Text © Robert Barry Francos / FFanzeen,
2014
Images from the Internet
62 minutes, 2014
www.wienerworld.com
www.mvdvisual.com
There is an interesting 12-minute interview of her by Piccolo in the extras, basically stating she would probably not be comfortable with the beginning of this review, as she does not like people discussing the way she looks. That being said, her appearance is so iconic, one is hard pressed to do otherwise. There are a number of topics covered, and the interview flies by as she talks about her music, her poetry, and her perspective. There is also a repetitive slideshow that lasts less than 4 minutes over the “Tom’s Diner” hit rather than the live one here.
How to Make a Poem (poem)
Small Blue Thing
Caramel
Italy in Spring (poem)
Some Journey
Penitent
When Heroes Go Down
Anti-Hero (poem)
Gypsy
Left of Center
Solitaire
The Queen and the Soldier
In Liverpool (poem)
In Liverpool
Luka
Tom’s Diner
Images from the Internet
Suzanne Vega Live: Solitude Standing
Wienerworld / Windrose / Minimum Fax
Media62 minutes, 2014
www.wienerworld.com
www.mvdvisual.com
Sandwiched
between the Phillip Glass and Rosy Parker period in the early-mid ‘80s and
Zooey Dashenall of the modern era, singer-songwriter Suzanne Vega was known as
what would probably be called today “Williamsburg cool.”
She
definitely had “a look” that was as immediately identifiable as Patti Smith’s
white shirt and half-opened tie. For Vega it was a long-tail jacket over a
plain uncollared-shirt, straight shoulder length hair (sometimes tied in a
mini-ponytail) and bangs, pokey ears that held the hair out of her eyes, and
those cheekbones and killer dimples. She also has a voice that is idiosyncratic
and immediately identifiable. She is everything that Liz Phair was hyped to be
that never materialized.
Back
in the day, she would perform often around New York City, in hipper, intimate
showcases, as well as some of the mid-sized venues, like actors who play in
mainstream films to pay for their theater projects. Everything about Vega said
cool. If she was born in another era, she probably would have been the darling
of the Beat poetry set or the flappers.
Thanks
to MTV, she rose above the “in-the-know” crowd and had some major hits on her
hands, such as “Luka” and “Tom’s Diner.” That gave her the leverage to do what
she wanted.
As
someone who tours often, she played at the Rome Auditorium in 2003, sharing the
stage with electric bassist Mike Visceglia and Italian singer-songwriter Valerio
Piccolo. The gig, presented in its
entirety, shows Vega playing her acoustic, and between some songs, she reads
short poems that Piccolo translates into Italian.
He
also translates Vega’s song descriptions before she sings, and boy, she has not
lost a thing over time. She sounds as sharp as ever, and her pieces retain all
their punch. One of the themes of Vega’s output is minutitude. Okay, that isn’t
really a word, but it’s time it was coined. They are slices of life, but
looking at a small moment that effects a lifetime. It could be an event, and
emotion, a dream (of caramel and cinnamon), a computer game, almost anything. I
would posit it’s sort of a version of chaos theory, but done in a beautiful
form. She even describes her own life in this way, in her poem “Anti-Hero,” saying
that her voice (i.e., poetry) is a small one but deserves to be heard.
I
don’t know how fair this is, and is not meant as a negative but as a
descriptor, but I always thought of Vega as the “anti-Laurie Anderson,” or to
put it another way, where Anderson is digital, Vega is analog, her voice like a
warm blanket, or honey that coats her words as she projects them out to her
audience. As you wade through her songs, be it about first love or a
battlefield – or, yes, child abuse – she makes you feel like you have wind in
your hair and you are floating just a little bit above your seat. Sometimes the
contrast between this and the song subjects are more counterpoint than with the
grain, which makes them stand out all the more.
“Left of Center” probably says this about her life better than I could, being
it’s in her own words, as she puts down her guitar and is backed strongly by
the bass.
Along
with new songs, such as “Solitaire,” she also does “Gypsy” and, after an
audience request, “The Queen and the Soldier.” She seems very comfortable on
stage as she goes though the numbers, acknowledging both Piccolo and Visceglia,
sometimes checking to see if they are keeping up. Yes, she does her two biggest
hits at the end, and while they sound great, I’m sure there will be those who
just want to hear them due to familiarity, but I strongly recommend sitting
down, and paying attention, as it will be worth your while. Here, I actually
prefer this version of “Tom’s Diner,” which is a cappella, with handclaps and
whistles as accompaniment. I always though her voice and message became lost in
all the stuff going on behind her on the record, for which she deserves better.
There is an interesting 12-minute interview of her by Piccolo in the extras, basically stating she would probably not be comfortable with the beginning of this review, as she does not like people discussing the way she looks. That being said, her appearance is so iconic, one is hard pressed to do otherwise. There are a number of topics covered, and the interview flies by as she talks about her music, her poetry, and her perspective. There is also a repetitive slideshow that lasts less than 4 minutes over the “Tom’s Diner” hit rather than the live one here.
Whether
you prefer to describe her as folk, modern folk, singer-songwriter, or hipster
goddess, it’s all good. Her messages are worth hearing, and she presents them
in a manner that is pleasing to the ear (and, sorry Suzanne, the eye). Get your
“doo-do-do-do” on and give a listen.
Song list:
Marlene on a HighHow to Make a Poem (poem)
Small Blue Thing
Caramel
Italy in Spring (poem)
Some Journey
Penitent
When Heroes Go Down
Anti-Hero (poem)
Gypsy
Left of Center
Solitaire
The Queen and the Soldier
In Liverpool (poem)
In Liverpool
Luka
Tom’s Diner
http://www.youtube.com/watch?v=N4lQJMPoVGg
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