Ana Egge
Ana Egge
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The word’s getting out about Ana’s new Album


Songs:Illinois

BLURT

ANTImusic


Pop Matters


The Virtues of Indolence

It’s hard work being lazy. Life without a purpose or reason can be a drag. If you’re gonna do nothing, do nothing right. That’s the lesson of Ana Egge’s latest album, a 30-minute tribute to Lazy Days.

Egge covers 10-fairly unknown odes to indolence originally recorded by a roster of wonderful and diverse artists: The Kinks, Stephen Stills, Arcade Fire, Gene Autry, Ron Sexsmith, Belle and Sebastian, Sandy Denny, Zombies, Le Tigre, and Harry Nillson. This list indicates the depth and breadth of the Brooklyn/Texas musician’s ambitions and suggests that being lazy ain’t easy.
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Boston Herald


Lazy’ bones
Laziness doesn’t get as much airtime as lust, greed and wrath, but it’s still considered a deadly sin.

Not that laziness is unappreciated. As a culture we’re fascinated by the art of chilling out – maybe because we have such a hard time doing it. Music is one area where the topic gets tossed around a lot. Type the word “lazy” into the AllMusic.com search engine and nearly 1,650 entries pop up.

Christopher John Treacy – Boston Herald


Second Stage – NPR – December 11, 2007


NPR.org December 11, 2007
The folk singer Ana Egge puts together a relaxed collection of covers on the appropriately titled album Lazy Days. With song titles like “Summer Wastin'” and “It’s My Lazy Day,” the album meditates on the simple pleasures of leisure time. Egge’s has a gorgeous voice that’s slightly rough around the edges as she sings warm adaptations to classics by Gene Autry, the Kinks, and other artists.
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Time Out NY


TOP LIVE SHOWS

Ana Egge, a modern folkie with roots in North Dakota and a home in Brooklyn, first won acclaim about a decade ago, largely on the basis of her songwriting. She is also a proficient guitarist with an intimate touch, having built her own instrument as a teenager under the tutelage of a luthier. On her fifth album—the fall-released, summer-flavored Lazy Days (Grace/Parkinsong)—Egge reveals yet a third talent, interpreting songs by artists including Sandy Denny, Gene Autry and Arcade Fire.

Is it indolent for a proven songwriter to record an album of covers? Well, yes—at least according to Egge. All ten songs on Lazy Days are devoted to the varied joys of idleness. In the Kinks’ “Midday Sun,” the singer sits “with no particular purpose or reason,” proud to “rather be a hobo walking around with nothing than a rich man scared of losing all he’s got.” In a breezy reading of Belle and Sebastian’s fantastic “Summer Wastin’ ”—“Say cheerio to books now, the only things I’ll read are faces”—Egge’s voice slips a millisecond behind the music, as if her body is in a recording studio and her mind on a beach. Aside from the occasional misstep (most egregiously Le Tigre’s “Much Finer”), the album is well plotted and appropriately wistful. Onstage, the singer includes her original compositions alongside the covers, an increasingly unpopular approach that even the best songwriters should reconsider. After all, there’s no shame in sloth—sometimes, it takes quite a lot of work to maintain.

Jay Ruttenberg – Time Out NY


USA TODAY


Ana Egge, Lazy Days: * * * American idle

There have been concept albums about sensorily deprived children, the adventures of the singers’ grandmother, and even one about a man composing a concept album, but North Dakota singer Egge might well be the first with a tribute to indolence. However, a lot of care and effort was clearly devoted to these covers of Belle & Sebastian’s Summer Wastin’, The Kinks’ Sitting in the Midday Sun, Ron Sexsmith’s Wastin’ Time and more. Egge draws unsuspected depths from most tracks and pulls off the difficult feat of making a Sandy Denny song her own. — Ken Barnes

Ken Barnes – USA TODAY


Austin Chronicle, Wed Mar 4, 2009


LIVE REVIEW
Last night at the Cactus Cafe (how many times have I said that in the past month?), Ana Egge held court in fine style. Backed by members of What Made Milwaukee Famous, the indie-folk diva ran through most of the tunes from her new disc, Road To My Love (Grace). Egge, who’s moved between Austin and Brooklyn a couple of times in the past few years, was in especially high spirits because earlier in the day she found out Rolling Stone gave her a rave review in its upcoming issue.
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ROLLING STONE


Ana Egge
‘Road To My Love’

Lucinda Williams once called her “a folk Nina Simone.” But Ana Egge is more country than that. Raised by hippies who grew wheat in North Dakota, the Brooklyn singer–songwriter crafts homespun hymns on her sixth disc to sing with your bare feet on the dashboard. “Bully of New York” recounts a sad late–night conversation between Egge and a park ranger whose hours broke up his marriage (best part: She met him while hitchhiking). Egge’s rootsy pedal–steel pop recalls singers like Shawn Colvin, but her sharply observed tales of the overlooked and underpaid feel utterly of the moment.
THREE STARS

MELISSA MAERZ – ROLLING STONE


Wears The Trousers – March 17, 2009


Ana Egge
Road To My Love ••••
Grace / Parkinsong

Seemingly a wild and restless traveller, statuesque blonde Ana Egge not only looks fearless but often sounds fearless, an interesting paradox of a young, adventurous songwriter combined with a woman who performs with a maturity beyond her 30-something years. Her appealingly rich vocal and intimate lyrical craft is somewhat akin to Joan Armatrading, or, as astutely suggested by Lucinda Williams, what Nina Simone might have sounded like if she had been handed a steel guitar. Road To My Love is her sixth album in a career spanning an incredible 17 years, and offers a more personal glimpse into the life of someone who confesses to having been more guarded in the past.

The distinctly worldly feel of Egge’s music and her excellent command of melody is immediately apparent from the outset. Album opener ‘Storm Comin’ may be the most up-tempo number on the album, but her captivating voice retains a lazy coolness, allowing her to cross the genres of country and folk to enter the realms of retro soul. ‘More Than A Day’, too, has a sublimely easy ’60s soul feel with backing vocals from The Be Good Tanyas’ Frazey Ford and Trish Klein. Egge’s gentle vibrato, combined with classic brass sounds and laidback keyboards, reveals a notable femininity beneath the hard exterior and adds texture and warmth to what might otherwise be quite desolate songs.

Like the best of Feist and Laura Veirs, Road To My Love successfully blends old and new influences, an approach that complements and enhances Egge’s simpler and most reflective moments. The autobiographical ‘Farmer’s Daughter’ speaks of growing up on her parents’ wheat farm in a tiny North Dakota hamlet, a childhood trade-off between unimaginable freedom and vast, aching loneliness. Similarly, ‘Red Queen’ is an affecting tale of independence. “Keep moving, never rest / nothing is perfect yet,” she sighs over simple acoustic guitar figures that are later fleshed out by distant drums and sparing use of electric guitar.

Egge’s stunningly simple yet original take on traditional number ‘Swing Low, Sweet Chariot’ closes the album on a high, possessing a remarkable depth of perception of opposing emotions and absolutely nailing her natural talent for storytelling. It’s a real treat that neatly sums up everything that makes Road To My Love the bravest leg on her journey so far.

Anna Claxton – Wears The Trousers (May 28, 2009)


AMERICAN SONGWRITER MAGAZINE- 2/25/09


The Folk Alliance has a peculiar tradition of moving the party up to the 17th, 18th and 19th floors for individual room showcases from about 10:30PM stretching into the wee hours of the night. The three floors of the Marriott turn into a dorm party with people knocking each other over, running from room to room, up and down the stairs and elevator, trying to make the gig they booked for every 30 minute time slot. Amid the confusion and laughable overzealousness, we stumbled on the sublime art of Ana Egge. Egge is a damn good guitar player, with strong and forceful chops, balanced by an ethereal voice which gets almost drowned out by her guitar rhythm – all part of the show. For her last tune she did a pitch-perfect slide rendition of “Swing Low, Sweet Chariot” on her National resonator.

Davis Inman – American Songwriter Magazine