winners of our annual poetry contest - Rapid River Magazine
winners of our annual poetry contest - Rapid River Magazine
winners of our annual poetry contest - Rapid River Magazine
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R A P I D R I V E R A R T S & C U L T U R E<br />
spinning discs<br />
CD Reviews<br />
by James Cassara<br />
What better way to beat the winter doldrums than with an assortment <strong>of</strong> new<br />
releases? As always, and whenever possible, be sure to support y<strong>our</strong> local<br />
independent record shop. They’re the ones who really make it happen!<br />
Beck<br />
The Songs <strong>of</strong><br />
Leonard Cohen<br />
Beck music online<br />
The second in<br />
Wunderkind Beck’s<br />
reproduction <strong>of</strong> clas-<br />
sic albums (after having tackled the Velvet<br />
Underground) finds <strong>our</strong> man in fine and<br />
relaxed form. Delivering faithful but never<br />
slavish covers <strong>of</strong> genius <strong>poetry</strong> Beck twists<br />
and turns his way through Cohen’s complicated<br />
imagery with vitality, passion, and an<br />
unexpected kick or two.<br />
For those who find Cohen’s own approach<br />
somewhat staid — long on intellect<br />
but short on pleasure — this adventure into<br />
his realm nicely ads some spice to the recipe<br />
with Beck’s honeyed voice the ideal foil to<br />
Cohen’s stabbing metaphors.<br />
The trick is that it can only be found<br />
at Beck’s website (www.beck.com/record_<br />
club). The treat is that it, like its predecessor<br />
is absolutely free to his adoring fans. And<br />
aren’t we all? ***1/2<br />
Tom Waits<br />
Glitter and Doom<br />
Live<br />
Epitaph Records<br />
While Glit-<br />
ter and Doom Live<br />
doesn’t fall comfortably<br />
into the niche <strong>of</strong> y<strong>our</strong> typical live<br />
album (not that anything Waits does is typical)<br />
it does present its own challenges. This<br />
two disc compendium — one <strong>of</strong> music and<br />
one <strong>of</strong> between song banter — is the third<br />
live album <strong>of</strong> Waits’ storied career.<br />
The first two served as summation <strong>of</strong><br />
his catalog up to that point while this release<br />
serves more as a reminder that, after nearly<br />
f<strong>our</strong> decades in music, Waits is still out on<br />
the road and plugging away.<br />
Culled from performances here and<br />
abroad, a sensational t<strong>our</strong> in which Waits<br />
played to the largest audiences he’d yet welcomed,<br />
the selected tracks are compiled and<br />
sequenced with the intentionality <strong>of</strong> sounding<br />
like a single show. As such the material<br />
is heavily skewed towards his more recent<br />
releases; an approach underscoring that,<br />
after a period <strong>of</strong> artistic regeneration and<br />
outstanding growth, Waits has been treading<br />
water for the past few years.<br />
To be sure there are singular moments<br />
<strong>of</strong> transcendence; superb re-workings <strong>of</strong><br />
“Get behind the Mule” and “Trampled<br />
Rose” come quickly to mind, while “Fannin<br />
Street”, the lone cuts from Orphans: Brawlers,<br />
Bawlers & Bastards, is Waits at his most<br />
14 February 2010 — RAPID RIVER ARTS & CULTURE MAGAZINE — Vol. 13, No. 6<br />
piercing. But the newer material seems to<br />
lack commitment, almost as if their recent<br />
vintage hasn’t yet given Waits time to rethink<br />
new and varied ways to present them.<br />
Half the fun is the revamping that he so<br />
delights in.<br />
It should come as no surprise that<br />
the performances are musically first rate.<br />
The stage band <strong>of</strong> are all veterans <strong>of</strong> Waits’<br />
various configurations while the material<br />
showcases Waits’ own underrated skills on<br />
piano and guitar.<br />
So what’s lacking? For one, Waits<br />
inexplicably opted to eliminate his trademark<br />
banter from disc one, leaving the disc sounding<br />
rushed and incomplete. Without such it<br />
sounds like a greatest hits live package. He<br />
instead elected to include a second “bonus<br />
disc” collecting the “best <strong>of</strong> Waits talking<br />
from the stage.” Called “Tom’s Tales” it<br />
is alternately howling funny and painfully<br />
obvious, but removed from the songs it all<br />
sounds forced and out <strong>of</strong> context.<br />
My suggestion is to take the music for<br />
what it is, give the second disc a listen or two<br />
(it does grow old rather quickly) and view<br />
Glitter and Doom: Live as yet another odd<br />
turn from an artist who delights in such. ***<br />
Angela Faye Martin<br />
Pictures from Home<br />
The stark landscape<br />
captured on the cover<br />
<strong>of</strong> Angela Faye Martin’s<br />
Pictures from Home,<br />
a near monochrome <strong>of</strong><br />
toneless beauty and reflec-<br />
tive quiet, is perfectly evocative <strong>of</strong> the music<br />
found within.<br />
Martin, who lives in the far western<br />
mountains just north <strong>of</strong> the Georgia border,<br />
seems to revel in and understand the art <strong>of</strong><br />
expressing more with saying less. Her lyrics<br />
are lucid and direct while the arrangements<br />
that adorn the ten songs herein are a nice<br />
balance <strong>of</strong> electronica and austerity.<br />
Teamed with Sparklehorse producer<br />
Mark Linkous, Pictures from Home is<br />
multi-layered, sonically complex, and at<br />
times just plain weird (but in a very good<br />
way). The album builds in deliberately<br />
measured fashion, with Martin’s vocals<br />
— which occupy a space somewhere between<br />
Sheryl Crow and Exene Cervenka<br />
— distorted and <strong>of</strong>ten buried deeply within<br />
the confines <strong>of</strong> the arrangements.<br />
And while at times it works at other<br />
times I found myself wanting to hear more<br />
<strong>of</strong> what her voice actually sounds like. The<br />
best moments are when Martin lets down<br />
her guard and allows her vocals to take center<br />
stage. “The Woods Get to Know Me” is a<br />
lovely jaunt that would sound right at home<br />
on a Gillian Welch album while “Widow’s<br />
Lament” is Martin truly coming to grips<br />
with the intricacy <strong>of</strong> songwriting. She might<br />
still have a way to go; Parts <strong>of</strong> Pictures from<br />
Home seems maddeningly unfocused, but<br />
there is more than enough evidence here<br />
that hers is a muse worth following.<br />
I’d be curious to hear these songs<br />
performed on stage, stripped <strong>of</strong> the texturing<br />
that occasionally interferes with their<br />
resonance, with Martin revealing more <strong>of</strong><br />
her self than this record sometimes does.<br />
In the meantime Pictures from Home is an<br />
album that will likely linger deeply until the<br />
next one comes along. ***1/2<br />
Sarah Lee Guthrie and Friends<br />
Waggaloo<br />
Smithsonian<br />
Folkways<br />
Recordings<br />
While grand-<br />
father Woody was<br />
best known for his<br />
paeans to the disenfranchised<br />
working class his songs were<br />
equally squared directly at the kids.<br />
In fact Guthrie may have been<br />
the first, and amongst the greatest, <strong>of</strong><br />
troubad<strong>our</strong>s whose songs bridged such<br />
generational gaps. Given how he never<br />
fully let go <strong>of</strong> his own childlike wonderment<br />
it is only fitting that Sarah Lee<br />
— who just happens to be a new mom<br />
— would herself embrace the notion <strong>of</strong><br />
making a record for the little ones. As<br />
such Waggaloo works beautifully. It speaks<br />
on their level without the slightest trace <strong>of</strong><br />
adult condescension or contrivance.<br />
Combing new and traditional songs<br />
(including lyrics her grandfather had never<br />
set to music) Guthrie, along with father<br />
Arlo, Pete Seeger, and Tao Rodriguez, hits<br />
all the right notes with supple ease and a<br />
sweetly engaging voice.<br />
Highlights include “Bright Clear Day,”<br />
“Fox and the Goose,” and the charming title<br />
cut but in truth there’s not a moment here<br />
that won’t enthrall the kids. Just don’t be<br />
surprised if you find y<strong>our</strong>self singing and<br />
tapping right along with y<strong>our</strong> little munchkins!<br />
****<br />
Super Furry Animals<br />
Dark Days/Light Years<br />
Rough Trade Records<br />
Anyone who has read this column for<br />
some length <strong>of</strong> time knows <strong>of</strong> my adoration<br />
‘CD’s’ continued on next page