Sometimes when I watch X-factor I think to myself, "that would make a good stage voice". But then is it really anything to do with the voice, or is it entirely the style of the song? Are there that many artists that have moved from stage to solo rock or pop, or in the opposite direction?
[What about from music to film, or music to art (or vice versa?) - just throwing out some new ideas for the blog Eddy. Ed.]
Like Bowie, Sting, Depp, Sutherland, Capt. Beefheart? [Indeed, you could easily think of 6.]
 |
| Johnny being Johnny |
Can you be both? Both an artist and a musician for instance? I don't see why not although apparently Capt. Beefheart was told he'd never be taken seriously in the art world unless he gave up music (and reverted back to his regular Don Van Vliet nomenclature) - the world lost an unique musician and gained a so so artist.
 |
| One of Don's pieces |
Many musicians have been pilloried for their acting performances but I actually think most do an excellent job (how hard can it be? *) and I've always enjoyed spotting the odd Dylan, Jagger or Waits cameo.
* well not, apparently, that hard (until you see a bad one) ...
 |
| Tom being Tom |
Then there is the Musical crossover too - singers acting (Cher, Streisland, Madonna, Diamond, Gaga etc), actors singing (Brosnan, Streep, Crowe, Jackman) or playing (Douglas, Gosling).
 |
| I don't think Crowe was too bad at all in Les Mis but have you heard Peter Mullan in Sunshine on Leith? |
And the transfer between film and stage - many an actor successfully moves from stage to film (Olivier, McKellen, etc - practically any of those old school Shakespearian thesp types), but not so much the other way round (I saw a famous film star in a stage play once and he just did not have the projection to fill a theatre).
 |
| Sir Larry hamming it up in Marathon Man |
How about Rock to Jazz? Classical to Pop? I know Robert Fripp for instance was a classical guitarist before Jimi Hendrix inspired him to form King Crimson. Not easy to venture successfully across these boundaries (despite the boundaries I'd suggest being in many cases artificially erected by music snobs who would argue one form of music is more difficult to master than another - but wouldn't you defend your position if you'd spent a lifetime reaching the heights on a particular instrument only to be confronted by an example of someone reaching apparent similar heights, at least to a lay listener, after only 3 or 4 months intensive training).
 |
| This dude clearly never took guitar lessons |
"Serious" classical musicians often dismiss "popular" classical musicians (James Galway, Nigel Kennedy, the guy in Shine: David Helfgott) or pop stars who have attempted classical works (McCartney, Zappa, Greenwood).
 |
| "We hope you enjoy our new direction" - Spinal Tap go jazz odyssey to mixed reviews |
Enter stage left singer-songwriter Eden Espinosa who hot foots over from Broadway with her (proper) debut album of original songs Revelation (an earlier album of Broadway songs was released in 2012). Proving that the move in this direction is probably easier than the opposite way. And why not, a powerful voice with range and projection can only be an advantage and it is indeed immediately apparent that Espinosa's voice packs a presence. She hits those high notes, and then when she reaches the top she goes a little bit higher.
[Like Nigel Tufnell when he gets to 10 and just needs that little extra push over the edge to 11? Ed.]
Exactly. A voice that goes up to 11.
And she manages this without the shout and bombast which mars many an X-factor audition.
Opening up the album one is struck at first by an 80s synth feel this correspondent was not expecting but then again it was very much evident in many critics' "Albums of 2018" where colleagues Robyn, Christine, Mitski, Cardi B, and Janelle Monáe were frequent nominations: First track Deadly Sin has that electronic snare beat from the classic Vienna and a deep bass drone.
Then kick back and enjoy the rollicking jumping rock of Easy which would be an obvious single with it's choppy guitar riffing and a great chorus:
I don't want to say goodbye
Told you time after time
We needed to make a change, yeah!
I don't want to walk away
There's nothing left to say
'Cos oh you make it easy, you make it easy!
... then the pace slows in the ballad Master Of My Life characterised by lovely reverb guitar and Eden pushing 11 again.
Three songs in and three styles covered. Eden and her backing band of accomplished musicians continue to ring the changes through ten original songs mixing up the big anthems with some gentle numbers.
Superman closes the first half and is the closest to her stage style I'd imagine. Slow mournful and dark with wavering synthesizer backing which builds to a stirring crescendo. It's like the one before the intermission. A short intermission is appropriate at this point indeed as after the break Eden will return with a different feel.
[Don't forget to test the fire curtain. Ed]
~
The second half of the album shelves the 80s feel and goes more organic with some alternate rock and acoustic numbers.
The Answer is closer to the sort of music that frequents itself on this blog. A circular acoustic guitar pattern like Tracy Chapman's Fast Car hit, it's the most stripped back music on the album with the guitar joined only by a piano.
The masterpiece of the album for me is the next track Ready which also starts with a repeating guitar arpeggio, this time on electric. This is a powerful rock anthem with a Gilmouresque guitar break. It's a track where the backing band are really let loose with space to show off their chops. The sort of accomplished pop-rock song Aimee Mann perfected on her brilliant No. 2 Bachelor album.
Keep On sounds so familiar it could be a cover. But no, it's just a nicely crafted pop song on solo piano with Eden proclaiming she will keep on fighting to the end. In an album containing a clew of earworms this one burrows the deepest.
The Night is another highlight being a thoroughly modern rock song with guitar arpeggios and rumbling tom tom and cymbals a la Radiohead. It trundles along until Eden sings an acapella chorus:
When all else fails and there are no words to say
The child in me comes out to play
I kick and scream to be heard
But that is not what you deserve
Finally the album fades away nicely on a bed of gentle acoustic guitar slap reminding me of the final track on Neil Young's searing Zuma album which heralded the unplugged reunion of CSNY after an album of scorching electric workouts. Just tipping 5 minutes Fireworks and Stars is the longest track on the album ending the album on another high.
[Through My Sails? Where did that come from? Ed.]
I have no idea Ed, it surprised me too.
So many records take you on an unexpected journey and what a journey. From Ultravox to Neil Young via Spinal Tap! I wasn't expecting that when I set out this morning.
0 comments:
Post a Comment