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• Yes  (worth reading)
• Maybe  (if you have the time)
• Maybe not   (if you have too much time)

Contribute to Everything Mazzy. Do you have any Mazzy Star articles or reviews you don't see here on this site? Why not share? Go ahead -- send 'em in.

The most gorgeously sonorous band around, Mazzy Star, consists of Hope Sandoval and partner David Roback, the heirs to the laid-back and dreamy Cowboy Junkies brand of music. This is Star's third album, following the successful So Tonight That I Might See.

With Sandoval's little-girl-in-a-dream vocals, the album flows with easy, slightly sad compositions. The first single, Flowers in December, features strumming acoustic guitar lines and rolling harmonica riffs. Disappear is reminiscent of an earlier song, Fade Away, with a trancelike beat and minor chord changes. Almost an hour long, it's a generous dollop of sweet, sad cream.   -- Sandra Schulman
[© 1996 Sun-Sentinel Company]

Mazzy Star is the last band you'd expect to become popular.

After all, it crafts music that's both enigmatic and moody in nature not exactly the main ingredients of which hit albums are made. Extremely private, singer Hope Sandoval and guitarist David Roback even perform live shrouded in complete darkness.

An odd turn of events saw delayed interest for "Fade Into You" propel the duo's 1993 album So Tonight That I Might See into platinum territory more than a year later. Then "Halah," from the 1990 debut She Hangs Brightly, enjoyed similar success.

Fortunately, Mazzy Star's third disc, Among My Swan, picks up where its predecessors left off, albeit with a few flourishes (harmonica, wah-wah guitar, bells). When you've got a winning formula, why tamper with it?

Here, the enthralling "Rhymes of an Hour," heightened by a quiet bass and tambourine, is reprised from the Stealing Beauty soundtrack. "Take Everything" finds a waiflike Sandoval laying her breathy voice upon a bed of acoustic guitar and distant fuzztone guitarwork from Jesus & Mary Chain's William Reid. And some mournful organ gives "Look on Down From the Bridge" a hymnlike quality that fits perfectly within this spiritual Mazzy Star framework.

Sharing a similar plateau as the Cocteau Twins' Elizabeth Fraser, Sandoval's voice is sometimes indecipherable and mixed low, so it virtually becomes another instrument. Roback keeps his guitar playing understated, yet intriguing, throughout the album, branching out only on occasion ("Still Cold"). Longtime fans won't be disappointed.

You might enjoy if you like: Cowboy Junkies, Luna, previous Mazzy Star albums.      --  George Paul
[©1996 Orange County Register ]

February 28, 1997
Fort Lauderdale Sun-Sentinel
Mazzy Star: Among My Swan
by Tiahna Larsen
Boyd Anderson High

Mazzy Star's Among My Swan can mellow out anyone.

Hope Sandoval's haunting voice, accompanied by melodic guitars and harmonicas, sends the listener into a hypnotic state with sweet songs. Melodic guitars, courtesy of David Roback, add to the enthralling atmosphere.

The strings in All Your Sisters sound sympathetic and incredibly angelic. A song surely everyone can relate to, I've Been Let Down, is more uplifting than one might expect from the title. Actually, Hope sounds almost content as she sings, "I've been let down, and I'm still coming around for you." The first single, Roseblood, is one of my favorites. It may remind fans of Fade into You, from their second CD, So Tonight I Might See. Roseblood's slow drums and muffled background guitars sound ominous and daring.

Take Everything, one of the album's best songs, adds sparse drums to create a strong, angry, intense sound, not common of Mazzy Star. Also, the profound guitars are exceptional.

Hope's luscious, mellow vocals and tambourine talents make Among My Swan an incredibly intimate, enjoyable album, topping my favorites list. Mazzy Star has definitely improved with age, and fans will not be disappointed.
[© 1997 Sun-Sentinel Company Sun-Sentinel (Fort Lauderdale, FL)]

November 3, 1996
Sunday Times (London)
Mazzy Star: Among My Swan
Capitol 7243 8 27224 27

To the older fan, Mazzy Star represent the dying embers of an explosion of new Californian talent from the early 1980s, a fantasy supergroup including Rain Parade guitarist David Roback, violinist Will Cooper, and Green on Red drummer Keith Mitchell. For British indie-kids, unfettered by historical expectations, they're simply that odd, quiet American band fronted by the disinterested-sounding girl singer who goes out with a bloke in The Jesus and Mary Chain. Roback has, essentially, masterminded exactly the same album every two or three years since 1983, once leading Rainy Day, twice leading Opal and now, for the third time, with Mazzy Star, but nobody does the rice-in-a -can or rolling-thunder percussion, wheezy church-organ and psychedelic -country- blues guitar thing better . If Among My Swan has a fault, it's only that its acid-folk ambience is so perfectly sustained it is in danger of floating by unnoticed.

Another, predictably classic Mazzy Star album then, to see us through to 1999.   -- SL
[©1996 Times Newspapers Limited]

Fuzzpop
Among My Swan

Nyah, Nyah, Nyah, I have the new Mazzy Star CD and you don't. (You'll be able to get your own when it hits the stores in late October or early November.)

Among My Swan accomplishes what the band's last disc So Tonight That I Might See, couldn't: pushing the Mazzy Star sound forward, while still bearing its familiar, sensual, comforting sonic trademarks.
David Roback's arrangements encompass a greater dynamic range than ever, and utilize a larger variety of instruments, church bells, toy piano, violin, Hammond organ, even a backwards guitar loop. Still present are the trademark element of the Mazzy Star sound: lots of slide guitar, vintage effects pedals, solemnly strummed gitboxes, and childlike harmonica.

The CD's credits seem to be almost desperately emphasizing vocalist Hope Sandoval's role in the band: she's listed as "co-producer" (Roback is listed as primary producer), and is also charged with "words and vocal melodies." Huh? "Vocal melodies"? Talk about nitpicky. Oh, and Roback is credited with "additional lyrics" on one track. Sounds like there might have been some dissent between the two during the making of the disc.

The most striking track is "Umbilical", a distant cousin of the title cut from She Hangs Brightly. It features an almost completely indecipherable spoken-word (or, more accurately, mumbled word) part by Sandoval, which in turn, is almost buried under Roback's lead guitar effects; the voice is just another instrument here, whereas on the rest of the disc, Sandoval is right up front. Not that we're on "Sister Ray" turf on anything; the track is serene yet unsettling, like the experience of driving a car in heavy traffic while experiencing a pleasant rush.

Familiar enough to be greatly reassuring, and different enough to be rather compelling, Among My Swan is sorta like your favorite old down pillow, but with a brand new pillow case. -- Scott Wallace Brown
Fuzzpop - online

44.1kHz
Swan Isn't an Ugly Duckling, But...
by Susan Kaplow

If Mazzy Star's music has ever ushered you into a dream state or an altered state, you'll be relieved to know that the duo's third album, Among My Swan, is still dosed with songs in the key of near death experience. Among My Swan, like Mazzy's two previous albums (1990's She Hangs Brightly and 1993's So Tonight I May See (sic)), is a countrifried piece of work (thanks to Hope Sandoval's Emmylou Harris-on- acid vocals/whisper)-- perhaps even more than the other two. (Sandoval co-produced this one--maybe that's why. )

The first few tracks on Among all have the same lower than-lo-fi drone and they're almost impossible to distinguish from one another. It isn't until you get to the fifth track, "Take Everything," that Sandoval's voice rises a little bit above a monotone, Steve Roback (the other half of Mazzy) plays some gorgeous, soaring guitar and the duo register a pulse. [Editor's note: Hey, Susie, it's David Roback--Steve's the brother.] (Roback's former Dream Syndicate bandmate Steve Wynn has said that Roback's bands "know how to play at three speeds: slow, slower and slowest.")

The sixth and seventh tracks, "Still Cold" (where Roback's guitar notes almost sound Garcia-like, spiraling around in the distance) and "All Your Sisters" (where Sandoval blows some very Neil Young-like harmonica and sings some really creepy lyrics--"make the devil feel surprised," "catch me drinking your mind"), might make you consider taking this disc on a road trip (without being afraid that it will make you fall asleep at the wheel).

The first single, "I've Been Let Down," is a "my-heart's-been-stomped-on" song ("I've been let down and I'm still coming round for you")--sad lyrics, weepy harmonica-- nothing much more than that. Unlike "Fade Into You" (Mazzy's surprise hit single from So Tonight That I May See), "I've Been Let Down" won't seem like an oddball choice this time around for modern rock radio (thanks to other ethereal songs like Pearl Jam's "Who You Are" and R.E.M.'s "E-Bow The Letter").

The later half of Among My Swan is where you might (and I mean might) satisfy your distortion jones. Thankfully, on "Rose Blood," the ninth track, Roback's guitar gets buzzing. On "Happy," when Sandoval murmers "there's a great big hole in my heart" as she taps her tambourine while Roback's twangs gives her the strength to go on, it's obvious that Mazzy's "Happy" is far from a Keith Richards' romp. (Could the sense-of humor-less Sandoval actually be making a joke here?)

Two funereal-like numbers infused with Mazzy Star' signature, psychotic organ work, close out the disc: "Umbilical" (which sounds exactly like So Tonight's "Mary of Silence") and " Look On Down From the Bridge" (A suicide song? What a surprise!)

Among My Swan will either make you grateful that Sandoval and Roback design this kind of incredibly intricate backround music, or it will make you so depressed that you'll immediately want to crank up 311, Goldfinger or any other kind of candy-coated Cali-punk you can get your hands on. You know--the kind of stuff that drives you to Mazzy Star in the first place.
[44.1kHz - online]

November 14, 1996
Cavalier Daily
Mazzy Star soars like 'Swan' on latest effort
Grade: A-
by Chris Merida

With the hit single "Fade Into You," Mazzy Star stormed onto the modern music scene. The band's gloomy country style provided some much-needed change to what was becoming a boring and monotonous time in the industry. Then the band opened for The Jesus and Mary Chain and Mazzy Star lead singer Hope Sandoval teamed up with them on the hit single, "Sometimes Always," and their popularity grew further still.

On its latest release, "Among My Swan," Mazzy Star continues to stick with the soft country style which made it so popular. Centered around Sandoval's sweeping vocals and David Roback's guitar exploits, Mazzy Star has put together 12 solid tracks.

The disc opens with "Disappear," a soft cut that sets the album's tone. Sandoval's whispered vocals are faithful to her style on the previous album's "So Tonight That I might See," as is the twangish guitar resonating throughout. The use of a xylophone, however, adds a catchy element to the track.

Unfortunately, the band tends to produce that same sound over and over -- and over, and over. The music may not be wide-ranging, but what's there is good enough to be worth a listen. Songs like "Flowers In December," for example, are resonant enough to make listeners forget they've heard the component parts before.

With "Look On Down From The Bridge," Mazzy Star produces one of the disc's best tracks. The gentle organ riff in the background sets the song's deep tone; combined with Sandoval's refined vocals and Roback's softly reverberating guitar quirks, the resulting sound will mesmerize listeners.

On "Take Everything," one of the more upbeat, heavy tunes, the band recruited the talent of Jesus and Mary Chain guitarist William Reid to add to the unusual electric sound Mazzy Star has created.

Many bands, like Drugstore and Mojave 3, have tried hard to emulate the band's sound, yet Mazzy Star adds the crucial details that set it apart from those who wish to copy. For example, the slide guitar on "Cry, Cry" accentuates a smooth, peaceful tone, as does the wind chime on "Disappear."

Those little things may be the reason why Mazzy Star has managed to stand out among a thousand post-rock pop bands. There's not much new here, but what the band offers is still quality.
[The Cavalier Daily, Inc., at the University of Virginia. - online]

AV Shopper
Mazzy Star: Among My Swan

Listening to Mazzy Star's delicate, psychedelic-tinged rock is a bit like watching a Wim Wenders movie, in that the luscious landscapes and timeless quality transport you. On this, their third album, Hope Sandoval and David Roback--renowned for their reticence--continue on a downward brooding trajectory. Sandoval's distinctive vocals are as languid and dreamy as ever. Only now, on ballads such as "I've Been Let Down," her singing imparts a low-down, lonesome mood unprecedented on earlier albums. Roback's trademark raw guitars are sweetened with harmonica, chimes, tambourine, and Doors-style organs to reinforce that Lost Weekend blues feeling. This band's otherworldly sound has always belied ugly truths: As Sandoval sings on "All Your Sisters," the album's pretty stand-out, "I'm gonna put something in you/Make the devil feel surprise." Not exactly party music. Mazzy Star's melancholy brand of rock works like a sedative to help you disengage.   -- Sarah Pratt

MusicCentral
Among My Swan
Rating *** 1/2

The credit reads "Words and Vocal Melodies by Hope Sandoval." It's an interesting admission: The duo of Sandoval and guitarist David Roback doesn't think in terms of plain or absolute melody - it divides the realm of melody into those that are sung, in a breathy whisper, by Sandoval, and the weepy slide-guitar lines played by Roback and the extraordinarily sensitive backing musicians.

There are few melodies that leap out of this, Mazzy Star's third album, anyway - the solemn Nick Drake incantation of "All Your Sisters" stands as the purest example, while the closing "Look On Down From The Bridge" emulates the sing-song refrain of a hymn. Most of the time, Sandoval offers nondescript poetry-night vocal phrasing that leans heavily on the atmosphere - she sounds like a post-Prozac Patsy Cline on the cowboy song "I've Been Let Down," and barely registers a pulse on the droning, sad-core anthem "Happy."

But the perpetually detached Sandoval and Roback do have a knack for conjuring, and then developing, a certain mood: The macabre, guitar-distortion-fueled "Roseblood" offers a detailed portrait of a woman past her prime, while the tense guitar-and-strings "Rhymes Of An Hour" captures the restless anxiety that accompanies hours of waiting. And though the tempos remain locked in the land of molasses, Mazzy Star has worked to vary the textures, and the added strings and ethereal organ chords make Among My Swan a more interesting listening experience than either of its previous efforts, 1991's She Hangs Brightly and 1993's So Tonight That I Might See. At times, Sandoval aspires to a Patti Smith seriousness, a sense of purpose that mocks the journal-scribbling vapidity of some of her lyrics. When she connects, however, the result is a form of musical contemplation that is stunning, and rare.   -- Tom Moon     
[MS MusicCentral online]

MacAlistair College - Oct 17, 1996
The MacWeekly
by Will Sheff

Mazzy Star: Among My Swan

The latest album by Mazzy Star sounds a lot like their last one, So Tonight That I Might See. This is sometimes frustrating, because some of the songs on this album sound almost exactly like specific songs off their last album: "Cry, Cry," strongly echoes "Fade Into You," "All Your Sisters" has the same unhurried beauty and simple orchestration as "Into Dust," "Umbilical" is possessed of a trancelike poetry much like that of So Tonight That I Might See. So, on the one hand, this album doesn't offer that much that is new from the group.

On the other hand, this album has a lot of the same strengths as their last; Hope Sandoval's breathy voice (overloaded, like the acoustic guitar which is more present on this album, with reverb) weaves a trail of simple, poetic lyrics over the atmospheric, somber music of one-man-band David Roback, music which ranges from the almost pious mood of organ dominated songs like "Look On Down From The Bridge," to the folksy, Cowboy Junkies-esque sound of "Flowers In December," to the eastern rhythmic and polyphonic stylings of "Rhymes Of An Hour." And "I've Been Let Down," a beautifully unassuming song, is probably as close to country as the two will ever get.

The instruments are all very fitting and never superfluous. Most of the songs are carried by a deep, distant acoustic guitar, a melodic bass, minimal drums and often an electric guitar that is by turns distorted, madly feeding back or smooth and wah-wahed. There is also some gorgeous organ on this album, some wonderfully melodic basslines and unexpected surprises like the quiet, self-absorbed hand drums on "Still Cold." "Disappear" and "Happy" are both given a windy, open atmosphere by a keyboard-generated "bells" sound similar to the one in the sound banks of cheap Casio keyboards given to children in the 80's as Christmas presents. The harmonica/guitar feel of songs like "Flowers In December" and "I've Been Let Down" almost makes them suitable for singing around the campfire. The presence, on some of the songs, of subdued strings has a delicately beautiful effect. The instrumentation always seems perfect, if slightly more sparse, in general, than the complex texture of the last album.

The mood is pretty much the same, though: hypnotic, dark, sexy, melancholic. "I've Been Let Down" is the fastest song on the album, but, like "She's My Baby," the fastest song on So That Tonight I Might See, the even strum of the guitar makes it sound like it should be fast, when in fact it is only a tiny step faster than the others. The slow, unhurried pace of these songs makes even the happiest song sound not sad, but meditative, introspective. These are songs best appreciated in the dark, more obscure hours of the night, illuminated by candle or altogether unilluminated. The lyrics do not make a point so much as carry a set of emotional images that contribute to the overall mood of the song. Hope Sandoval's voice is sometimes so submerged in reverb that the listener can just slide across it like a frozen surface, not noticing details, just coasting through the atmosphere. This makes the occasional lyrics that protrude from that sheer surface, like "just because you feel hollow inside, it's real" (from "All Your Sisters") and "Look away from the sky / it's no different when you're leaving home" (from "Look On Down From The Bridge") all the more expressive.

Among My Swan is not a site of great artistic departure, but rather a strong work in the same style as the group's last. On its own, the album stands as a collection of 12 songs that are all well-written and densely atmospheric. Compared to So Tonight That I Might See, this album stands up well, in fact, it is sometimes difficult to tell the two apart. So while some listeners may hear this album as slightly repetitive, some may hear it as possessed of the same power as their previous work.

the Backbeat
Swan Songs
rating: 7

If Nico always seemed a bit too frisky for your liking, then consider Mazzy Star's Hope Sandoval: a near-catatonic lead singer with a tambourine and the merest hint of a pulse. Having a really bad time rarely sounded so good.

It's difficult to imagine Mazzy Star chanteuse Hope Sandoval standing, or even sitting, upright. Her narcoleptic phrasing and slurred lyrics suggest a figure languishing in a permanently prone position, rousing herself just long enough to murmur something cryptic about her broken heart. Together with Dave Roback -- whose droopy slide guitar is the perfect instrumental counterpart to Sandoval's song stylings -- Mazzy Star have hit upon a distinctive formula that seems to click with audiences. The ghostly "Fade Into You," released in 1993, was one of the most depressing singles ever to gain heavy rotation on MTV. So rather than tamper with that unusual success, they've released a third album that, aside from a few minor embellishments, sounds an awful lot like their first two. And if you can stay conscious long enough to notice, it may even be better.

Sorrow, desolation and the specter of "Fade Into You" hang heavy over Among My Swan: "Cry, Cry" is pretty much a rewrite of that hit, which is fine -- it's just as entrancing. The album's opener, "Disappear," is a gracefully restrained heartbreaker, nicely embroidered with chimes and tambourine, while Sandoval's rudimentary harmonica-blowing lends the lovely "Flowers in December" and "I've Been Let Down" a warm, rough-hewn texture. Her voice is in fine form, but Mazzy Star are most interesting when Roback's understated guitar is allowed to share the spotlight. "Take Everything," where he's joined by the Jesus and Mary Chain's William Reid, is a terrific slow burner, while "Still Cold" smolders like the best Galaxie 500 had to offer. The only serious misstep here is the pretentious and unconvincing "Umbilical," in which the band's introspective pose is taken to an absurd extreme: Off-center, multilayered muttering and a droning organ drift off in an amniotic wash of trippy guitar noise. It's the kind of thing Roback did much better with his previous band, Opal. Nevertheless, Among My Swan delivers all the beautiful misery you've come expect from Mazzy Star. So go ahead and wallow -- just keep the Prozac close at hand.   -- Ken Fox
[the backbeat - TV Guide online]

Dec 11, 1996 - University of Oklahoma
The Oklahoma Daily
Mazzy Star, Cowboy Junkies bring sweet dreams

Star Gazing
Mazzy Star: Among My Swan
(four out of five stars)
by Omar L. Gallaga

Recently, two groups have been swept up in a quiet revolution. Mazzy Star and Cowboy Junkies have each been releasing albums with some success and making well-crafted, vocal-powered music that sounds like the calm within the storm of angry, loud rock.

Mazzy Star's new album, Among My Swan, sounds a lot like the last two Mazzy Star albums - which shouldn't surprise detractors who say all of Mazzy Star's music sounds the same. The music has a lazy, dragging feel at time, almost like torch songs sung through a haze (as in "Cry, Cry"). Singer Hope Sandoval's voice is a soft, soothing coo. The instrumentation, including the signature keening, distorted guitar, are only highlights and filler for the spaces between Sandoval's sibilant singing. Even on the slow, slurry songs, she is always compelling.

When the tempo does pick up, as it does slightly on "Take Everything" and "Flowers in December," the music sounds fully realized - sexy, heartbroken and full of longing.

The biggest difference between Among My Swan, and Mazzy Star's last album, So Tonight That I Might See, is the variety of instrumentation. Among My Swan often forgoes the sparseness of the last album in favor of additional strings, harmonicas and even bells on a few of the songs.

Another change is Sandoval's voice. Though always an ethereal singer, Sandoval's range has improved and she shines on "Disappear" and Mazzy Star's most optimistic song, "Happy."

A solid improvement, Among My Swan is not a shattering revelation - but it is a well-made step up from a group that captures perfectly the dreamy sound of love, loss and, eventually, hope.

Cowboy Junkies enjoyed a brief bit of fame when their cover of Lou Reed's "Sweet Jane" was featured on the Natural Born Killers soundtrack. Mainstream success has still eluded the band, but Cowboy Junkies have put out a string of excellent albums culminating in this year's excellent Lay It Down.

The group's new album, Studio, is a compilation of studio cuts from 1986-1995, covering six albums with 14 songs. Despite the enormous talent of the group, the compilation falls flat in some areas. The album begins strongly with "Shining Moon" from their debut album and rides the crest on three brilliant songs from their The Trinity Sessions.

The Trinity Sessions was a moody, atmospheric album recorded entirely in a Toronto church. The songs from Trinity, "Misguided Angel," "Blue Moon Revisited" and "Sweet Jane" are the best on the album. Unfortunately, the rest of the disc with a few exceptions ("Powderfinger" and "Ring on the Sill") sags until the end.

The album closes with two winners, "A Common Disaster" from Lay it Down and the previously unreleased "Lost My Driving Wheel." Both are excellent examples of how far the group has come since Trinity and spotlights the strong vocals of singer Margo Timmons.

The Cowboy Junkies sound has never been better than on The Trinity Sessions and on the recent Lay It Down. Unfortunately, only one song from Lay it Down is featured. With such rich material to choose from, it seems the group has focused on work from their "in-between" albums.

Studio could have included some of their better, more recent work. However, it's still interesting to see the musical progression from album to album, and it's always a pleasure to hear Margo Timmons sing. Her voice can turn the edgiest lyric into a lullaby and bring emotion and feeling to slice-of-life rural portraits that would seem plain by someone less skilled. Studio is not a crowning achievement to the Cowboy Junkies' career - just an interesting collection of some lesser-known work.

Like Mazzy Star, Cowboy Junkies are at their best hovering between maudlin heartbroken longing and moody atmospheric sound - the perfect stuff of dreams.

Wall of Sound
File Under: Postcoital soundtracks

Mazzy Star: Among My Swan
Rating: 71

Among My Swan is every bit as charming as She Hangs Brightly or So Tonight That I Might See, Mazzy Star's 1993 breakthrough. Of course, that breakthrough was commercial, certainly not stylistic, for Hope Sandoval and David Roback's vision has been clear and unwavering from the beginning: black-and-white, rainy-day music for that second bottle of wine. Theirs is not an altogether gloomy sound, but more contemplative and solitary. And, given an ease of constraints within the studio by virtue of Tonight's success, Among My Swan has a relaxed and thoroughly steeped texture, right down to the guitar squall in "Happy." Sandoval's vocals have a generous postcoital languor (especially on the dreary "Umbilical"), though, unlike the Cowboy Junkies' Margo Timmins (to whom Sandoval bears a strong vocal resemblance, especially on "Rhymes of an Hour"), nothing about Mazzy Star suggests Sandoval could approach these songs in any other manner. Not that she should, though one does wonder how many more records like this the duo will wish to make.  -- Grant Alden
[Wall of Sound - online   © Starwave Corporation ]

© 1996, The Daily Beacon. All rights reserved.

Mazzy Star: "Among My Swan"

So it's the end of the semester and I'm finishing up a paper for English class, totally stressing about the MLA format to cite criticisms, then Bam! I remember Ben gave me Mazzy Star's new CD, "Among My Swan," to review. I'm done with the MLA crap and I'm just printing out my paper. I pop in the CD and...totally relax.

"Among My Swan" brings me back to my sophomore year in High School. All I ever listened to was the Doors. Mazzy Star has that same kind of "totally mellow out and drain yourself" feeling. Suddenly, my term paper and the fact that I had to clean the bathroom was out of my mind, and nothing but the music filled my thoughts. It not only totally loosened me up, but it took me back somewhere.

Just like all Mazzy Star albums, she's got that distorted, echo sound that makes Mazzy Star albums so awesome! She combines blues, acoustic folk, country and psychedelic tones in such an intoxicating way. That is exactly why you need to get this CD and seclude yourself from everything, relax and open your mind to "Among My Swan."

© 1996 by The Echo. All rights reserved.

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