Sweet Little Mojo

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Pellenberg/Belgium, shortly after the turn of the century. In the silence of the night, the solo musician in Gaëtan Vandewoude awakes.
In his bedroom, with a borrowed synthesizer, a guitar, a bass and a voice. It’s there that Vandewoude first writes down his own songs, long before he would forever step out of the shadows behind the moniker Isbells. He gives the child a name – \ swēt \ \ ˈli-təl \ \ ˈmō-jō \ (pronounce: Sweet Little Mojo) – and a body. And now, over a decade later, also a face: \ swēt \ \ ˈli-təl \ \ ˈmō-jō \, the album by the same name. However, make no mistake: \ swēt \ \ ˈli-təl \ \ ˈmō-jō \ is not a new step in the life of the singer-songwriter, nor is it a breathing space. “On the day that I rediscovered these songs, I was mainly surprised by myself. Everything fit from a musical point of view, but I felt uneasy at the thought of not being able to close this chapter” says Gaëtan Vandewoude. “I wasn’t ready for it at the time. The level that I was aspiring to was not within my reach and I simply did not have the knowledge.” “Over 95% of the album was ready, only ‘Up to You' is new. And the lyrics, which sometimes sounded naive, have slightly been improved”, Vandewoude continues. “Besides that I safeguarded the authenticity of the original versions.” \ swēt \ \ ˈli-təl \ \ ˈmō-jō \ is not just a prequel to Isbells, but it brings home an important part of Gaëtan Vandewoude. “I don’t want to re-live the past, just let the music speak.”

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