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ith its gospel piano progression and downcast lyrics about turbulent waters, itâ&#x20AC;&#x2122;s easy to mistake â&#x20AC;&#x153;Oh Mississippi,â&#x20AC;? the last track on Lissie Maurusâ&#x20AC;&#x2122; debut LP, Catching a Tiger (Fat Possum), for a Delta missive. Itâ&#x20AC;&#x2122;s not until the last verse â&#x20AC;&#x201D; â&#x20AC;&#x153;The factories closing/ Kids have grown so fastâ&#x20AC;? â&#x20AC;&#x201D; that the song gives a clue as to which stretch sheâ&#x20AC;&#x2122;s singing about. â&#x20AC;&#x153;I grew up in Rock Island, Ill., which is right across the river from Iowa,â&#x20AC;? says Maurus, 28, who records under her first name. â&#x20AC;&#x153;Whenever weâ&#x20AC;&#x2122;d cross the river to go to Iowa, my dad would say, â&#x20AC;&#x2DC;Oh, itâ&#x20AC;&#x2122;s the mighty Mississippi!â&#x20AC;&#x2122; There were always these stories about people who had drowned in it. â&#x20AC;Ś It was a big part of my life growing up. I used to go water skiing with my friends, and it was so dirty. It was kind of like, â&#x20AC;&#x2DC;Why are we swimming in this water?â&#x20AC;&#x2122;â&#x20AC;? The song, co-written with U.K. artist Ed Harcourt, first appeared on Why You Runninâ&#x20AC;&#x2122;, the 2009 record that was, for many, an introduction to the singer/songwriter â&#x20AC;&#x201D; a five-song, 20-minute hat-tip to the frayed Americana and country noir of Neko Case and Jesse Sykes, produced by her friend, Band of Horses bassist Bill Reynolds, and anchored by a booming, bootstrapping Midwestern voice. It was also an accident, Maurus says. â&#x20AC;&#x153;The EP wasnâ&#x20AC;&#x2122;t going to be anything at first,â&#x20AC;? she says. â&#x20AC;&#x153;We did (second track) â&#x20AC;&#x2DC;Wedding Bellsâ&#x20AC;&#x2122; and that turned out cool. I ended up going out to [Asheville, N.C.â&#x20AC;&#x2122;s Echo Mountain Studios] and did a couple more songs, and then he came out to Ojai, Calif., which is where I live now, and we did a few more songs.â&#x20AC;? The platter reached Matthew Johnson, head of the Oxford, Miss. imprint Fat Possum, which released it in November 2009 and commissioned a 2010 followup. Captured in Nashville, Catching a Tiger isnâ&#x20AC;&#x2122;t the sweeping country statement fans mightâ&#x20AC;&#x2122;ve expected â&#x20AC;&#x201D; Maurus left the coasts and traveled back to Americaâ&#x20AC;&#x2122;s heartland to find her inner pop star. The album comprises five songs pro-
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duced by Reynolds (including three from Runninâ&#x20AC;&#x2122;) and seven newer tracks recorded with audio engineer Jacquire King (Modest Mouse, Norah Jones). It often sounds like a makeover for Lissie, who at times sheathed her huge voice in country
tropes of reverb Illinois-raised and remorse. But Lissie Maurus restless ecleccomes to House ticism has long of Blues Feb. 8. been part of her PHOTO BY BRYONY and Reynoldsâ&#x20AC;&#x2122; arSHEARMUR senal. Highlight cut â&#x20AC;&#x153;Strangerâ&#x20AC;? prances to a climbing, ringing Omnichord jingle from Reynoldsâ&#x20AC;&#x2122; back catalog, and slinking single â&#x20AC;&#x153;When Iâ&#x20AC;&#x2122;m Aloneâ&#x20AC;? alludes to â&#x20AC;&#x153;All My Lifeâ&#x20AC;? and â&#x20AC;&#x153;The Longest Road,â&#x20AC;? two early collaborations (with DJ Harry and DJ Morgan Page, respectively) that became unexpected dance hits. â&#x20AC;&#x153;I went honky-tonking a little bit in Nashville, but I was so busy,â&#x20AC;? Maurus says. â&#x20AC;&#x153;We were isolated in [Kingâ&#x20AC;&#x2122;s] house, out in this neighborhood. I was able to get in my thoughts and spend time on my own without the distractions I wouldâ&#x20AC;&#x2122;ve had if Iâ&#x20AC;&#x2122;d stayed in L.A. â&#x20AC;Ś Thereâ&#x20AC;&#x2122;s a lot of diversity on this first album, and I think thatâ&#x20AC;&#x2122;s good, because itâ&#x20AC;&#x2122;s introducing me to people. None of it was super-intentional. Some people can really start with a vision. I always do everything completely unconsciously, and at the end I can see how it fit together. I think if I set out to do something specific, I end up psyching myself out.â&#x20AC;?
LISSIE WITH DYLAN LEBLANC 9 P.M. TUESDAY THE PARISH AT HOUSE OF BLUES, 229 DECATUR ST., 310-4999; WWW.HOB.COM TICKETS $10.50 ADVANCE PURCHASE, $12.50 DAY OF SHOW