Rainbow Rollercoaster

Keith Morris

Rainbow Rollercoaster
Performed By Keith Morris
Album UPC 678277147126
CD Baby Track ID 4244048
Label City Salvage Records
Released 2007-01-01
BPM 129
Rated 0
ISRC uscgh0615817
Year 2007
Spotify Plays 53
Writer Keith Morris
Pub Co Keith Morris
Composer Keith Morris
ClearanceFacebook Sync License,Traditional Sync,YouTube Sync ServiceOne Stop
Rights Controlled Master and Publishing Grant
Rights One-Stop: Master + 100% Pub Grant
Original/Cover/Public Domain original
Country United States - Virginia


A finely crafted and musically overflowing song cycle: from Pentecostal, snake-handling Gospel to dreamlike odes to Appalachian hoe-downs to achingly beautiful lullabies.


City Salvage Records proudly announces the release of “Songs From Candyapolis,” the debut album by songwriter Keith Morris. Produced exquisitely by Morris and Jeff Romano (Corey Harris, Devon Sproule, Paul Curreri, Old School Freight Train), and featuring musicians cherry-picked from the fertile Charlottesville, Virginia music scene (Morwenna Lasko, Brandon Collins, the Hogwaller Ramblers, Richelle Claiborne, Paul Curreri, Devon Sproule, and more), “Candyapolis” is, in CSR founder Andy Friedman's words, "a masterful sucker-punch of an album, all daring and original, that grows on you like the kudzu it jumped out of."

The musical moods here run the gamut: from Pentecostal, snake-handling Gospel to dreamlike odes to Appalachian hoe-downs; from quietly whispered prayers to unhinged rave-ups to transporting lullabies. Apropos of the album’s wide-open perspective and emotional honesty, "Candyapolis" also features a rocking and redefining cover of Daniel Johnston's "Casper The Friendly Ghost." It's a siginificant album; one that draws the listener into a world all its own. One that rewards close attention and reveals more and more with each listen. The songs here were collected over 10 years of writing, with two years spent recording and crafting them with Romano at Greenwood Studios.

"When we began work, Keith played tapes of the songs he'd recorded," explains producer Jeff Romano. "I heard gospel, I heard rock, I heard classical. It was a project with huge variety and scope. We brainstormed on musicians we know from Charlottesville, brought them in, then basically turned them loose, and things really took off. We finished the album over a year ago, and listening to it now, it's just a really honest, really fine record. There's never a forced moment or a note that doesn't care. It's a testament to the notion that fine art can come off the pen immediately with no distance between the imagination and the final sculpture. As a songwriter, Keith brings himself to bear so thoroughly, and it's infectious. You feel the inner life strongly in these songs."

Morris, who's been writing songs for many years, "decided to make this particular record because it dawned on me that I had stumbled onto some odd, new musical territory here. These songs have their own voice--sometimes, they seem to be speaking in their own native tongue. For most of these songs, I didn't feel like I was writing them so much as receiving them, and that's what makes them special to me. It’s like they came from another place.”

WEBSITE: http://www.keith-morris.com
CONTACT: keith@keith-morris.com
PHONE: 434-979-2749

Candyapolis Raves

In "Candyapolis," the fears ("Little Cameron"), fantasies ("Rainbow Rollercoaster"), and follies ("Candy Apples") of the child mingle with the part in everyone that never grows up. Childhood wonder ("Snow Day") co-exists with loss of innocence ("Billie Weir's Dress"). Keith Morris' album of twisted lullabies evokes that intersection in toe-tapping barnburners with raucous choruses and in quiet melodies ("October Lullaby"). Morris has found a perfect partner to realize his gentle lunatic dream in co-producer Jeff Romano and his Charlottesville regulars. Morwenna Lasko's fiddle alternately swings hard and sways gently ("October Lullaby"). Sandy Grey (electric guitar) and Romano (harmonica) catch fire in a duet (Daniel Johnston's "Caspar the Friendly Ghost") over Jennifer Morris's perfectly screwball la-la-las. Richelle Claiborne's backing vocals are a force of nature ("Cross-Eyed John, Ain't Got No Brain"). Part-if not all-of Morris lives in Candyapolis. You live completely in the real world. But when you catch yourself humming, "Cross-Eyed John," better check your address.
David Kleiner
Minor 7th

Few artists could walk you through the varied nooks and neighborhoods of Candyapolis and make them real, in all their grime and glory, and breathe them to life, without somehow stealing away their magic. Keith Morris leads this tour like a true street hustler/spirit guide.
Danny Schmidt, songwriter

Like some rambling, twisted Garrison Keillor children’s story where whimsical monsters battle Satchel Paige for sugary carnival treats, there’s enough lyrical inventiveness and good humor here to warrant multiple listens, and fans of the genre might find this a new favorite.
Cripsy Duck

I thoroughly love this album. Voice, songs, production--all classic. I was engaged at first listen. It sounds like Ryan Adams fronting some kinda alt-country-Leonard Cohen-introspective-grandeur combo (and I mean that in the best possible way.) He's onto something.
Shannon Wells
Music Columnist
Charlottesville Daily Progress

Damn fine effort. Achingly beautiful melodies here and there reminded me of the feel of Kurt Wagner's (Lambchop) lyrics and delivery, but without the detached irony.
Tom House

I absolutely love "Candyapolis"! It's one of a kind. The songs, and the way they are presented, emote a long forgotten spontaneous innocence that most of us have but think we're way too cool to reveal. Another thing I appreciate is that it's not the same old story on there. There's imagination, tenderness, playfulness, and a wild side...and ain't nothin' on there about global warming, thank you!
Mary Gordon Hall

You really HAVE to hear this album! It's so much fun. One of my absolute favorites.
Paul Curreri

Candyapolis covers all the important ground: I can make dinner to it, yes, but also, in the car, or under headphones, I can always find a new lyric, a new reference, or turn of phrase, to wonder at. Jeff Romano's production is wondrously loose and yet entirely bulletproof -- nothing I would change. If ballading Beck had roots as deep, had both driven a cab and taught English in a backwoods Virginia college, perhaps his whine would have the same transporting depth as Keith Morris's.
Devon Sproule

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