Louise’s new release, “Paris”, was produced by Cliff Eberhardt with a full band featuring Broadway musician, Seth Farber (“Ain’t Too Proud to Beg”), on keyboards, Violinist Carol Sharar, Dave Trenholm on saxophone, Mark Fraser on cello and Pete Adams on pedal steel. The band also included Paul Kochanski (Lori McKenna) on bass and drummer Keith Levreault along with background singers Bobby Sweet (Arlo Guthrie) and Lara Tupper. Stylistically more “torchy” than her previous releases, Louise has also been co-writing with living folk legend, Tom Paxton, via Zoom for two years and three of their songs appear on the new album.

“Paris”, the album, began recording on May 5th, 2024 at Side Track Studios in Northampton, MA with engineer, Shawn “Gundy” Gundersen and producer, Cliff Eberhardt, at the helm. Eberhardt had a vision for the album and had begun the arrangements months prior, “The production on Willie Nelson’s “Stardust” album has always inspired me and I wanted that kind of simplicity for Louise’s record. When we got to the studio and found that it didn’t have a piano, but it DID have a B3 organ and Wurlizer piano, I knew that the limitation was going to be the way. I asked keyboardist Seth Farber to only play figures and no chords, so he played with his right hand only and his left hand up in the air! I wrote the string arrangements at home on my iPad in the evenings. We wanted a lot of SPACE in the songs, and mixing was more about removing notes rather than trying to fit them all in.”.

Louise’s new release, “Paris”, was produced by Cliff Eberhardt with a full band featuring Broadway musician, Seth Farber (“Ain’t Too Proud to Beg”), on keyboards, Violinist Carol Sharar, Dave Trenholm on saxophone, Mark Fraser on cello and Pete Adams on pedal steel. The band also included Paul Kochanski (Lori McKenna) on bass and drummer Keith Levreault along with background singers Bobby Sweet (Arlo Guthrie) and Lara Tupper. Stylistically more “torchy” than her previous releases, Louise has also been co-writing with living folk legend, Tom Paxton, via Zoom for two years and three of their songs appear on the new album.

“Paris”, the album, began recording on May 5th, 2024 at Side Track Studios in Northampton, MA with engineer, Shawn “Gundy” Gundersen and producer, Cliff Eberhardt, at the helm. Eberhardt had a vision for the album and had begun the arrangements months prior, “The production on Willie Nelson’s “Stardust” album has always inspired me and I wanted that kind of simplicity for Louise’s record. When we got to the studio and found that it didn’t have a piano, but it DID have a B3 organ and Wurlizer piano, I knew that the limitation was going to be the way. I asked keyboardist Seth Farber to only play figures and no chords, so he played with his right hand only and his left hand up in the air! I wrote the string arrangements at home on my iPad in the evenings. We wanted a lot of SPACE in the songs, and mixing was more about removing notes rather than trying to fit them all in.”.

10 songs of love, loss and surrender in “Lay It Down”. Meticulously produced by venerable folk-rock songwriter and Red House recording artist, Cliff Eberhardt, Mosrie blends some of her most personal songs to date (“Daffodils” – about her mother’s death in 2012; and “Holding My Breath” – about the end of her 15 year marriage) with deeply moving historical songs like “Leave Your Gun” (about the Battle of Franklin in the Civil War) and “Baker Hotel 1929” (about the famed derelict haunted hotel in Mineral Wells, TX).

Producer, Cliff Eberhardt (with cuts by Shawn Colvin, Richie Havens and Cry, Cry, Cry), brings decades of producing experience and arranging skills to “Lay It Down” while never getting in the way of the song. In fact, Eberhardt plays all the instruments on the CD except the mandolin – played by Anna Uptain on “Baker Hotel 1929”. His minimalist vision for the production of “Lay It Down” allows Louise’s warm, expressive voice and the raw emotion of the song to always be the focus while weaving in his signature melodic guitar/slide phrases and solos.

The album was tracked at Eberhardt’s small home studio in Western Massachusetts on a Tascam D-38 with humble mics and pre-amps – proving again you don’t need high-end gear to make a beautiful recording. The mixing and mastering was done at Studio Gorilla in Nashville with Chris Latham – who has worked on the projects of Guy Clark, Brad Paisley, Joe Nichols and Trace Adkins.