CD Review: The Moonlighters – Enchanted
Fifth time’s a charm. The Moonlighters were among the first and remain the best of the oldtimey bands who started popping up around New York around the turn of the century. The last century, that is, although their sound has more in common with the one before that. Frontwoman/ukelele player and main songwriter Bliss Blood is the sole holdover from the band’s original 1999 incarnation, a torch singer par excellence and onetime college semiotics major who perhaps better than any other current-day writer captures the droll effervescence and innuendo-laden wit of classic ragtime, early 1920s swing and hokum blues. The clear, soaring beauty of her voice blends with the harmonies of another period-perfect singer, guitarist Cindy Ball, backed by the fluid bass of Peter Maness and Mark Deffenbaugh on fiery, incisive steel guitar. As consistently excellent as their first four releases – including the ecstatically good Live in Baden-Baden cd – have been, this looks like the album that’s going to put them over the top. This time out the band blends their irresistible Hawaiian-inflected makeout music with vintage-style ragtime, swing, a bouncy hobo song and even some vintage European film songs. It’s playful, sexy, often poignant and sometimes very subtly funny.
The cd’s opening cut sets the tone with Blood and Ball’s (Blood and Balls – now that’s a side project waiting to happen!) fetching harmonies, a winsome Hawaiian swing tale about breaking a hex and finding love at last. By contrast, Winter in My Heart is gorgeously plaintive yet ultimately optimistic. A couple of cuts, Blood’s Give Me Liberty or Give Me Love and Ball’s Don’t Baby Me channel a 1920s flapper vibe – those women reveled in their emancipation, and they weren’t about to take any grief from guys! The best single track on the album might be Night Smoke, written by Ball, a vivid Henry Mancini-esque salute to the pleasures of the wee hours. The cover are good too. They take the old Benny Goodman/Rosemarie Clooney standard It’s Bad For Me and reinvent it as a sassy Rat Pack-era come-on, jump into silent-film character for Fooling with the Other Woman’s Man and take their time, deliciously and tongue-in-cheek, with Al Duvall‘s Freudian innuendo-fest Sheet Music Man. The album closes with a medley of Marlene Dietrich songs, doubtlessly inspired by the Moonlighters’ success touring Germany over the past few years. Look for this on our best albums of 2009 list toward the end of December. The Moonlighters play the cd release show tonight, August 7 at Barbes at 10.
The Moonlighters’ new label, WorldSound has also brought Blood’s teenage S&M industrial punk band the Pain Teens‘ catalog back into print, a welcome development for people who were into Ministry and that stuff back in the early 90s. In case you’re wondering, they didn’t sound anything like the Moonlighters. But they could also be very funny.
The Moonlighters Live at Barbes, Brooklyn NY 3/14/08
This band may be something of a New York institution, but if you haven’t seen the Moonlighters lately you definitely should. There’s been considerable turnover: of the original quartet, only bandleader/ukulele player Bliss Blood remains. This latest incarnation harks back to the original unit: they’ve reverted to the quieter, more overtly romantic style they mined so well on their first album. Their latest steel guitarist Mark Deffenbaugh plays Blood’s absolutely authentic-sounding 20s and 30s style torch songs, blues and Hawaiian swing with taste and sensitivity, the new bass player’s impressive jazz chops are on par with those of their original 4-string guy Andrew Hall, and guitarist/harmony singer Cindy Ball (who handled a lot of the lead vocals tonight) not only has a soaringly beautiful, jazz-inflected delivery, but also great retro fashion sense. Though Blood was considerably under the weather (“Never go to a 1-year-old’s birthday party,” she cautioned the packed house), it was impossible to tell from how she sang, her vocals perfectly clear, warm and cheery as always.
The set also looked back to the band’s turn-of-the-century sound: the surprisingly cheerful, bouncy hobo anthem Ballad of a Gink; the lushly beautiful Dreamland (the title track from their first album, taking its name from the legendary Coney Island amusement park), a couple of similarly swoony new songs, and the minor-key Blue and Black-Eyed, an account of the sad demise of one of the prostitutes who would throw themselves from the fire escape at the notorious late-1800s Bowery saloon McGuirk’s Suicide Hall (the building that housed it was razed a couple of years ago to make space for highrise plastic-and-sheetrock luxury condos). This version of the band played it with less overt intensity than previous incarnations did, making it more of a seamless fit with the rest of the material.
Bliss Blood’s songwriting is undiminished. It’s hard to think of anyone else who can so effortlessly evoke the playfully literate, sometimes innuendo-laden wit of 1920s and 1930s pop as well as she does, and to her credit she’s once again assembled a crew who can do justice to it. Unsurprisingly, there were a lot of couples in the audience: this was clearly date night, and everybody seemed happy with the outcome. At least while the band was playing. The Moonlighters are back at Barbes at 10 in the 19th.
Concert Review: The Moonlighters at Barbes 6/23/07
For awhile the Moonlighters were ubiquitous on the NYC club circuit. In case you haven’t seen them lately, you should. This is basically a brand-new band: of the pioneering old-timey quartet’s original members, only frontwoman/ukelele player Bliss Blood remains. Yet they’re better than ever. The new Daria (as denizens of the scene might say) is singer/guitarist Cindy Ball, whose harmony vocals and playing are spot-on, and she has the Gatsby-era look down cold. Upright bassist Peter Maness is a concise, incisive cat, especially when he solos. But their best acquisition is guitarist/banjoist/baritone sax player Ken Mosher, late of the Squirrel Nut Zippers. He’s brought back the fire that was missing since the Moonlighters’ original steel guitarist Henry Bogdan left for Hawaii and then the Helmet reunion tour.
They opened their first set with a typically charming version of Big Times, the two women in the band blending voices exquisitely. “Let’s do a tango,” smiled Blood, and they launched into the haunting Dirt Road Life, a day in the life of a sweatshop worker. “I’ve tried to wash it off, I’ve tried and I’ve tried, but it’s stuck there inside like a scar in my side,” went the refrain: though they’re best known (and rightfully so) for their authentically retro, romantic stylings, the Moonlighters have a social awarness to rival that of the Clash. They followed with Broken Doll, from their most recent album Surrender, the first of several “snuff torch songs” that Blood has been playing with this unit and another project, the deliciously sinister Nightcall. Then they picked up the pace with the sprightly hobo tune Special Cannonball and the wistful melancholia of Every Little Teardrop. Mosher punctuated the following tune, Never Be the Same with a sizzling, jazzy electric guitar solo as the band took it to warp speed.
Mosher switched to banjo for the swinging, jauntily optimistic Farewell to the Blues, and for a minute it was as if the little back room had become a speakeasy circa 1928 – or sometime before the crash, anyway. There are innumerable other old-time bands out there – basically everybody who plays Pete’s Candy Store these days – but the Moonlighters were one of the first and remain just about the best. Maness took a decisive little stroll to open the next number, the sprawling, crescendoing, multi-part Ziegfeld Doll, written by their former guitarist/singer Carla Murray. After an innuendo-laden 6/8 pop tune from the 20s with another blazing Mosher guitar solo, they closed their first set with a crowd-pleaser from their early period, Makin’ Wicky-Wacky Down in Waikiki. The audience – especially the young couples – loved it. New York crowds take this kind of show for granted: see this band now while you can before the only venues left standing are VIP DJ lounges in luxury hotels.
Lucid Culture 