"Of all the songs here, "Henry Lee," previously covered by Nick Cave and PJ Harvey, might be the most recognizable. She sets it in a reverbed distance, her delicate drawl poised over a whispy saw and fluttering mandolin." -Boston's Weekly Dig
Elizabeth Butters' album is now available from Top Magic Records. Released on February 9th, 2010. It's only available as a 10" vinyl record, although you can choose between a blue and a cream album sleeve. You'll find me playing musical saw, guitar, and backup vocals on a number of the tracks.
Elizabeth insisted on using analog reel-to-reel recording methods throughout the album and even made a trip to a former Masonic Ballroom in Kentucky to record with some fantastic folk musicians there in addition to our sessions at the Soul Shop in Medford, MA. She is always meticulous in keeping with the Appalachian folk traditions she knows so much about.
Boston Globe
"Somerville singer-guitarist Elizabeth Butters's 30-minute supporting set was a beautiful, if fragile, bird to behold. Alternating between acoustic guitar and dulcimer (and accompanied by David Goligorsky on musical saw), Butters was tentative yet beguiling as she sang a clutch of haunted murder ballads in a shy, formal voice that belied the death and despair at the dark heart of her material."
Boston's Weekly Dig:
"Able to perform regularly without soliciting for shows, Butters and Goligorsky could easily be stars of the new folk revival."
PerformerMag:
"Apparently the Patriots don’t matter much to fans of unconventional folk music — a playoff game didn’t register the faintest blip on the radar in the packed performance space at PA’s Lounge in Somerville this night (though the TVs are always on across the hall in the bar room). Elizabeth Butters, dressed like the ghost of an early-century matron and accompanied by David Goligorsky on singing saw, started the evening with a set of mostly traditional murder ballads. The unusually hushed room provided a great showcase for Butters’ clear, sparrow-like voice combined with Goligorsky’s singing saw for haunting effect. The mood was contrasted, however, by the fun they were clearly having. Finishing the set was a rendition of Leadbelly’s “Goodnight Irene,” with the audience’s help solicited on the famous chorus."
