I heard this album and was literally stunned in the giant leaps one artist can take between albums. I loved her last album, 'Ten year night' but this blew me away. This is easily her best work so far. I have no idea how she finds the time, because if you look at her schedule, she's got to be the hardest working woman in contemporary folk.
"Written on the back of his hand" is classic Lucy, it's a story that you are instantly familiar with but if you listen a few times there's a darker underlay. "Broken things" is a magical song in her hands and you believe every single word she sings in it. The heartbreaking "Song for Molly" must touch everyone who has ever seen a relative deteriorate in a nursing home, helpless to do anything about it.
From that heartbreak to the tremendously catchy and upbeat "Don't mind me" which is worth repeated listening if only for the initial line...'don't mind me, I'm just a bit maniacal about you'...!
Over all, her best effort yet and I'm looking forward to what she'll do next!
on 20 November 2001
I first heard Lucy's 'Every Single Day' whilst listening to Bob Mills on Radio 2. I was entranced and couldn't believe I've never heard her before. She has a low husky voice that for me evoked the hot Texan wind and wide open prairies, and a story telling style of writing. If you enjoy listening to Terry Wogan's play list then I promise this is one that will frequently be in your CD changer. My four favourites are the title track 'Every Single Day' which is wonderfully moody and melodic. 'Don't Blame me' is a very tongue-in-cheek bouncy track that never fails to make me smile. 'Nowhere' is another slighter darker track - she makes the most of her range on this one. 'No more excuses' is the most country sounding track and the most commercial sounding - will get your feet tapping without fail.
on 13 June 2003
I prefer the Ten Year Night album. This album is more mellow, more introspective (you would not have thought it possible) and more heavily inclined towards more subtle melodies - more easy listening than folk. The guitar is less folksy here and the use of violins or the dobro is nearly non existent.
This seems a more mature album lyrically, but I love Kaplansky for the ensemble - the music and the lyrics and I find that the mucical accompaniement to be skilled but less impressive in terms of suprises.
However, despite all this I still think she is peerless as an artist. Jonatha Brooke has become more commercial and Sarah McClaghlan is so much more irritatingly angsty. Kaplansky is subtle and a wonder to listen to.