Libbie Linton is a mild-mannered, soft-spoken type who likes math and limeade. She learned how to whistle as a determined 3-year old, sitting cross-legged on the floor of her bedroom. In kindergarten, she started memorizing the words to various songs and singing them quietly to herself. Around this time, she happened to catch the campfire scene from “The Jerk” in which Steve Martin and Bernadette Peters sing a lovely rendition of the old Billy Rose and Lee David classic, “Tonight You Belong to Me”. From this point forward, Linton imagined performing this song for an audience, which has since been accomplished. Early influences led to a proclivity for progressive folk themes and for writing unique, melodic, and literate songs.
Linton began performing at overcrowded house shows while in her early college years. Eventually, this led to a 2006 home recording of 7 songs, packaged one-by-one in sewn cases, titled “The Shackleton EP”.Since the release of The Shackleton EP, Linton has further developed her own idiosyncratic style.
A debut full-length album entitled “Bird Wings in the Bleak” was released April 23, 2009. This record is a collection of 12 songs with admittedly somber leanings that range from bare guitar and voice to more complex arrangements of banjo, ukulele, piano, violin, electric guitar, harmonica, glockenspiel, bass, tuba, and percussion. Lyrically, the album is full of distinctive phrasing and unique lines. Regardless of the subject matter, perhaps Linton’s most memorable quality is an ability to sing only like she means every word.
“Linton’s voice—best described as a slightly more tremulous female version of folk legend Nick Drake’s ear-catching pipes—has turned out to be one of her strongest musical assets. There are throngs of female singer-songwriters with acoustic guitars, but only a select few—even on the local level—can hold an audience and build a following. When it comes to vocals, unique is not a liability. Unique is as good as it gets.”— Jenny Poplar, Salt Lake City Weekly
Here I Am
Thursday, January 14,2010
Although it may disappoint Paul Jacobsen, I cannot use this City Weekly blogging power for a faux feud with Laserfang. To make it perfectly clear, I have nothing but feelings of respect for Laserfang.
I believe I am unfortunately currently the only representation on this City Weekly band posting site of the music scene of Logan, Utah. For those of you unfamiliar with Logan, I can tell you that we have one venue that consistently holds shows, the town is incredibly safe, it's deathly cold during the winter, and we have some of the worst pollution levels in the nation (just like SLC and Provo, although in Logan, you'll hear people blame the high levels of particulate matter on fog...). Besides a lack of consistent venues, it's not too different from those places along the Wasatch front.
In Logan, there are at least three interesting people. The first is a guy that used to dress up in a construction uniform and breakdance at one of Logan's busiest intersections. He would dance on a corner, dance across the street when the walk sign was lit, and dance on the next corner. Rumor has it that he was deemed a dangerous distraction and rules were imposed. Most recently, I have spotted him wearing a white outfit and he only dances on the corners, not in the intersection crosswalks. He's good. It is totally distracting.
The second person is a lady that loads up a shopping cart with bricks, rocks, and other heavy things and pushes it down the sidewalk next to one of Logan's busiest streets as fast as she can. She does it for exercise. Also distracting.
The third is a man who would preach from the side of the road, standing on a soapbox, yelling as loud as he can about Satan. I'm pretty sure city officials shut that down. I guess that's how Logan rolls.
As far as I am concerned, I'm a graduate student at USU in Biological Engineering. I do genetics-related research. I'm looking forward to graduating this Spring and spending more time with music. I love love love playing music.