Velvet Town is on a different map than anything Louise has done before, but the path she took to get there is a familiar one. Of the writing, she confides...." I am drawn to what is just out of reach. I don't like to repeat myself." Perhaps Taylor has reinvented her sound, or maybe she has just come into her own, realizing that, as an artist, she can go anywhere she damn well pleases. Her songs don't follow any set rules, but rather present themselves as individuals ... unique unto themselves.

From the opening cut, "Something Like This," Taylor invites you along, following her irresistibly sensual voice into a labyrinth of stories. "If I had my Dream" is the tale of a mentors' passion for his vision; "Maps of Venice" tells the story of a Venetian street vender and his buoyant outlook on life (to feel the sun on your face, little one, Bellisimo).

By the time you arrive at the languid title track, "Velvet Town," you are knee deep in Taylor territory. Moods and textures shift gracefully throughout, thanks to Taylor's broad musical vision and her excellent band; in "Call My Name," for instance, long, sultry, lyrical images soar over her buzzing, African-style guitar groove. From the cool and biting lovers' cocktail "Muddy Hudson" to the irreverent and rollicking train yard chant, "Firebox/Coaltrain," these thirteen songs will make you travel around the CD again and again, wondering where you've been and where you'll end up next.

"I wanted to create a record with a sound that I could take on the road, where the players were the common thread tying this group of songs together" says Taylor of the records complexion.  "For me, that meant using the core group of musicians I play with regularly, sitting down in the studio and playing. Many of the arrangements on Velvet Town were left loose, so what you hear is what happened off the cuff, a glorious mix of red wine, espresso and late nights!"

Thanks to percussionist Dean Sharp, bassists Richard Gates and Ira Coleman, guitarist Ken McGloin, pianist Eugene Uman, cellist Stephanie Winters and backing vocalist Kristin DeWitt, that off-the-cuff attitude is many moments of collective musical genius. Taylor credits Sharp, in particular, for musical inspiration, great mixing instincts, and wise guidance along the way.

"Dean and I have toured together as a duo and with the full band since 2000," says Louise. "Because I was able to lean into his sound, I heard my own role differently and was willing to take more chances. His playing is more orchestral, almost cinema-graphic, and he is extremely accomplished in many genres. I began to strip back my writing and playing style to make room for the musical language we were creating together. For the sake of singing I wrote deeper melodies and used fewer words, to allow space for phasing and vocal tone."

Along with that progression came the evolution of a great working friendship with songwriter/producer Annie Gallup who co-produced Velvet Town with Taylor. They first met in 1996 while working on a show at the Bottom Line in NYC for Fast Folk Music Magazine. " It's the genius of her own music, her personal vision and commitment to creating art both vital and original that lead me to work with her on this project. From the initial song editing down to the records sequencing, Annie was in there fighting like a tiger to maintain this projects integrity."

Recorded at the Clubhouse in Rhinebeck, NY by veteran engineer Paul Antonell, the character of this record belongs to the moment it went down on tape. Co-producer Annie Gallup says, "The Clubhouse was an incredible place to record, beautiful and comfortable, with technology so perfect that it is invisible, and space designed so there could be sonic separation between the players but they could still keep eye contact. With the exception of the harmony vocals, and a few color instruments, the whole record was recorded live over three very intense days last August. The band really threw down, and Louise's performances are so instinctive, focused and compelling. Paul, Sean and I were listening from the control room as we were taping (yes, big, fat 2" analogue tape!), just laughing and crying and shaking our heads. I think you can really hear the magic of those few days on this record."