Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

CD Review: Linda Draper – Keepsake

Quietly and methodically, Linda Draper has been putting out consistently excellent albums. This one is her fifth. If she keeps this up, she’s got a one-way ticket to the Secret Rock N Roll Hall of Fame. This may or may not be her best – they’re all good – but it’s definitely her catchiest. It’s a sparse, impeccably tasteful acoustic affair: Draper plays most of the instruments except the drums and Rob Woodcock’s upright bass on a few songs. As a lyricist, Draper is unsurpassed. On this album, she’s reined in the wild, free-associative, rhythmically complex style that characterized her previous work, substituting wickedly smart, tersely crystallized, often symbolically-charged wordplay.

The album’s first track Shine begins with an insistent chordal figure. It’s an unabashed love song that actually works without turning all mushy:

I once mistook the clock for the moon
My eyes see things a little out of tune
The stars shine like turpentine
For you and me and nobody

The title track opens with eerie music box melody that Draper plays on toy xylophone, then she and her band launch into a swinging acoustic pop song. They sounds great: nobody overplays, nobody’s trying to be Clapton. Everybody’s there to support Draper’s great lyric:

Bird learn to fly
Do not wake me with your song
About how the day burns down the night
Snow falls like ashes from the starlight

It’s a rueful post-breakup song and it packs a punch, quietly. She follows it with the sardonic Cell Phone, a song that needed to be written and it’s a good thing Draper was the one to do it:

I still do not think I really need one
Even if this makes me a bit archaic

The following cut Too Late is driven by a wickedly catchy descending progression at the end of the chorus. The hits just keep coming with Traces Of, a fast 6/8 number where Draper is backed by the band again: it’s a beautifully ghostly, memorable song. After that, on Kissing the Ground, Draper offers some black humor for somebody down on his/her luck:

You were born to endure more than this
Your life thrives through pain and bliss
Because if you’re still around after you fall down
You’ll be kissing the ground
Just when you think the story ends

The following track, Sunburned is her best song, an excoriating vignette of a hellacious evening out:

Remember when we crashed that party full of
Those kiss-ass opportunists
They sat in a circle that was
Too tight to include us
So we stayed on the outside

Drank all of their beer
When there was none left I said
Let’s get out of here

It has an absolutely triumphant ending – it’s a strong candidate for best song of 2007.

The album concludes with the thoughtful, quizzical Among Every Stone That Has Been Cast, the nocturne Full Moon – flavored with Woodcock’s bowed bass – and then a Ricky Nelson album track from 1970, How Long. Bizarre choice of cover, but Draper makes it work with the flawless clarity of her voice and her dexterous fingerpicking: she’s always had a thing for melody, and with steady gigging and recording she’s become a fine player.

As with the Byrds Play Dylan, an electric rock band should do a cover album of her songs. The Shins Play Draper? Unlikely, but it would be a good fit and it would remind them a thing or two about the melody they’ve lost since their first album. What a treat that could be. And what a treat this is. Four everything bagels, buffet style, with anything on them that looks appetizing. Pesto with fresh basil maybe?

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June 8, 2007 - Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , ,

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