![]() It’s almost as though the layers of period-color varnish that Waits and his old producer Bones Howe used to give his ‘70s records their distinctive booze-and-tobacco patina had been overzealously attacked with paint stripper, peeling back the layers but disfiguring the person underneath in the process. ![]() Although Waits’ musical style underwent a major transformation, it wasn’t a clean slate the jazzy, boozy, down-at-heel beatnik/bohemian persona he adopted in the first phase of his career was still there, and he appears from time to time, albeit in a slightly more feral and threatening way. ![]() ![]() But the observation is both apt and misleading. CD color image by Laura Crosta.To give an idea of the radical change that Swordfishtrombones marked in Tom Waits’ work before the release of the album in 1983, the artist he was most frequently compared to was Bruce Springsteen afterwards it was Captain Beefheart. Musicians – Cindy Cashdollar (lap steel), Jill Sobule (vocals), Dave Sherman (piano), Jack Petruzelli (baritone guitar), Rachel Yamagata & Catherine Russell (bgv). Highlights – “I Should’ve Danced More,” “Nobody Owns You,” “Woman’s Work,” “Time of the Gun,” “Dig a Little Ditch,” “Tower of Joy,” “Lifeline” & “Great American Cities.” This CD is a handsome one – wonderful color portraits of Joan in a laminated 4-panel CD package that lacks only one feature – her lovely lyrics. She absorbs her influences & returns it with her own indominable style. While many artists have influences that run through their musical incarnations what’s admirable is that Joan never sounds like she’s emulating anyone. With “Dig a Little Ditch,” Joan seems to channel her inner Tom Waits with intense lyrics & a bluesy melody from the soil of old plantations. The LP is balanced with songs that are uniquely composed & performed. Joan doesn’t lay out each tune with attitude or pontificating but maintains an entertaining, optimistic forte (“Great American Cities”). She does possess an identifiable sound & is determined to make every song teach something, say something, or relay a personal experience. Joan isn’t an MOR/easy listening mainstream pop singer because many of her songs are more based in a folk aesthetic than a pop one. Many singer-songwriters in a similar vein don’t always capture this dalliance with the same discipline. The 12-impressions Joan offers on her 47-minute Nobody Owns You (Drops Sept 8–Womanly Hips Records) collection produced by Ben Rice (banjo guitar) are small autobiographical snippets & short stories. Joan knows where to put the emphasis & finesse. Joan is one of the few artists I find consistent enough to listen through an entire album. The musicianship while spare is genuine in its atmosphere. Not stopping there “Nobody Owns You,” is another powerful message song specifically for her own daughter. Osborne’s recent live concert in NJ, she opened with this new song & immediately captured her audience’s ears with her experienced vocal caress. Osborne’s audience is a little older now but there’s nothing here that younger listeners won’t understand. ![]() There’s a subject many singer-songwriters seldom tackle with verve & vitality with Joan’s poignancy. All the things we should’ve done & didn’t. This new set from the splendid voice of Kentucky-bred Joan Osborne starts with a reflective ballad that’s unadorned, yet because of her fine writing & performance will resonate with many ears. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |