Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Jerry Falwell bites the big one

This just in: Rev. Jerry Falwell was found dead in his office earlier this morning, lying nude, facedown in a pool of santorum. Security cams downstairs recorded a man rushing out of the building wearing only a White House press corps pass.

They say these come in threes. I can’t wait to see who’s next!

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May 15, 2007 Posted by | Rant, snark | 1 Comment

CD Review: Sharon Goldman – Shake the Stars

Sharon Goldman’s second full-length effort is a triumph of catchy melody, witty lyricism and subtle humor. It will shatter any preconceptions you might have about singer-songwriters being a bunch of self-absorbed whiners who can barely sing or play guitar yet think the whole world wants to hear about every minuscule facet of their miserable, lovelorn lives.

Goldman grew into a songwriter the right way. Joined a competitive bunch of other writers who pushed each other to new heights. When it was time to record, she didn’t hire a bunch of studio hacks: by then, she’d connected with a close-knit group of talented musicians who play for the sheer joy of it, who know that ultimately, the song dictates what needs to be done. All you have to do is listen. Goldman is really more of a rock/pop type than a folkie, a master at blending major and minor chords, dynamics and writing catchy hooks that linger in your mind for days.

She’s also an uncommonly good singer. There are legions of songbirds with nice voices out there, but Goldman’s strength is that she knows how to use hers. Honest, unaffected, completely unafraid, and fun in an effortless, conversational way. Ultimately, the reason why Goldman’s albums sound as good as they do is that she’s a purist. She doesn’t go for cheesy synthesizers, dated trip-hop production or sing in that awful, affected white “r&b”-inflected style that Sarah McLachlan made so popular and her legions of followers sadly adopted. Instead, on this album you get that great voice, tasteful layers of acoustic guitars, strings and occasional percussion, tastefully arranged and produced.

The album opens with The Subway Song, a hilarious, picture-perfect tale of the train ride from hell:

“There was this smelly guy standing next to me
He wore dirty jeans and a t-shirt saying ‘This way to Williamsburg’
….the train was creeping the whole way
How could this happen when you were waiting for me?”

Thinking that she’s boarded a N train to Brooklyn, she discovers that she’s on the way to Astoria. So she transfers to the G train. Oh, shit! There you have it: an indelible New York moment. This is one of those songs that was waiting to be written for decades (I guess the New York Dolls did it, but not nearly this well). Believe it or not, it has a happy ending.

Other tracks include the surreal, amusing Bad Day and the country-blues tinged title track:

“Do you double dare me to open up my eyes
And look at where we’re going instead of asking why?”

The high point of the album is Suburban Sunshine, Goldman’s greatest shining moment so far, a snide dismissal of outer-borough conformity. A genuine classic: this smoldering, minor-key broadside ranks with Pretty for the Parlor by LJ Murphy and Amy Allison’s version of the Smiths’ Every Day Is Sunday in the pantheon of exquisite musical autopsies of a horrid time and place. It’ll resonate vividly with anyone who spent far too many years with bated breath, waiting for their first chance to get out for good. Because as Goldman so accurately puts it, suburban sunshine “feels heavier than rain.” And if she stays where she is, she knows that she’ll eventually disappear.

Fans of Aimee Mann, Erica Smith and Mary Lee’s Corvette will find plenty to feast on here. Fine album. Four bagels. Fresh from the oven at Essa Bagel with melted butter…mmmm…..delicious. Cd’s are available online and at shows. .

May 15, 2007 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , | 5 Comments

CD Review: C. Depp – Belle Epine

His tour de force. At this particular moment, Invisible Friend frontman/guitarist C. Depp has a franchise on quietly creepy, minimalist rock, foreshadowed on his band’s excellent 2006 release, Precinct 9. This, his latest solo album also includes his bandmates Andrew Malenda and Lispector on guitars, keys and assorted electronic blips and bleeps. Stylistically, there are hints of Smog, Mark E.’s solo work after the Eels, and late 80s Pulp during their Little Girl With Blue Eyes phase. Depp’s deadpan delivery heightens the strange, ominous mood, leaving the listener unsure if he’s just kidding around or dead serious. The title is apt – “belle epine” translates from the French as “beautiful thorn”. This is a beguiling and very unsettling album.

Depp wastes no time getting started: traffic passes by, and a siren wails ominously in the distance on the intro to the cd’s first song, Wolf Whistle:

Sister I need you
To answer a few questions
I don’t want you to cry
But I need you to help me
Some bad folks got out
And hurt some innocent people
…we will protect you, protect you, protect you,

Depp intones casually over a catchy, backbeat-driven janglepop melody. The cd’s following cut, Central Parc features attractively jangly electric guitar tracks and what sounds like guy/girl harmony vocals. But you can never be sure with this guy: that’s the beauty of this album. After that, The Where & the When sets eerie, tinkly electric piano atop atmospheric washes of string synth. The cd’s scariest cut is the all-too-brief Shyshy: “I’m shy,” Depp sings in almost a whisper, layers of vocals doubled and recorded just out of sync enough to give the listener pause. “If you really knew about me you won’t ask why.”

Other impressive cuts on the album include the skeletal, reverbed-out A Prayer for Hope for Forgiveness, sounding like one of the minimalist tracks on Joy Division’s Unknown Pleasures. The brief Fate Will Free Will imaginatively plays two separate vocal tracks with different lyrics against each other. The Mancunian dirge Ghost Self wouldn’t be out of place on New Order’s first album. And, Why We So Far Apart, Lover? – simply vocals and guitar – displays tinges of French varietes music. Depp is a big Cat Power fan and although this album doesn’t sound much like her, he sometimes indulges in painful, honest revelations, although more elliptically than she does.

Malenda’s production is amazing: with ample but judicious applications of reverb, he gets these bare-bones narratives to sound like they have something approximating a full band behind them without overproducing or sinking into slickness. Depp is nothing if not prolific, and Invisible Friend promises to begin playing out again since Depp has returned from a brief sojourn in Paris. Surprisingly, he can be a very funny onstage. The cd is available online and at shows. C. Depp plays the Creek and the Cave in Long Island City on May 25 at 9 PM.

May 15, 2007 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment