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The Montreal trio Lesbians On Ecstasy play a potent mix of techno, metal, and punk rock on a set that includes a twisted electro spoof on K.D. Lang's "Constant Craving" and the erotic, swooning, "Manipulation." Their sound is tough, clubby, and sexy.
Audio Mixers: Orson Presence; Aidan Girt; Lesbians on Ecstasy.
Recording information: Hotel2Tango, Montreal, Quebec, Canada (06/2004); Parc Estates (06/2004).
Lesbians on Ecstasy: Bernie Bankrupt, Jackie The Jackhammer, Veronique Mystique, Fruity Frankie.
Personnel: Beckie Foon (cello); Orson Presence (keyboards).
Additional personnel: Becky Foon (cello); Orson Presence (keyboards).
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| | Mccoy Tyner Blue Bossa CD (1991)
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McCoy Tyner's CD for the budget label LRC finds his regular trio of the time (bassist Avery Sharpe and drummer Aaron Scott) augmented by percussionist Raphael Cruz and trumpeter/fluegelhornist Claudio Roditi on most of the tracks. Unfortunately, Cruz proves to be more of an unnecessary distraction, marring an otherwise potent take of "Blue Bossa" and adding little to Tyner's hard driving "Rotunda." Roditi is a better fit with Tyner's group, especially on the lyrical arrangement of "We'll Be Together Again," but his two originals are rather lame compared to the remainder of the release. Tyner's trio tackles "I'll Take Romance" without either one of their guests, with superb results. Three additional tracks from these sessions appeared on the compilation Double Exposure. A later reissue of this CD by Laserlight under the same title omits both Roditi's "The Natural Bridge" and Tyner's "Traces." Although Tyner is in top form throughout, this is not an important release in his considerable discography, but its low price make it worth acquiring. ~ Ken Dryden
McCoy Tyner's CD for the budget label LRC finds his regular trio of the time (bassist Avery Sharpe and drummer Aaron Scott) augmented by percussionist Raphael Cruz and trumpeter/fluegelhornist Claudio Roditi on most of the tracks. Unfortunately, Cruz proves to be more of an unnecessary ...
| | Vienna Teng Warm Strangers CD (2004)
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Contains an untitled hidden track following "The Atheist Christmas Carol".
It was easy to heap accolades on Vienna Teng's debut recording, Waking Hour, and its impeccable set of songs that overflowed with intelligence and sensitivity. Coming out at a time when plucky, piano-banging youngsters like Vanessa Carlton were upstaging their more reflective predecessors like Sarah McLachlan, Teng's songs kicked up a little wind for all sensitive singer/songwriters. But after the dust of praise finally settled, Waking Hour appeared slightly fragile in retrospect, with songs that were a bit too precious and self-conscious. This may have proven to be a blessing in disguise, as her follow-up disc, Warm Strangers, displays the confidence of a burgeoning artist who had gotten her feet wet and has now plunged headlong into a pool of sparkling songs. Breaking the surface with the uneasy strains of "Feather Moon," Teng takes command with a quiet intensity that immediately bests anything from her debut, as her haunting voice beckons to "breathe in, breathe out," bringing to mind Kate Bush's equally spooky "Breathing." Unlike her debut's quiet meditations that tended to bleed into each other, Teng gets positively upbeat on several tracks. Soothing sea winds are practically felt in the jubilant "Harbor," while the lilting "Shasta (Carrie's Song)" is quite possibly the most musically cheerful song ever written about a trip to an abortion clinic. These diversions help bring more definition to each song, allowing plaintive ballads like "Shine" and "Homecoming (Walter's Song)" to be more memorable and affective than if they were sequenced together. Although Teng's piano still drives most of the songs, the accompanying arrangements are inventive yet unobtrusive. Simple enhancements like the solo trumpet in "Mission Street," or the strummed piano strings in the disc's majestic centerpiece, "My Medea," keep the songs moving forward without distracting from Teng's vocal and instrumental proficiency. The disc starts to meander in the second half, ...
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"Toccata" is an adaptation of the 4th Movement of Alberto Ginastera's 1st Piano Concerto. The 1996 reissue of BRAIN SALAD SURGERY includes "The Making Of Brain Salad Surgery," anecdotes about the session recorded in 1996.
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Robert Earl Keen is an archetypical Texas singer/songwriter, someone who can mine both laughter and tragedy from life along the dusty margins of life in the Lone Star State, and seeing that he's been recording good-to-great albums of his material since 1984, a comprehensive and well-programmed compilation offering a fully rounded introduction to his music would be more than welcome. However, 2007's Best isn't quite that album. While Keen had recorded a dozen albums by the time this was released, Best draws its 17 tunes from only six discs, two of which are live albums and three of which (Farm Fresh Onions, What I Really Mean and Live at the Ryman) are relatively recent efforts that presumably dominate the second half of this collection because they were easy to license rather than because they represent Keen's finest work. Quite frankly, a number of Keen's best songs are missing, such as "Dreadful Selfish Crime," "The Front Porch Song" and "I Wonder Where My Baby Is Tonight," while fan favorites like "The Five Pound Bass," "The Buckin' Song," "Barbecue" and "The Bluegrass Widow" don't make the cut, either. That said, if Best doesn't quite present Keen's best material (or even all his best known), there's little arguing that what's here is great stuff; Keen, who compiled this disc, has edited a satisfying sampler, hitting a graceful balance between crowd pleasers like "Merry Christmas from the Family" and "The Road Goes on Forever" (the latter prefaced by a rambling story in which Keen loses his car and his girl but ...
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