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Mary Battiata & Little Pink – ‘The Heart, Regardless’ – new CD – out now …

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Early praise for "The Heart, Regardless"

 “Great voice and ditto the songs. We don’t use stars to rate music here, so you’ll have to make do with my words: Mary Battiata’s latest is no more and no less than a jewel of modern Country.” – Dani Heyvaert, ROOTSTIME.BE


  “I seriously like this record. For one thing, I am a sucker for Country and Americana that uses lots of minor chords. For another, the songs always maintain a good rhythm and a beat – I connect more to songs like that.” – Steve Hoffman, WOWD-FM Takoma Park MD and WPFW-FM Washington DC 



Mary Battiata & Little Pink is the ongoing alt-country, Americana, roots, pop-folk-twang-mongrel music project of singer-songwriter Mary Battiata (pronounced Batt’-tea-ah’-ta – it’s Italian). The band name takes its inspiration, from The Band recording of similar name. Other big influences: Dolly Parton, Hazel Dickens, Hank Williams, the Feelies, “Aftermath” and “Flowers,” to name a few. Mary has released three full-length CD’s of original music.

Her latest, The Heart, Regardless,” is out now. It was recorded over the course of a year in Baltimore MD with a standout band of veteran country and bluegrass players from the Mid-Atlantic, including Tim Pruitt, Alex Weber, Dave Hadley and Ed Hough, along with contributions from special guests Dudley Connell (The Seldom Scene), Mike Munford, Patrick McAvinue and more. The record features 13 original songs by Mary, plus her cover of a modern honky-tonk classic by Baltimore songwriter Arty Hill. “The Heart, Regardless” and all of Mary’s recordings are available in compact disc and as digital downloads via CD Baby, iTunes and Amazon. Click here to listen.


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• “Absolutely brilliantFront-woman Mary Battiata and her rootsy Washington DC band evoke Richard and Linda Thompson at their most lyrical on this impeccably crafted, often haunting CD.” – Lucid Culture (NYC)

•  “Mary Battiata sings like an angel, resembling variously, Linda Thompson, Margo Timmins or Rosanne Cash. Yet she’s clearly wrestling with some devils on this, the follow-up to Little Pink’s 2001 debut. … Even her choice of a Bevis Frond cover, the scruffy, power-poppy ‘Stars Burn Out,’ reveals a deeply cynical streak (it’s about our heroes and their declines). Ultimately, though, Gladly Would We Anchor isn’t a downer, because by peering into the darkness, Battiata is wielding the illuminating rays of hope.” – Harp

“Part twang, part folk, part pop, she’s not the most accessible of songwriters, but she’s all the more rewarding for that. – John Conquest, 3rd Coast Music (Austin TX), 4-flower review, Best Songwriters of the Year.

Praise for Little Pink’s “Gladly Would We Anchor” (Nightworld/2008)






















• “Songs that should keep listeners thinking – of Lucinda Williams and Rosanne Cash, for starters, but mostly of how Battiata, in her own subtle, insinuating way, earns such comparisons.” – The Washington Post

• “Battiata’s pipes and way with song construction are equally strong. She’s a real writer, too, so listen to the words. Think Emmylou or early Dolly, mixed with Richard and Linda Thompson.” – George Pelecanos

• “Every song is good … “ – kausfiles.com (in the online magazine, Slate)

 • “Tinges of folk, forays into alt-country … “ – Les Enfants Terribles (Washington, DC)





“Gladly Would We Anchor” is the follow-up to Little Pink’s engaging debut, “Cul-de-sac Cowgirl” (Adult Swim/2001). Released in 2008, it features singer-songwriter Mary Battiata (“12 Songwriters You Should Hear,” Harp Magazine 2002), at work with a band of standouts from Washington DC’s roots and jazz scenes, along with special guest, guitarist Ben Peeler (the Mavericks; Shakira), and co-producer Philip Stevenson (Carnival of Souls; Quinine).
With a title taken from Emerson’s “On Experience,” (“Gladly we would anchor but the anchorage is quicksand,”) Little Pink’s latest charts the landscape of love lost and the crossing into midlife with imagery of the natural world, swirling honkytonk guitars and catchy folk-rock melodies. It’s been described as moody folk-pop with a twang, a distinctive, guitar driven sound that critic Benjamin Johnston described as ”somewhere between the beer-soaked sound of roadhouse bar bands and the academic folk music of coffeehouse performers.”















Previously from Little Pink:


• “A shimmering roots-rock pageant that shines with scuffed sophistication … “  - No Depression

• “It’s interesting to speculate where Battiata learned to write so well; as a journalist in the early 1990s, she covered the war in Bosnia. Does writing about the terrors of war make one more prepared to write about the terrors of love and loss? Surely aplomb is necessary in making either subject palatable for the reader – or the listener. On ‘Cul-de-sac Cowgirl,’ it’s clear that Battiata has the mind, the voice and the band to make the songs go down easy.” (For fans of the Cowboy Junkies, the Jayhawks, Victoria Williams.) – Benjamin Johnston, highbias.com