Delancey Street

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

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

The Blistering Sun

admin — Sat, 06 Jan 2007 02:05:00 +0000

By Rachael Sage

MPress Records

“Alright, OK,” the opening track on Rachael Sage’s new album The Blistering Sun, introduces you to all that is best about Sage’s music: it’s an vibrant, catchy, pop tune showcasing her warm, versatile voice, with clever rhymes and introspective lyrics, as well as top-notch piano playing and penchant for horns. Other standouts include the mellow, jazzy ballad “Violet or Blue” the buoyant “C’mon Over” and “Lonely Streets,” which features the memorable line, “You were the fun I should have done without.” The accordion and urgent tempo immediately mark “93 Maidens” as a departure. The lyrics capture the listener’s attention: the song tells the true story of Chaya Feldman, a Warsaw teenager, who, along with 92 classmates, swallowed poison rather than becoming a prostitute for Nazi soldiers. The tongue-in-cheek “Hit Song” is a confessional about the chart topper Sage believes may hide inside her. The track stands out for the absence of piano and for the vocal, which is spoken more than sung. The tune is something you’d hear at a poetry jam, with percussion, drums, and horns giving it a jazzy feel. Sage is at the top of her game on this album, which makes it a great introduction for those who haven’t heard this talented musician.

Written by: Karen Duda, January 5th 2007