The Continuum Project – Lindsay Ell Album Review
What started as a pre-production homework project for Lindsay Ell has turned into the release of 12 tracks on The Continuum Project.
In 2006, John Mayer released Continuum, the album likely to be his ticket to the Rock and Roll Hall of Fame, to critical and audience acclaim. Hits like Gravity and Waiting On The World To Change are as beloved now as they were then. And now, music fans can rediscover them through Lindsay Ell’s very personal interpretations.
We spoke with Lindsay in Toronto during Canadian Music Week and talked a lot about The Continuum Project. She reiterated the story of her producer, Kristian Bush (Sugarland), asking what her favourite album of all time was – and then telling her that she had two weeks to record the whole thing. From there Lindsay told us that she spent long, long days in the studio playing every instrument, singing every track, and putting together her version of Mayer’s songs.
Related: The Project – Lindsay Ell Album Review
Ell told us that there were challenges around every corner and on every song as she realized the fine details and subtleties that went into each instrument and how they were played. She made a point of telling us that even though she went into the project feeling like she knew every song front to back, she soon learned that there was a lot more going on than she knew. As we talked she credited not only Mayer on his guitar work but also Pino Palladino for his work on the album playing bass. She also told us that the drums are the only instrument she doesn’t play and didn’t play in the studio, but that she did program them on the tracks and gave credit to Steve Jordan for his work on the original as well.
At one point, after Lindsay Ell had handed over her covers to Bush, he came back to her and asked her to give it a listen without the drums. That version, the one without her programmed Steve Jordan beats, that’s what you’ll hear when you press play on The Continuum Project.
When we talked about that change, Lindsay said she believes it makes each of the songs on the album more vulnerable and personal, even though they aren’t hers. And in listening to the songs, it’s clear that the change allows for a connection that she may not have had or may not have been recognizable if she’d just done a straight cover of the album from front to back.
At Canadian Music Week 2018 we saw Lindsay take the stage at The Phoenix Concert Theatre with a set of fan favourites and were pleasantly surprised when she threw in a live version of Slow Dancing In A Burning Room. In the four minutes that the band played the song, we couldn’t help but get excited for the release of The Continuum Project. To hear Ell play those guitar parts with all of the expertise that she brings to the craft was exceptional. To hear her sing the lyrics, knowing how much she loves the song, was special. And thinking about how badly I wanted to hear Gravity right then and there told me all I needed to about my excitement level for the release.
During our conversation, we talked about the importance that making The Continuum Project had on her own music. She told us that it helped her to realize what she wanted on The Project. It helped her to understand the instrumentation that she needed, instead of what she thought was expected or required. And during that interview, she also told us that her recording of John Mayer’s album was “exactly what I see myself as”. If anyone doubted how personal this project is to her, that should clear it up.
This album is “exactly what I see myself as”
As one of country music’s rising stars, there are perhaps some expectations about the sound or style that Lindsay Ell should be sharing with the world. But this album has shown that any of those expectations should be tossed. Her ability to go to the bluesy places that Mayer’s songs take her is fantastic. Her guitar skills are front and centre, and should never be overlooked. And Lindsay Ell’s willingness to share great music, regardless of genre, is commendable.
There are no tracks on The Continuum Project that aren’t strong. There are no weak links. This album does what the original does, making you want to hear each and every one of the songs from Waiting On The World To Change to I’m Gonna Find Another You.
Lindsay makes it clear that she believes that John Mayer’s version of Continuum is the best version there is. But, having listened to The Continuum Project and having looked in her eyes while she talked about it, we can tell you that she has created a record that will draw you in, hits all the right notes, and makes you feel like it’s hers.
Lindsay Ell, The Continuum Project
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The Continuum Project – Lindsay Ell Album Review
By Joshua Murray
What started as a pre-production homework project for Lindsay Ell has turned into the release of 12 tracks on The Continuum Project.
In 2006, John Mayer released Continuum, the album likely to be his ticket to the Rock and Roll Hall of Fame, to critical and audience acclaim. Hits like Gravity and Waiting On The World To Change are as beloved now as they were then. And now, music fans can rediscover them through Lindsay Ell’s very personal interpretations.
We spoke with Lindsay in Toronto during Canadian Music Week and talked a lot about The Continuum Project. She reiterated the story of her producer, Kristian Bush (Sugarland), asking what her favourite album of all time was – and then telling her that she had two weeks to record the whole thing. From there Lindsay told us that she spent long, long days in the studio playing every instrument, singing every track, and putting together her version of Mayer’s songs.
Related: The Project – Lindsay Ell Album Review
Ell told us that there were challenges around every corner and on every song as she realized the fine details and subtleties that went into each instrument and how they were played. She made a point of telling us that even though she went into the project feeling like she knew every song front to back, she soon learned that there was a lot more going on than she knew. As we talked she credited not only Mayer on his guitar work but also Pino Palladino for his work on the album playing bass. She also told us that the drums are the only instrument she doesn’t play and didn’t play in the studio, but that she did program them on the tracks and gave credit to Steve Jordan for his work on the original as well.
At one point, after Lindsay Ell had handed over her covers to Bush, he came back to her and asked her to give it a listen without the drums. That version, the one without her programmed Steve Jordan beats, that’s what you’ll hear when you press play on The Continuum Project.
When we talked about that change, Lindsay said she believes it makes each of the songs on the album more vulnerable and personal, even though they aren’t hers. And in listening to the songs, it’s clear that the change allows for a connection that she may not have had or may not have been recognizable if she’d just done a straight cover of the album from front to back.
At Canadian Music Week 2018 we saw Lindsay take the stage at The Phoenix Concert Theatre with a set of fan favourites and were pleasantly surprised when she threw in a live version of Slow Dancing In A Burning Room. In the four minutes that the band played the song, we couldn’t help but get excited for the release of The Continuum Project. To hear Ell play those guitar parts with all of the expertise that she brings to the craft was exceptional. To hear her sing the lyrics, knowing how much she loves the song, was special. And thinking about how badly I wanted to hear Gravity right then and there told me all I needed to about my excitement level for the release.
During our conversation, we talked about the importance that making The Continuum Project had on her own music. She told us that it helped her to realize what she wanted on The Project. It helped her to understand the instrumentation that she needed, instead of what she thought was expected or required. And during that interview, she also told us that her recording of John Mayer’s album was “exactly what I see myself as”. If anyone doubted how personal this project is to her, that should clear it up.
This album is “exactly what I see myself as”
As one of country music’s rising stars, there are perhaps some expectations about the sound or style that Lindsay Ell should be sharing with the world. But this album has shown that any of those expectations should be tossed. Her ability to go to the bluesy places that Mayer’s songs take her is fantastic. Her guitar skills are front and centre, and should never be overlooked. And Lindsay Ell’s willingness to share great music, regardless of genre, is commendable.
There are no tracks on The Continuum Project that aren’t strong. There are no weak links. This album does what the original does, making you want to hear each and every one of the songs from Waiting On The World To Change to I’m Gonna Find Another You.
Lindsay makes it clear that she believes that John Mayer’s version of Continuum is the best version there is. But, having listened to The Continuum Project and having looked in her eyes while she talked about it, we can tell you that she has created a record that will draw you in, hits all the right notes, and makes you feel like it’s hers.
Lindsay Ell, The Continuum Project
Author profile
creator of content, daddy blogger, writer, coffee drinker, fan of the Batman. proud mo bro. prouder dad.
