and then for the final chorus, double bass(Joe Csibi) and backing vocals add to the miserable atmosphere.
A gentle guitar intro takes you into Lay Your Hand, which is a wonderful love song.
With a beautiful melody line and Neil Hannon’s excellent string arrangement, this song builds up into a heart breakingly appealing piece. A sweet guitar solo comes in before the last chorus. Cathy’s vocals are velvety smooth as she pours out the romantic lines, with the orchestra lending to the moment. My favourite line is;Language is hard, language is cold, language is too rude and angular. No no, we need another language for our lips.
Three simple chords dominate the chorus for Universe tipping, which is a softly sung number with heavenly backing vocals. Very laid back, this piece is vocally tricky, with the melody line memorable and haunting.
Beginning with sweet oohs, End of the End has a pretty three four tempo. This number is a pleasantly blissful finale to the album. Cathy uses her delivery of the lyrics to create the scene and as she sings the word Blow, you can almost see autumn leaves blowing across the garden and the house being torn from its foundation. Lovely choral style La la la backing vocals also uplift in this song.
Subtle key changes feature and drums, guitar and bass are really effective throughout.
Cathy’s imaginative illustrations can be seen inside the album cover, which unfurls like a newspaper, and is the pink colour of the Financial Times. Each song is placed like a section of the newspaper and as you read the print, you find yourself having to decipher each line. It’s one way of grabbing your attention and making you listen to each song.
A monochromatic photo of the lady herself is depicted on the cover, with a sultry look and her profile in repose.
Orchestra are: Alan Smale-Leader Violin, David Mackenzie-Violin, Adele Johnson- Viola, Martin Johnson-Cello, Joe Csibi-Double Bass.
Neil Hannon performs piano on The Touch, Conor O’Brien on other tracks.
Cathy performs on a number of instruments in different places and mixing for End of the End.
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