CD Reviews

Richard Shindell: Courier
Signature Sounds, 2001

These days veteran New Jersey folksinger Richard Shindell doesn’t live anywhere near Paterson, but judging from the sounds of Courier, his latest CD, the very best of his native land still dwells deep in his soul. He’s still got all the originality, authenticity and grit that those of us who have come to love his work, and literally appreciate where he’s coming from, expect him to deliver. Despite Shindell’s mysteriously having moved clear to Argentina, of all places (at least according to his Web site—gee, could love possibly have something to do with it?), he’s still including all things ‘Jersey and ‘burban in his repertoire—and with all his usual raw-voiced, heartfelt solemnity. Although he’s moved on from the terrain covered in Somewhere Near Paterson, his last CD, the newly released Courier features much of the stuff and the local ambience that’s made Shindell a formidable force among the American singer/songwriter set. Certainly this collection of 15 tracks—all recorded live and featuring Lucy Kaplansky as backup vocalist—contains some varied and intriguing subject matter. Two songs—”Arrowhead” and “Fishing”—focus on the plight of Native Americans; in another, “The Ballad of Mary Magdalen,” Shindell twists the lyrics of that old standard hymn, “Jesus Loves Me,” into an absolutely heartbreaking, romantic refrain (“Jesus loves me, this I know/Why on earth did he ever have to go”). But it’s still nice to hear once again about familiar aspects of that most maligned of states, and Shindell obliges his loyal listeners with songs about Asbury Park, truck-driving for a living, the turnpike, snow, cops, kids, kitchen lights on late at night, less than satisfying marriages, the Virgin Mary (hey, wasn’t she spotted down in Jersey City recently, in the form of frost on a glass door in the supermarket frozen foods section?), Latinos, boardwalk crazies, uninitiated New York City girls and lovers who take toasters with them when they go for good on Halloween night, while the trick-or-treaters peer through the window, no less.
But this CD isn’t only for avowed Shindell fans. Newcomers to his work will appreciate the fact that his voice—falling somewhere between Michael Stipe and Leonard Cohen, only steadier, earthier and sexier than either one—is as strong as ever, and that the title song, “The Courier,” is a driven, haunting composition—and, incidentally, a great pick for radio play—about delivering a message from the Prince of Wales during a battle.

Richard Shindell will perform with Joan Baez and Dave Carter and Tracey Grammer at The Egg in Albany on Friday, February 15.

—Susan Piperato

The Kiss Ups: The Kiss Ups
Promotional EP, 2001

It has been some time since a band has come through the Hudson Valley bringing fresh ideas and sounds. Recycling has become almost commonplace and accepted in our musical circles, and frankly, I’m tired of it. In the Kiss Ups, I found some of the relief that I desperately needed. Acts like this give us some hope that all is right with our little musical world. In the vein of Igneous It (those‘90s trendsetters), and the Fighting Mackenzies, the Kiss Ups dish out some of the more playful music-making that one expects from the Rosendale crowd. Without getting too wrapped up in lovelorn, soft lyrics, Paul Heath and Michael Wilcock present up-tempo, positive pop songs, teeming with love and devotion sans cheese.

Musically, this duo harnesses the raw power of distorted bass guitar with rock-steady drumming. “That’s it?” you ask. What more does one need? Heath and Wilcock get a really big sound on this album and they do it without a three or four piece band that we have grown unnecessarily accustomed to in the small local venues. “Celebration”, the album’s first track, takes us to the party where we find a bit of scat singing and the mighty Dean Jones on trumpet. The chemistry here is apparent from the get-go, and the combination of Dean Jones and Warren Parrens behind the recording console makes this record really work.

Within this album’s eight tracks, there is a recurring theme—love. “Shooting Star,” with its pounding beat and soaring light-hearted vocals, expresses devotion to one’s love–heavenly bodies abound. The chorus bounces through 16 bars of extremely danceable beats that would have you out of your seat by now, were you listening to it. I hear the early ‘80s Police in the lifeblood of “In and Out.” Unfortunately, it ends sadly in heartbreak. Can you relate? “Powerful Stuff” is a token to the rock gods of yesteryear. It harkens back to the days when people knew how to make rock records. There is even a bass solo! (I am happy to report that the heavy sound some of us grew up with in the 1970s has regained popularity among a number of current recording artists.) “Girl of My Dreams,” is destined for airplay. It has all the qualities of a hit—catchy melodies and rhythms that stick in your head all afternoon.

The Kiss Ups are headed for a venue near you. On Saturday, February 16, you can catch them in a promotional appearance at Rhino Records in New Paltz. For more information about the Kiss Ups, including show dates and how to purchase a CD, e-mail: thekissups@hotmail.com.

—Christian F. Polos

Leonard Cohen: Ten New Songs
Columbia Records, 2001

Leonard Cohen is kinda like oysters, garlic, or Stilton cheese: You either love him or you can’t deal with him at all.
I come down in the former category, although I can’t take his music in super-large doses—three or four cuts and I’m usually ready for a break.

I suppose the reason is that, when you listen to a Leonard Cohen record, you are listening to pure Leonard Cohen. This guy has absolutely no identity issues, no desires to expand his sound, no false pretenses to being anything that he is not. Nearly 10 years in a Zen monastery (I kid you not) will do that to you, I guess.
Cohen has stories to tell, and well, if they’re unhappy ones—too bad, you’re gonna have to deal with it. Which is why, after a few cuts, you may be rushing for your Zoloft. But then again, you may be one of those people who love this stuff.
If that description sounds like you, then, simply put, rush out and buy this record. Because, of all the Leonard Cohen records I have ever heard, this one may be one of the best. Not because there’s one great, great song that’ll absolutely make you have to buy this record (a la his most famous song, “Suzanne”), but because the entire album is good, from beginning to end. Highlights most definitely include the opening track, “In My Secret Life,” which had me sitting with mouth agape on first listening (‘cause it’s so beautiful), and two songs that reflect Cohen’s newfound spirituality, “Love Itself” and “By the Rivers Dark.”

Cohen’s sound has changed remarkably little since his 1984 seminal album, I’m Your Man. It’s as if the Zen thing has profoundly influenced his musical style—why use anything in the mix if it’s not absolutely necessary? So what you end up getting here is a stripped-down production using drums, bass, a very ‘80s-sounding synthesizer, the very nice backing vocal tracks of the album’s producer, Sharon Robinson, and the pure, pure poetry of Leonard the Great. Or Leonard the Morose. Depending on your take on the matter.

I just have one question: In Buddhism, there is an eightfold path—instructions on the right way to live. One of these expressly states no intoxicating beverages. So, Leonard, just exactly where did you, in all those years of retreat, find a monastery with a bar?

—David McDonald