Little Plastic Castle (CD - 1998)

Personnel: Ani Di Franco (vocals, acoustic, electric, tenor & baritone guitars, concertina, keyboards, bass pedals, drums, percussion); Jason Mercer (vocals, acoustic & electric basses); Andy Stochansky (vocals, drums, talking drum); John Mills (saxophone, baritone saxophone); Gary Slechta, Jon Hassel (trumpet); Jon Blondell (trombone); Andrew Gilchrist (pump organ); Sara Lee (bass); Jerry Marotta (drums); Mark Hallman, Pat Martin Bradley (spoken vocals).

"Glass House" was nominated for the 1999 Grammy Award for Best Female Rock Vocal Performance.

Personnel: Ani DiFranco (vocals, guitar, acoustic guitar, electric guitar, concertina, keyboards, drums, percussion); Jason Mercer (vocals, upright bass, electric bass); Andy Stochansky (vocals, drums, talking drum); John M. (saxophone); John Mills (baritone saxophone); Jon Hassell , Gary Slechta (trumpet); Jon Blondell (trombone); Andrew G., Andrew Gilchrist (pump organ); Jerry Marotta (drums).

Audio Mixers: Andrew Gilchrist; Ani DiFranco.

Photographers: Asia Kepka; Albert Sanchez.

Unknown Contributor Role: Andy Stochansky.

Little Plastic Castle posed an unusual challenge for Ani DiFranco. She released this record after spending a year promoting her first live CD (Living in Clip) by repeatedly admitting to reporters that her studio albums lack the vitality of her concert performances. Rock critics agreed en masse, and their praise for the live album helped to propel DiFranco to a new level of mainstream stardom -- but it also heightened the scrutiny on her next studio recording. Fortunately, she managed to dodge several of the pitfalls of her previous albums. Her excellent band had plenty of time to jell on the road, and their performances here are as tight, driven and intense as they've ever been. Vocally, DiFranco is somewhat less affected than on previous albums, where the unnatural isolation of the studio sometimes led her to unnatural mannerisms. Her songwriting, however, is not quite up to par. While her melodies have almost never been exactly catchy, they have usually been perfect vessels for her terrifically smart lyrics. This time, the lyrical tail seems to be wagging the melodic dog willy-nilly. That's especially damaging when her songs are wallowing too comfortably in angst ("Independence Day," "Glass House"). Nonetheless, this is the most creatively produced Ani DiFranco album to date, combining her distinctively frenetic acoustic fingerstyle with computer samples, dance rhythms, mariachi brass and full-band rock jams. The result is colorful -- almost cartoony -- but almost never overshadows the emotional content. When Jon Hassell contributes a gorgeous jazz trumpet solo on the album's final track (the 14-minute "Pulse"), it blends in so perfectly that one has to remind oneself that DiFranco is one of the biggest talents in folk music. ~ Darryl Cater

One-woman cottage industry DiFranco remains true to her cause on her eleventh album (she's a seasoned vet at 28!). Still steadfastly independent, LITTLE PLASTIC CASTLES, like all her previous releases, is available only through her own Righteous Babe label, as DiFranco wards off the majors who offer to make her what she already is; The Next Big Thing. Fans of the female acoustic songwriter gestalt who are too smart for Alanis and too cool for Patty Larkin will find reason to rejoice in this album.

While DiFranco's lyrics still focus on personal politics and modern societal ills, there are expansive touches added to the arrangements of many songs here. "Deep Dish" and several others benefit from some well-placed horn stabs, and pump organ, concertina and talking drum all make appearances. Despite upping the instrumental ante, though, DiFranco's (naturally) self-production remains uncluttered, getting to the heart of her very personal observations. minimize