Karen Duda

Elizabeth Packard: A Noble Fight

andrea — Tue, 26 Apr 2011 08:00:00 +0000

In 1860, it was legal for a man to send his wife to an insane asylum against her will, based on his word and that of one or two witnesses. The asylum could deny patients the right to legal representation as well as visits and uncensored correspondence with friends. And a man could sell his property and take his children across the country without consulting his wife, because the property and children were considered his, even if her inheritance and income had contributed to that property. This was the world in which Elizabeth Parsons Packard lived.

Born in 1816 in Dare, Massachusetts, she lived a fairly conventional life her first forty-four years, marrying Calvinist minister Theophilus Packard, bearing him six children, and moving from town to town and state to state as he sought ministry opportunities. But during the family's residence in Manteno, Illinois in the 1850s she began to exhibit greater independence from her husband, dabbling in Spiritualism, espousing unorthodox (some would say heretical) religious opinions and confessing to romantic (although unconsummated) feelings for another man. Prompted by this “abnormal behavior,” in 1860 Theophilus had his wife committed to the insane asylum in Jacksonville, Illinois.

Packard was released after three years and declared sane in the jury trial she was denied when forced into the asylum. While her release may have been partially due to efforts of friends on her behalf, it was also because Andrew McFarland, the superintendent of the Jacksonville asylum and a leading figure in the psychiatric community, had become exasperated with her demands and complaints, terming her “an unendurable annoyance.” The antagonism between Packard and McFarland, which continued after her release through both of their writings, is painted in detail in this book, as are the evolving psychiatric standards and practices of the time.

Packard was not reunited with her children upon her release, as her husband had taken her younger children back to Massachusetts with him. (Her oldest sons were living on their own by that point.) A woman of tremendous resources, she began writing pamphlets and lobbying state legislatures for changes that would give both the mentally ill and married women greater rights.

Elizabeth Packard: A Noble Fight is an engaging portrait of Packard's life and crusade. She emerges as a shrewd campaigner who took advantage of stereotypes of weak females who needed the protection of strong men (legislators) because of their powerlessness; her personal charisma went a long way in lobbying efforts. Modern readers may be disappointed that she did not broaden her efforts to include greater rights for all women or claim full equality with men. Nor did she divorce her husband (although they never lived together after her time at the asylum) since she viewed divorce as scandalous. However, such statements and actions might have turned society against her and hurt her cause.

Kudos to Linda Carlisle for bringing to light the forgotten story of a woman who challenged prevailing ideas about the treatment of the mentally ill and the rights of women. Academic biographies of this sort are often quite dry, but Packard crafts an engaging narrative. Her passion for this cause shines through and creates a compelling read.

Written by: Karen Duda, April 26th 2011

Morning Haiku

beth — Sat, 05 Mar 2011 20:00:00 +0000

By Sonia Sanchez

Beacon Press

In her introduction, Sanchez—a member of the “Broadside Quartet” who published her first volume of poetry in 1969 and is most often associated with the Black Arts Movement—recalls her discovery of haiku at the 8th Street Bookshop in New York at the age of twenty-one. “I slid down onto the floor and cried and was changed. I had found me.” It may seem hard to sum up a person in three lines and seventeen syllables; Sanchez solves the problem by writing poems composed of groups of haiku.

These poems certainly feel like personal reflections on people and places that have impacted the poet. We hear the joy she experiences when listening to Max Roach and the deep respect and reverence for female African American politicians and reformers in “9 haiku (for Freedom’s Sisters).” One of the hardest-hitting pieces is “sister haiku (for Pat),” a bare bones account of her sister’s rape and subsequent pregnancy:

his touch wore
you down to a
fugitive eye.

Her language can evoke sorrow and reflection, or playfulness and fierceness, as in this excerpt from “4 haiku (for Eugene Redmond)”:

your quicksilver
words waterfalling in
sweet confession

you have taken down
the morning turned it into
a roar of blackness

Of the thirty poetry groupings in this slender volume, twenty-two are dedicated to people or things. Among the notable dedicatees are jazz drummer Max Roach, murdered black teenager Emmett Louis Till, jazz singer Sarah Vaughan, philosopher and Christian saint St. Augustine, and the murals of Philadelphia. Luckily for the curious reader, a brief description of these and lesser-known dedicatees is included at the end of the volume.

The collection ends with “haiku poem: 1 year after 9/11,” which is not a haiku but twenty-eight couplets using the spare images and syntax of haiku. Sanchez channels her grief and confusion over the cataclysmic attacks on the World Trade Center and Pentagon and wonders how the world will change. It’s a somber note but somehow fits it with her short reflections on forces that have impacted her life. Like the best haiku, these poems will also impact the reader in subtle, often untraceable ways.

Written by: Karen Duda, March 5th 2011

Love Will Find a Way

beth — Wed, 02 Mar 2011 20:00:00 +0000

By Lola Bleu

HSP Music

Lola Bleu, aka twenty-two-year-old R&B singer Janell McCracken, has a fine voice, so it’s a shame she doesn’t have better material to showcase it on her debut album, Love Will Find a Way. While some of the songs have catchy melodies, excessive instrumentation detracts from and sometimes obscures Bleu’s voice. A more restrained approach would have conveyed pathos on the soul-searching numbers but often emotion is lost in a wall of sound.

A phone call between two friends, in which one complains about feeling unsatisfied in her relationship, sets up the story. The other tracks cover various stages of a romantic relationship: fantasizing about a seemingly unreachable man (“Hate to Wake Up”), being stuck in a dysfunctional relationship (“Deep Pain”), breaking up in an empowering way (“So Over You”), and finding love again (“I Found You”).

Despite the production flaws, Bleu shows promise on both fast-paced dance tracks and reflective slow songs. “Get Away” is a standout; the doubled vocals and dance beat will have you tapping your toes and moving your shoulders, and it is less crowded instrumentally. The hand-clapping rhythm of “So Over You” will also stick in your head. Bleu’s solid delivery of two more heartfelt songs that hint that her talents may be best suited for ballads. Piano and strings distinguish “Where Do We Go from Here,” a mature, recrimination-free look at a stalled romantic relationship. “Don’t get me wrong, I love being around you… but it seems our flame has suddenly disappeared,” she sings. The introspective lyrics of “A Little Hope,” which is anchored by piano and electric guitar, also ring true.

Bleu’s persona and vocals are reminiscent of Rihanna and one hopes she will find material worthy of her musical gifts. She is a promising singer and deserves to have the spotlight shine on her talent.

Written by: Karen Duda, March 2nd 2011

The Panicking

annette — Mon, 10 Jan 2011 20:00:00 +0000

By Million Dollar Mouth

Atonal Records

The Los Angeles-based hard rock band Million Dollar Mouth channel groups including The Clash, Alice in Chains, and Radiohead (vocalist Mike Biscotti even sounds a bit like Thom Yorke), while giving a nod to less obvious influences such as Lenny Kravitz, Dire Straits, and The Cars. Heavy, grungy guitar and bass anchor most tracks, with keyboards and drum adding texture; the sound varies from distorted and harsh on “1-4-3” to echoing and expansive, as on “Space Out.” Biscotti often chant-sings the lyrics, but occasionally, as on “Second Skin,” his voice veers into a beautiful falsetto. Keyboardist Mary S., guitarist Vanja Andrin, bassist 80, and drummer Kris Keane provide solid musicianship with occasional surprises.

Among the standouts on The Panicking is “Lush.” While still guitar-heavy, it’s also inherently danceable and more melodic than the other tunes on the disc, with a great refrain and catchy hook. The tight rhythms of “Keep It To Yourself” and the sardonic delivery of the verses compliment the lyrics: “Stop giving away the secret/nobody cares.” Gentle drumming and a lilting, drawn-out vocal delivery distinguish “Pretty,” and the more you listen to the song, the more the odd rhythms stick in your head, with the radical change of tempo from verse to refrain also giving the number some kick.

Million Dollar Mouth doesn’t tread any new ground, but the group borrows elements from other successful acts and blends them to make a satisfying album.

Written by: Karen Duda, January 10th 2011

Hangman

annette — Fri, 07 Jan 2011 20:00:00 +0000

By Faye Kellerman

William Morrow

Hangman, the nineteenth entry in Faye Kellerman's Peter Decker/Rina Lazarus series, has a double mystery. Who killed young party-hearty nurse Adrianna Blanc, found hanging at a construction site? And what happened to Theresa McLaughlin, an old acquaintance of Decker, who has disappeared after a tense confrontation with her hit man husband? The former case is an official LAPD matter, which means Decker gets a helping hand from fellow cops Sergeant Marge Dunn and Detective Scott Oliver. The investigation into Terry McLaughlin's whereabouts, however, is more of a personal matter, especially since her fifteen-year-old son Gabe is now staying with the Lieutenant and his wife.

The details of the police work seem very authentic. The focus is on following up on realistic leads rather than on the heroics of the lawmen and women. We get a good picture of how cops proceed in a murder case and the toll it takes on the police and their families, as well as a glimpse at the reactions of the victim's friends and relatives.

While the crime investigation was intriguing, the most interesting sections are those concerning Gabe and his struggle to adapt to his new parent-less state. (His father makes contact on several occasions but decides his son will be better off with the Deckers.) It's amusing to see how Gabe, who went to a Catholic school in New York, reacts when he is suddenly thrust among the Orthodox Jewish Decker clan and begins attending a religious school with seventeen-year-old Hannah Decker. The Deckers must also adjust to having this young musical prodigy in the house.

Hangman is an engaging mystery that humanizes its police protagonist and avoids the “supercop” clichés we've seen too many times. Both fans of the series and new readers will find it hard to put down.

Written by: Karen Duda, January 7th 2011

Electric Green

alicia — Tue, 09 Nov 2010 16:00:00 +0000

By Vita Tanga, Cady Finlayson

Fiddler Cady Finlayson and guitarist Vita Tanga bring two disparate locations (Brooklyn and Paris) and musical styles (traditional Celtic music and world music/electronica) together on Electric Green, a ten-song collection of mostly traditional Irish songs, with a distinctive modern twist. In most cases the violin carries the melody while the guitar, acoustic or electric, adds depth and texture. On the best numbers Tanga’s guitar seems to urge on Finlayson’s violin with a contrapuntal effect.

The electric version of “Itchy Fingers” has a funky guitar groove and vibrant fiddle. It’s a lively tune, but abruptly slows down at the end, switching from a fast twirling jig to a slow, courtly waltz. “March Set” is a moderately-paced dance, with fast bowing from Finlayson on the break and muted percussive sounds from the guitar. “Bordeaux Set” has a different feel than most other numbers; it’s slower and more reflective, with a plucked guitar that simulates chimes. The guitar anchors the high-flying fiddle part on “Heavy Metal,” which starts off fast and then takes it up a notch.

“Bass Rock” has very gentle guitar and a moderately-paced violin part. The notes are held longer, lending it a more somber tone. It is among the most lyrical tracks, a love poem of sorts, with the soft chiming of the guitar evoking images of a small waterfall or brook. “All Set for St. Pat’s”—a medley of two traditional Irish songs, “Wearing of the Green” and “Sean South,” and the original piece “Pumpkin’s Fancy”—features bagpipes and snare and is a fitting ending for the album.

While the music on Electric Green is certainly enjoyable, the lack of varied instrumentation makes the songs less distinguishable from each other; the inclusion of the Irish whistle or more bagpipes and percussion would have done a lot to vary the music. Still, while the electric component may be hard for hard-core Celtic music fans to swallow, it adds an interesting dimension to a genre with a long history.

Written by: Karen Duda, November 9th 2010

Images of Women, Volume 2

alicia — Wed, 03 Nov 2010 00:00:00 +0000

By Robin Greenstein

Windy Records

Several years ago, native New Yorker Robin Greenstein issued Images of Women, Volume 1, which delivered fourteen folk songs about women’s depiction in the genre, based on her concert-lecture on the topic. Images of Women, Volume 2 delivers fourteen more numbers about women, mostly traditional in musical style.

Songs range from comical to jaunty to sorrowful. In “Father Grumble” a farmer complains that he works harder than his wife, but when they switch chores he ends up swearing “by all the leaves in the trees and all the stars in heaven / that his wife could do more work in a day than he could do in seven.” “Born in the Country” has a rockabilly beat but the structure of the blues; our lusty but proud narrator tells us “a country girl ain’t anybody’s fool” and warns her former lover to stay away on pain of death.

“The Cruel War” focuses on women’s lot in wartime: a woman begs to accompany her lover to war and eventually he relents. In “Bold William Taylor” a woman disguises herself as a soldier to find her lover. Discovering he has abandoned her for an heiress, she guns him down. In a bizarre twist, the captain of his regiment who witnesses this act is not only impressed by her determination, but makes her captain of a ship! Overall, the sparse arrangement fits the plaintive tune perfectly.

Woody Guthrie’s “Union Maid” extols the virtues of an organizer who refuses to be scared by the company’s hired goons, while the narrator of “I'm Gonna Be An Engineer” by Peggy Seeger (Pete’s sister) is discouraged from pursuing her dream. The disc concludes with a rendition of Christine Lavin’s “Good Thing He Can't Read My Mind,” which hopefully will make listeners aware of one of the funniest folk musicians today.

Greenstein's songs are backed by acoustic guitar and banjo, and fiddle often sets the pace. The steady bass gives many numbers a singsong beat, and harmonica, percussion, harp, and recorder add just the right touch. This is a basic introduction to folk music and a sing-along tribute to the changing roles and perceptions of women through the ages.

Written by: Karen Duda, November 2nd 2010

Making the Hook-up: Edgy Sex with Soul

alicia — Tue, 19 Oct 2010 08:00:00 +0000

By Cole Riley

Cleis Press

What business does a White woman like me have reviewing a collection of erotica by African American authors? I figure when it comes to erotica, it's matter of whether the story turns you on or doesn’t, and I can’t see that race has much to do with that.

As you’d expect, most of the characters in this eighteen-story collection are Black, and it's wonderful to see a full range of sexual expression within them. Making the Hook-up contains threesomes, lesbians, BDSM, a spanking fetish, and anonymous (and near-anonymous) encounters in movie theaters, public restrooms, and hotel rooms. There's something for everyone, and several damn good stories.

Reginald Harris’ “Keeping Up with the Joneses” is the amusing account of long-married couple Roy and Lynn, who are inspired to rekindle their sex life when they hear the nighttime romps of their new next door neighbors, a gay couple, through the wall of their townhouse. (Notably, the overheard sexual escapades of the neighbors are the only depiction of sex between two men in the book.) “Pharaoh’s Phallic” by Deepbronze is good for chuckles and some seriously erotic images when the protagonist learns the truth about his girlfriend’s secret lover. Zaji’s “Lights on a Cave Wall” combines Caribbean spirituality and mysticism with pulsing, sensual descriptions, while “Lonnie’s Licks” by Tenille Brown and “All Day” by Asha French are probably the best bets for turning on the ladies.

Erotica is an wildly unbalanced genre; some writers think describing a sexual act is enough to qualify while others devote attention to the story. I’m happy to say this collection favors the latter, and it’s clear these storytellers have bright futures as writers. “Strangers in the Water,” by R. Gay, details a Haitian immigrant’s complicated relationship with her homeland and her husband, and Fiona Zedde’s “Velvet” recounts a college freshman’s first sexual experience with another woman. Both are particular standouts for the complexity of the characters' feelings.

Making the Hook-up provides a varied menu of sexual titillation and compelling stories, so go ahead and take a bite.

Written by: Karen Duda, October 19th 2010

The Lesser Tragedy of Death

admin — Sat, 28 Aug 2010 00:00:00 +0000

By Cristina García

Akashic Books

The Lesser Tragedy of Death is the first collection of poems by novelist Christina García, author of the superb Dreaming in Cuban. The poems offers an anguished narrative detailing García's brother’s lifelong struggle with drug addiction. Despite the sorrow implicit in the material, the poems are so well-constructed that they are a pleasure to read.

García reaches back to her childhood in an attempt to trace the roots of her brother’s problem. She wonders about the cause: was it the fact that he was the youngest child, receiving less attention than his older sisters who had been coddled and adored? The family’s suffering under the Cuban revolution? Being beaten by his father and ignored by his mother? The hardship of beginning life anew in the United States?

García relates snippets of her brother’s life and her response to his downward fall, but also imagines his response to her pleadings. Particularly damning are “Brownstone” and “Respuesta (Response)." In the former she details an occasion in childhood when their father beat him at the urging of his mother for a minor infraction; in the latter her brother claims that his older sister, so good with words, could have pleaded for her father to stop.

The family’s disappointment and hurt is chronicled as much as his misdeeds. In “Mugging” García recalls a time when her brother was arrested for trying to steal the purse of an elderly woman, noting that no one in the family would bail him out of jail. Told from his perspective, the powerful “Ode” describes the joys of getting high, making a temporary alteration of consciousness seem like transcendence:

Sweet mother love shoots me skyward burning high with the moon and Orion and all the other heavenly dudes who orbit, orbit, orbit Planet Earth.

These instances allow readers to relate to this troubled man as something more than a hopeless loser, and to understand his motivation for engaging in risky behavior that ultimately alienates his family and friends.

Coming near the end of the volume, the heart-wrenching “Apologia” explains why García's parents did not to invite him to their fiftieth wedding anniversary party: a combination of fear of his behavior and shame of him. “Apologia” would have seemed harsh at the beginning of the collection, but by the time we reach it on page eighty-nine, we’ve seen how the brother has brought about such low expectations of his behavior. The Lesser Tragedy of Death succeeds because we are able to feel the hurt of the excluded son, as well as the family’s suffering due to his self-destructive behavior.

For those who find poetry inaccessible or out of touch with everyday life, The Lesser Tragedy of Death offers a story that is immediately resonant, told in short poems that say volumes. García is by turns tender, frustrated, and empathetic in laying bare her painful relationship with her brother, and her language is simple, direct, and achingly honest.

Written by: Karen Duda, August 27th 2010

Paperdoll

admin — Fri, 27 Aug 2010 08:00:00 +0000

By Elyse Miller

Blink and you might miss one of the twelve short, sparsely instrumented songs on Elyse Miller’s new disc, as most last two minutes or less. But Miller packs a lot of punch into these brief, slow-paced numbers, usually accompanied only by acoustic guitar. It’s a fair bet that several songs will get stuck in your head after just one listen.

Miller’s sweet, drawn-out vocal on the lullaby-like “New Love,” captures the obsessive need to spend every moment with a new crush and the intense physical lust that accompanies it: “can’t keep the bedclothes up/can’t keep your clothes on.” The simple, lilting “I Want to Love You” is so pure musically that you may miss its mischievous tone at first: “I want to love you on a hilltop meadow/it may be breaking the law/but baby it’s dark/no one has to know.” The potentially creepy lyrics are rendered playful through Miller’s plaintive delivery.

Guitar and vocal are more strident on “What We Teach,” in which Miller bemoans children’s desensitization to violence. The disturbing “Kinderwhore,” which sounds like a schoolyard chant sung by a pedophile, is essentially a long, leering description of a young girl, from her pig tails and nail polish to her bubble gum. The sense of menace implied is unsettling. The lyrics are all the more jarring for Miller’s singsong delivery. Miller shows the most emotion on “Paperdoll,” detailing the lengths women go to in order to fit into the dominant cult of beauty. She decries the constant societal pressure and “the driving mania/to be as thin and as smooth/and as shallow as paper.” It’s a valid but depressing song, as it ends with the narrator being torn in two.

Miller has a way with both words and music, and her interest in social issues and playful sense of humor shine through on Paperdoll.

Written by: Karen Duda, August 27th 2010

Dancing on the Moon

admin — Thu, 26 Aug 2010 16:00:00 +0000

By Lisa Bell

Lisa Bell delivers the goods on her third album, mixing blues, jazz, pop, and roots into a bright, sparkling mix. Her voice can be both polished and loose, and shimmering washes of percussion, chimes, and layered instrumentation provide a worthy backdrop to her lyrics.

“Change Is Free,” the story of an unemployed woman facing daunting economic prospects, is the disc’s standout track, with a funky vibe, heavy beat, and touches of organ. Rather than embracing despair, she opts for change. “I can wait for the shining knight to save the day / I can pray that an angel comes my way... but change is up to me.” An accordion gives “After All” a mellow, European feel. It’s a song of struggle and redemption, accepting responsibility for past mistakes but moving on. Bell’s vocal perfectly suits the languorous tone of the hip-swaying bossa nova beat on “Misty Roses,” another highlight.

Bell gets loose with “Stand Up,” a quirky, danceable tune with prominent drums, organ, and electric guitar creating blasts of sound, and there is a comic element to “How Long,” in which a woman deals with insomnia and delayed flights while waiting to be reunited with her lover. Bell’s voice is full of yearning on “The Last Time,” in which an old love is renounced, with piano adding depth to this ballad.

The varied material on the disc provides plenty of opportunities for Bell to show off her versatile voice, which conveys longing, acceptance, hopefulness, anticipation, and joy in turn. With superb guitar and percussion throughout, it’s clear she is interested in each song not just as a showcase for herself but as a means of communication between artist and listener. Mostly, you get the sense that Bell loves what she’s doing and wants to share the beauty and excitement of these songs with you. Dancing On The Moon is an enjoyable outing of both smooth and improvisational songs, with an upbeat feel, and the blend of styles makes it perfect for the musically adventurous.

Written by: Karen Duda, August 26th 2010

Banana Sandwich

admin — Mon, 28 Jun 2010 00:00:00 +0000

By The Astonishment

Party Rules

The Astonishment is the moniker of Russian-born Marianna Limno, but although it’s her stage name and image on the cover and she delivers the poems on this spoken word album, the words were written by James Crippa, an expatriate Brit residing in Los Angeles. I found this surprising as most spoken word artists perform and record their own pieces, and also because a few of the tracks deal with sex and dating from a female point of view. Limno’s distinctive Russian-inflected voice is both a blessing and occasionally a curse. Often it lends an international import to the spoken lines, but in several cases her pronunciation is inadvertently humorous or unintelligible.

“Red White & 2 Blue” is the story of a coal miner with a pulmonary infection fighting for medical and Social Security benefits. While the story is disturbingly real, the constructions are somewhat stilted: “Government of mine, don’t leave me behind... the question is my life, money and my pension.” Almost all of the twenty-nine tracks are in rhyme, which makes them more musical and memorable, but can lead to strange phrasing and occasional clunky lines.

“An American” makes good use of everyday details as Limno chronicles a typical day in the United States. “Wake up at 6 a.m... the kids are ready, French toast, coffee... two cars in the driveway…then off to work, school... at work at nine... a computer terminal... work ends at five... remember, the boss is always right... rush hour traffic, the highway jammed... my good work everyone ignores... to the video store, movie and popcorn... late night TV, news and comedy.” Later she gives us a portrait of play time in the U.S: “a barbeque... Monday night football, a trip to the mall, playtime in Vegas.” I saw the piece both as a comment on the banality of daily life and the joy one finds in small everyday moments.

“Eve Knows” retells the Garden of Eden story, recasting her supposed fall from grace as a quest for knowledge. “Eve knows the serpent is astute, / the apple from the tree of knowledge...I am that knowledge / Let me spread my fruit to the mute, the deaf and dumb / I am the fruit that cures the mute.” Limno's powerful delivery makes the tale fresh and compelling.

“Power to the People” is a call for collective action in the face of governmental and corporate corruption. While this type of protest piece has been done before, the words are nevertheless inspiring. “Power to the people... Don’t give it away, take a hold... let it unfold, start from below... water it by night... Keep it inside, hold it, unfold it, iron it out... Let your voice be heard, don’t let it stray, keep it close to home.”

“Phoenix” delivers a surprising message: we are urged not to look to the mythical bird known for its rebirth for inspiration. “Condemn the Phoenix to his place: a myth... Immortal we are not, ashes the end, fire not the start.” It's a viewpoint I'd never considered, but I appreciated the emphasis on human frailty and mortality. Some situations are final and we cannot always start anew.

The overall theme of Banana Sandwich is striving towards a better world, both communally and individually. Crippa references biblical battles, the Roman gods, bullfighting, Martin Luther King, Jr., Lenin, and the fall of the Berlin Wall, among other topics, and his work includes many original metaphors and images. Poetry lovers looking for a modern, realistic yet optimistic take on the world today will find much to admire.

Written by: Karen Duda, June 27th 2010

Cooper Cobra

admin — Wed, 23 Jun 2010 00:00:00 +0000

By Lily Sparks

Rock & roll, baby!!! That’s what you’ll find on Cooper Cobra, the debut EP of New York band Lily Sparks. No samples, loops, or weird electronica, just guitar-heavy, punk-influenced songs about having a good time. The tried and true formula works like a dream. The instrumentation is tight and the range and depth of lead vocalist Niamh (pronounced “neev”) is astonishing.

The first few seconds of the opening track, “Stars,” are enough to tell you what Lily Sparks is all about: guitarists Nikki 7 and KG* showcase their guitar chops on a short and sweet song with a thrumming beat, and Niamh lets loose with a devil-may-care attitude: “I don’t care what they’re saying / ’cause I’m not about to change my ways / I’m living it up till my dying day.” The refrain—“Stars, guitars, and muscle cars make me happy”—gives us an instant understanding of the band's raison d'être: celebrating life and having a ball making music. Like the best classic rock songs, the music makes such trite lyrics work. (And to be fair, there are some inventive lyrics on other songs—it's just that this one doesn't need them.)

“Let Go” has an ominous vibe, as if something rather unpleasant is about to happen. The languorous pace and chiming guitar add to the ambiance; the song is about wanting to help someone let go of the past and broaden horizons. The band returns to a more driving pace on “Walk Away,” a nostalgic but upbeat song about past love anchored by a heavy bass line. “Do you ever wonder what became of yesterday? / And all of those summers when we gave our hearts away?” Niamh asks. Soaring backing vocals on the refrain compliment her sultry tone perfectly, and the tune boasts some original images: “I go on about my days and dream about you anyway / like a ghost or a martyr, keeping watch at a grave.” The fast tempo juxtaposes with the sentiment of the lyrics, creating a memorable song.

“Where Are We Today” features a laid-back groove, strumming guitar, and drawn-out vocals. Niamh shows off her abilities, belting out the lyrics and going to the top of her range. Once again, the poetic lyrics paint atmospheric images (“Days fall to dusk now, undefined”). The song builds as it progresses, with increased instrumentation and a blistering guitar solo building a wall of sound. The album ends with the mellow “The Girls.” Ostensibly about the narrator’s weekend plans with friends, it’s really a love letter to her hometown. “Glad to be at the end of the week / now I can spend some time with my city / New York City.” Specific details add to the picture of the city and the depth of feeling: “See the moonbeams drag as the Hudson ripples by / pace as fierce as those cabbies zipping by.” Niamh has a gentle, almost maternal croon as she repeats “New York City.”

It's probably inevitable that a trio of female musicians will attract comparisons to other female and female-led acts, and reviewers have drawn parallels to Heart, 4 Non Blondes, Pat Benatar, Chrissie Hynde, and Lita Ford. While it's discouraging that a fantastic group such as Lily Sparks is automatically held up against only female musicians, one hopes their tight, hard rocking sound, wailing guitars, and hook-filled songs will grant them a place of their own in the rock world.

Written by: Karen Duda, June 22nd 2010

Delancey Street

admin — Wed, 09 Jun 2010 00:00:00 +0000

By Rachael Sage

MPress Records

On her ninth record, Delancey Street, Rachael Sage once again embraces and pushes the boundaries of her signature sound: lush piano-based pop with plenty of passion and insightful lyrics. Each song tells a distinct story, capturing a moment in time (even if the meanings are sometimes ambiguous).

The enigmatic “Everything Was Red” is one of my favorite tracks, although I’d be hard pressed to tell you what it’s about. “I was just a girl / who fell in love with Judy / Everything was red / It was never just her shoes,” Sage sings. Okay, red shoes and Judy: is she alluding to Judy Garland in The Wizard of Oz? However, the rest of the song is about a deep and possibly codependent relationship, with the narrator selflessly trying to be everything her friend needs. “I’m willing to begin anew / I’m willing to be a sister to you/ I’m willing to be the wiser one.” The virtue of a great Rachael Sage song, though, is that you can enjoy the melody and wordplay without knowing the exact meaning of the words.

Sage has a tongue-in-cheek song on most of her albums, and this disc’s entry, “Big Star,” doesn’t disappoint. “Do you wanna be a big star? / It’s okay to say yes, yes, yes, yes, yes,” she chant/sings, then goes on to list what is expected of a pop star in terms of appearance and behavior: “You gotta stay skinny / You gotta grow tall / You gotta fight your enemies / You gotta fight friends / You gotta fight depression when the whole shit ends.” The song boasts strong syncopation, guitar with reverb (rather unusual for Sage as her music is usually centered around the piano), drawn-out vocals, and a touch of organ, making it a musical standout in this collection.

The slow, twangy guitar that opens “Meet Me in Vegas” lends it a country feel, and Sage employs breathy, high, and languorous vocals on a song about yearning to save a relationship that appears to be nearing its end. Strings augment the feeling. “Back to Earth” is the troubling tale of a friend who has metaphorically disappeared. The source of the friend’s remoteness is unclear (depression? a cult or new group of friends?), but the helpless frustration of the friend left behind is clear.

“Arrow” starts with Sage’s trademark scatting and features prominent horns and soaring strings. It’s a rebuke to those who would prescribe the requirements for an artist’s life. Despite her anger at those who try to dictate the way she should live, the song is upbeat and has joyous lyrics with vocals alternating between soft on the refrain and loud and almost strident on verses.

The album features two covers, the Hall & Oates hit “Rich Girl” and Irene Cara's film theme “Fame.” It’s a revelation to see how another artist’s interpretation can change the implied meaning of a song, and Sage makes both tracks her own. The difference is most apparent on “Fame,” which she transforms into a slow, torchy ballad that barely resembles the original.

For fans, Delancey Street delivers the great musicianship and creative lyrics we’ve come to expect from Sage along with a couple surprises. For those new to her music, it’s a great place to jump in and start exploring.

Written by: Karen Duda, June 8th 2010

Never a Long Way Home

admin — Mon, 31 May 2010 00:00:00 +0000

By Steff Mahan

MPress Records

Confession: I don’t know much about country music, and I don’t listen to much country music. But I know what I like, and Steff Mahan’s Never a Long Way Home is damn good music.

The opening track, “If I Let You Go,” starts things off rockin’. Mahan bangs away on a distorted guitar while belting out the lyrics. The song is upbeat, but the story isn’t; the narrator can’t let go of a past relationship even though her former lover is with someone new. Now, “sitting in the ashes of what we used to be” she laments her lost relationship but cannot move on because “I still believe you’ll be coming back for me.” Despite the unrealistic sentiment, the fabulous hooks and passionate vocals pulled me into the song.

“Can’t Hurt Me Anymore” is a toe-tapper about strength and recovery; an understated violin mixes seamlessly with the strumming guitar. Besides being a great song musically, it’s a welcome change to hear a country song about a woman standing up for herself rather than the waiting for her one true love or wallowing in pity. “I survived you because I finally found my truth / you can’t hurt me any more,” Mahan sings with pride.

The title track has an honest to goodness country feel and allows Mahan to demonstrate her talent for storytelling. She tells three vignettes about runaways seeking to return home: a teenage girl who runs away to the city; a husband who leaves a troubled marriage; and a woman on her deathbed. In each instance, the prodigal is welcomed home (to heaven, in the last case). The touching “Carnival Ride” centers on a shy girl’s childhood memories of her father, particularly the piggyback rides he gave her. “He’d spin me around and the world would go by / I swear, man, you could see me fly / we’d fall gently and laugh until we cried.” The slow and reflective, nostalgia-tinged tune aches with sincerity.

“Thought We Were Dancing” is another beautiful song about falling in love and how it can sneak up on us and cause confusion. Mahan succeeds in crafting a song that is romantic but not sappy. The slow and introspective “Save Yourself” is another highlight, full of wonderful imagery that illustrates the rush of infatuation and intimacy at the start of a new romantic relationship. The details are lovely, such as the description of a shared shower: “You draw some hearts on the glass / reach for a towel / and I pull you back.”

The slow-paced “When I Need It Most” is reminiscent of Sheryl Crow’s “Strong Enough” not in musical terms but lyrical content: it’s a plea to be understood and loved despite one’s glaring faults and insecurities. “So I pick fights / and then I shove /… do you love me when I’m scared and when I’m broken? / When words need to be spoken? / Just pull me into you and hold me close / and love me when I need it most.” The prominent violin adds to the ambiance.

Recorded live, the album includes charming snippets of Mahan and her band, as when she exclaims “I just broke a string!” These interjections give us a sense of closeness and gives the album more of a human touch. If you like a no-holds-barred song or a beautiful ballad, chances are you’ll enjoy this album.

Written by: Karen Duda, May 30th 2010