Song of the Day 6/21/09

Happy solstice! Every day, our top 666 songs of alltime countdown gets one step closer to #1. Sunday’s song is #402:

Blue Oyster Cult – Nosferatu

Gorgeous, majestic, epic grand guignol vampire anthem from the legendary 70s artsy metal band, marvelously lowlit by Allen Lanier’s darkly graceful piano cascades. From the otherwise forgettable 1979 Spectres lp; mp3s abound.

Concert Review: Les Chauds Lapins at Barbes, Brooklyn NY 6/19/09

It was both impressive and heartwarming to see how this band has grown. Les Chauds Lapins means “hot rabbits,” literally – in the vernacular, the connotation is a guy who’s hot to trot. Their shtick is reviving old French chansons from the thirties and forties, predominantly from the Charles Trenet catalog. A Gallic icon, Trenet was flamboyant, frequently annoying but also very witty. His repertoire ranged from the odious Douce France (sort of the French equivalent of God Bless America) to dozens of vastly more entertaining and clever songs with a jazzy, theatrical feel, sometimes going completely over the edge into camp. Les Chauds Lapins play them with a knowing, tongue-in-cheek appreciation: former Ordinaires frontman Kurt Hoffman on banjo ukelele or clarinet; ex-Roulette Sister Meg Reichardt on guitar and banjo uke, sharing vocals with Hoffman; Andy Cotton on upright bass, Garo Yellin on cello and a ringer on violin adding a gypsy flair to several selections. The result was as lush and romantic as it was funny: Les Chauds Lapins prefer songs with multiple layers of meaning and they brought all of them out.

What was most impressive is how much their repertoire has expanded since their first album (which made the top 20 on our Best Albums of 2007 list). This time they opened with the coyly swinging Il M’a Vue Nue (He Saw Me Naked), Reichardt managing to hold herself back from completely hamming it up. The high point of their first set was Je Crache Dans L’Eau (I Spit Into the Water), a character study chronicling one unique and peculiar response to rejection, taking it out on fish in the river and marveling at all the ripples a mouthful of saliva can create. The band clearly had a great time with an even more bizarre chronicle, le Fils de la Femme Poisson (The Fishwife’s Son) when it came to the bridge, which is a dead ringer for the Pachelbel Canon. The song was written forty years before Oprah rediscovered it and put the Canon back in the canon (ouch – sorry) – was this a case of reinventing the wheel or a very clever case of theft? Appropriate something previously unknown and you have a perfect crime.   

As a guitarist, Reichardt just gets more interesting, more incisive. Having honed her blues chops in the Roulette Sisters, she’s worked up her jazz side in this project and where she used to comp chords on banjo uke on most of the songs, she’s playing guitar with the same clever incisiveness and love for the low registers that’s so apparent when she plays blues. It was also nice to see Hoffman cut loose with a fiery clarinet solo toward the end of the set – it would be good to see those chops in action more often. And it would have been fun to stick around for a whole second set , but there were drunk people to watch over, the price of some pretty hard pregaming.