Elevate Difference

Reviews of Righteous Babe Records


Before reviewing the album, I have to admit, Ani Difranco and Justin Vernon of Bon Iver, who are both major contributors to the project, definitely rake up the most counts on my iTunes top played lists. Bias. That said however, Anaïs Mitchell’s folk opera Hadestown is a masterful album in its own right, originally beginning in 2006 as a live show that toured New England with a cast of twenty-two performers.

Red Letter Year

Red Letter Year is one of those records about—dare I say it?—hope. Its folksy tunes praise Mother Earth and the blessings we all share at the end of a devastating political era. You don't have to be a longtime fan of Ani DiFranco to be convinced that it is desirable—hell, even possible—to live in the woods, knit your own socks, grow your own food, and exist in a woman-centric world (assuming you don't already).

Canon / Verses

Being an Ani DiFranco fan has been a part of pretty much every feminist’s rite of passage since she came on the scene in the early ‘90s with the release of her self-titled album. Now seventeen years, two DVDs, and nearly thirty albums (including remixes, tributes, and live discs) later, DiFranco has simultaneously released a retrospective double-CD and book of poetry that show just how much she has grown personally, politically, and artistically.

The Brightness

As the newest addition to Righteous Babe Records, Anais Mitchell, has written an album full of tender metaphors, without the bitter tone of heartbreak. The Brightness will probably sit in the folk section of your favorite record store, but this album isn’t as simple as a singer and an acoustic guitar. Mitchell pulls in a piano, lap steel, cello, viola, banjo and other instruments to fill the record with layers upon layers of sound.