Classical
The Big Dig
“It swings between passion and obsession, constantly. It’s definitely at the point where I’m like, ‘do I want to buy groceries this week, or do I want to go digging in Indianapolis?’” Aaron Soma spends 12 to 16 hours a week, on average, digging for vinyl. At least once a month, he leaves the state to rummage through basements and backrooms for dusty jewels of sound. He calls it the “great nerd odyssey” – and he’s not being flip, despite the shadow of cool that has settled on record culture in recent years. Aaron can describe what he’s into – Northern soul, forgotten originals of ‘80s pop songs – but it’s hard to put a finger on what he’s really searching for. So in consideration of the question, he made a list, went to some record shops, and thought about it for a while. Here are four things he managed to sort out. 1. Covers, or forgotten originals of songs that were covered and became hits Aaron’s first digs were through his parent’s formidable collection of records. “I picked up Beatles albums,” he says, “wondering, looking at the records, noticing that the song wasn’t written by John Lennon or Paul McCartney, but some American R&B artist somewhere.” “That’s the really exciting thing about collecting,” says Andy Noble, co-owner of LotusLand Records. “You’re always following a path, and you’re probably following multiple paths.” “It could take you back to the beginning of recorded time – or to Africa, or to Brazil – just by following the sound, the producer, the people who were thanked in the liner notes, weird stuff like that. It’s an exploration.” Aaron is always learning; every dig is a research project. “I’ll bring a battery-powered portable record player with me to a shop and just dig through, set stuff aside. That’s how I teach myself what’s going on. I hardly ever know what I’m looking for when I go out: it’s really a dive into the unknown.” 2. Midwestern music Aaron’s serious collecting started with ‘60s psychedelic rock, especially local acts – Michael and the Messengers, The Illusion, The Legends. For the past two or three years, he’s been collecting mainly funk and soul music, and still turns up a lot of local material. “Because I dig regionally, I tend to come up with a decent amount of stuff that was actually happening here – Harvey Scales and the Seven Sounds, The Esquires.” On a sunny late-summer afternoon, Aaron drives me out to an empty storefront on North Avenue. Audie’s Records has been closed since the late ‘80s, and judging from the steamrollers parked next door, it might not be standing for much longer. It used to be a major distribution hub for hip hop, soul and funk in the Midwest. “A lot of that stuff is still here. In bigger Midwest cities – St. Louis, Detroit, Minneapolis – a lot of the shops get really picked through.” Still, good finds don’t come easy – especially with […]
Oct 1st, 2007 by Amy Elliott
Know Your DJ
DJ ROCK DEE AGE: 39 SIGN: Leo DAY JOB: Brookfield Guitar Center; Air personality, 88.9 Radio Milwaukee; DJ for Mob Candy Magazine & True Baller Clothing STYLE: Hip-hop, house, old-school funk, disco, salsa, reggae RESIDENCIES: Alverno College, Zen Den, Radio Milwaukee, Walkers Pint, Three, Summerfest BEST NIGHT EVER: Summerfest 2002. I had produced the Diskotech DJ stage. I had all the greats that year! One night I had Biz Markie headlining … I was blessed to experience the sports area packed … over 3,000 strong, with everyone singing “Just a Friend” right along with Biz Markie. WORST NIGHT EVER: God bless, none yet! ON THE NO-PLAY LIST: Honestly, nothing really comes to mind. If it’s good music, I will play it, no matter what the genre. STATE OF THE SCENE: My professor Tracy Stockwell reminds me all the time what a great city Milwaukee is … the art galleries, the economic development, the nightlife. DJs can actually work and make a living here … that is the bomb to me! Some say we’re still behind the times – and maybe we are a little – though we as a city are setting our own times, not basing our time on anyone else’s. IN THE BEGINNING: I was breakdancing at Skate University when all of a sudden these dudes make an entrance with equipment that never seemed to stop coming. Next thing I knew, there was this guy named Dr. B mixing records … cutting, scratching, backspinning, mixing this with that and rapping on the mic … I knew from that point on that was what I was going to do for the rest of my life. That was 1982 and now it’s 2007 … you do the math! FLAV-OR-ICE FLAVOR: Green. KID CUT UP AGE: 25 SIGN: Caution: Curve Ahead DAY JOB: Being a DJ is a full time job. GEAR: Tech 12’s, Vinyl, Serato, Rane 56, Shure SM58 STYLE: Well-rounded DJing. Hand skills AND party rockin’. Commercial AND underground. New AND old school. RESIDENCIES: No Request Fridays @ Redlight above Tocadero w/ Why B; Flirt Thursdays @ Hi Hat Garage w/ Steve Marxx; Hiphop Tuesdays @ the Uptowner w/ DJ Musko BEST NIGHT EVER: Any night people are down to let loose and have a good time. WORST NIGHT EVER: Weddings CURRENTLY PLAYING: New album from Milwaukee’s Element ON THE NO-PLAY LIST: Requests STATE OF THE SCENE: Potential-filled FLAV-OR-ICE FLAVOR: Orange. Slightly melted. DJ NU-STYLEZ AGE: 27 SIGN: Libra DAY JOB: DJ, mix tape producer, music producer STYLE: Hip-hop, crowd rocking, ghetto house … you name it, I can get it done. RESIDENCIES: Texture; Digital Underground tour DJ BEST NIGHT EVER: Sydney, Australia… rocking 10,000 people down under… unbelievable. WORST NIGHT EVER: Reno, Nevada. The sound man was drunk and left the board and somehow turned off the monitors, so there was no sound on stage! CURRENTLY PLAYING: My remixes and whatever makes me and the people on the dance floor feel good! STATE OF THE SCENE: It’s on […]
Oct 1st, 2007 by Matt Wild
The Cocksmiths
I was busy looking for a shiny, elegant yacht to land upon my shore. Instead, what sailed in was this beat-up, high-octane, dirty old barge with a rowdy party spilling out of it – the kind you’d call the Coast Guard on. The new Cocksmiths CD Trouble Pill is Milwaukee-brewed rock ‘n’ roll, with emphasis on the rock. It’s the product of a true live band taking their set into the studio, banging out 13 songs in two days. You can practically hear the beer bottles hitting each other in the background. The slowest, most melodic and contemplative song on this set is titled “Bar Room”—’nuff said. Even Matty Gonzalez’s voice is whiskey-drenched throughout, telling you he got the party started before playing the first lick. Gonzalez also pulls guitar duty with Ryan Daniels and Paris Ortiz, with bassist Joey Carini and drummer Dave Schoepke driving it home. Almost everybody sings, in true barroom democracy fashion. The ‘Smiths (sorry, I just can’t abbreviate to The Cocks) expertly dovetail both the sound and the production with the songwriting: no frills. Having knocked around town in various configurations for over ten years and played together going on five, these guys certainly know a good live hook and riff. And while nothing here is creatively original, the guitar solos (and there are good amount of them) and vocals are delivered with razor-sharp skill, and most importantly, honesty. These guys mean it. The Cocksmiths can loosely be joined to the current hard-rock renaissance. Buckcherry, Velvet Revolver, even emo bands from the early part of the decade have “matured” into aggressive, cocked-locked-and-ready-to-rockers who want the top down and the pedal to the floor. The Cocksmiths easily keep pace with all of them. Put this sucker in your car on the way to drunksville, and look me up when you arrive.
Oct 1st, 2007 by Troy Butero
The Milwaukee Music Scene(tm), part deux
Rejected titles for this month’s column: God, I hate The Gufs; God, I hate Chicago; Are you there God? It’s me, Milwaukee. After more than a decade as an on-again, off-again bit player in the Milwaukee Music Scene (MMS), I’m no closer to cracking its modest secrets than I was on day one. At times, our little city seems on the verge of something great, something bold and original; other times, it seems like a distant cousin’s wedding dance that simply refuses to end (no matter how many times “We Are Family” and “Baby Got Back” are played). In MMS columns of the past, I’ve written: “Maybe it’s that the MMS is like a cruel mistress, or maybe more like a jilted lover, or maybe more like a wacky TV next-door neighbor you just can’t get rid of. Any way you dice it, this is the time, city and scene we’ve all been given, so let’s focus on the good and avoid the bad.”Indeed, perhaps the best summation I can give our local indie/rock/noise/cow-punk/Gregorian-chant scene is that it’s schizophrenic at best, and simply catatonic at worst. Nevertheless, it’s the one we’re stuck with, and one thankfully rife with just enough left-field, life-affirming moments to keep us all plugging along without putting guns to our heads. But before we dive deeper into that barrel of monkeys, let me say this: at least we’re not Chicago. The oft-mentioned inferiority complex we harbor for our Illinois neighbor has always puzzled me, as if criminally overpriced drinks, non-smoking venues and Billy Corgan are things worth aspiring to. During a trip to Roger Ebert’s stomping grounds last month, for example, I was faced with fifteen-dollar rum and cokes, twelve-dollar cover charges, and a smokeless, soulless venue that resembled a horrific cross between The Rave, Cush and a slightly upscale Hardees. For all its hype, the Windy City has always struck me as nothing more than a typical midwestern dump with a hugely inflated ego. Put simply (and to crib a line from The Adventures of Pete and Pete): Chicago can bite my scab. But anyway, back to the homefront. Nothing better illustrates Milwaukee’s strange, musical split-personality than a recent evening that featured both the unbelievably good times provided by the monthly Get Down, and the unspeakable horrors of The Gufs playing a free outdoor show a block from my apartment. Both events are fine examples of their respective ends of the MMS spectrum, with unbridled joy brought on by an incredible selection of music on one side, and unchecked nausea brought on by maudlin lyrics and poor fashion sense on the other. Following some sort of urban-playground/soccer/skateboard/BMX/let’s-do-this-before-Downer-Avenue-turns-into-a-goddamned-parking-garage block party, The Gufs set up shop and begin to do their thing, much to the delight of the sea of inebriated 18-year olds flooding the street. You may remember The Gufs as one of the slew of one-hit 90’s bands with a skin-crawlingly treacle-laced song about “crashing into me.” Don’t get me wrong, I’m sure they’re all […]
Oct 1st, 2007 by Matt Wild
Buffalo
Affordable drinks and public smoking are two things homesick MC Lunaversol9, recent San Francisco implant, misses most about Milwaukee. Another is, of course, the people—not limited to her newfound friend and cohort Nicholas Sanborn. Sanborn, who frequented the coffeehouse where Luna worked, was familiar with her background with local hip-hop mainstays Def Harmonic, and presented her with an instrumental track in need of her flair. Though unable to produce anything for months, Luna eventually found the words, and the results were “Curtains,” a song about loss that would become one of her favorites to perform solo. “Deer Tracks,” where Luna’s smoke-ridden voice begs “I want antlers” the way a spoiled child demands her own golden goose, began as a looped guitar sample and was presented by Sanborn and verbally delivered by Luna in a similar fashion. “It was strange,” she says. “Unlike any other track I had ever been given. But gorgeous.” After two personally challenging and fulfilling songs, not committing to a project with Sanborn would have been foolish. At Sanborn’s request, the two formed Buffalo; Luna covers most of the lyrics, singing, and rapping, while Sanborn lays down the Wurlitzer, organ, piano, bass, guitar, and computer. “He is a musical genius, and I am mainly just a writer,” Luna admits. “There is really nothing he cannot do; his arrangements and choices are baffling. I only write when I can, and hope it fits.” Her unpretentiously earthy, soul-sopped attitude also bleeds out of her lyrics: “Is there a way to be a writer/And still be in love? Is there a way to drown in water/While watching it from above?” A short-lived, albeit intense fling last summer—evidence to support Luna’s rhetorical questions—was inspiration for the lion’s share of Buffalo’s first album. The debut has been recorded and is currently being mixed, but has no due date. While creative undergoings are usually compared to one’s children, Luna says music has always been more like a parent, much like the city she left to pursue life on the West Coast, a choice partner Sanborn respects and understands. Her goals for Buffalo, even after migrating from the Great Plains, are simply “to continue.” She adds, “to tour would be paradise.” Inspired by Fiona Apple, Tom Waits, Cocorosie, and David Byrne, among others, Luna has her eyes toward indie trip-hops TV On The Radio for tourmates. On March 3, 2007, the newly born Buffalo was unveiled to an audience. Live, the band is a different animal, when a drummer and an additional multi-instrumentalist fill out the stage. Despite Buffalo’s infancy, Luna has rapped since 1999 and Sanborn has played keys for Decibully since 2003, tallying volumes of stage and touring experience. The next Buffalo show, slated for her October Milwaukee homecoming, is promised to provide precisely “what you need at the time.” Luna’s own first impressions of Buffalo—strange and gorgeous—are likely to be yours, too. Two tracks are available for listen at http://www.myspace.com/iwantantlers
Oct 1st, 2007 by Amber Herzog
Girlyman at Shank Hall
How do you know you’ve made it as an Indie-Gender-Folk-Pop group? Is it playing to a crowd that sings along to almost every one of your songs? Witnessing members of your audience placing the now ubiquitous concert calls to friends who couldn’t make it to show? Or is it being called back to the stage, not once but twice, for encores? On Friday night, Girlyman had all of this and more as they played for an enthusiastic crowd at Shank Hall. Before they took the stage, their long-time friend Adrianne played an opening set comprised of original songs that were both well written and well performed. She did play one cover in a nod to the “music of her youth” – the song she referred to as her Cheesy Embarrassing Eighties Favorite, the Thompson Twins’ classic “Hold Me Now.” She won over the cheese-heads and closed her performance by saying, “I’ve only played in Milwaukee a few times and every time it’s been cool. And tonight is infinitely cool!” Girlyman echoed Adrianne’s sentiments by saying repeatedly, “People are nice here!” It’s not hard to be nice to a band that is as humble as it is talented. The three members of Girlyman – Nate Borofsky, Doris Muramatsu and Ty Greenstein – played their own brand of folk music and told the crowd stories about their lives. The setlist consisted mostly of songs from their April release, Joyous Sign, with a smattering of material from their first two albums and a couple of numbers thrown in to make the audience laugh. They cut up onstage to an impromptu “tuning song:” as Ty worked to get her guitar ready for the next number, Nate and Doris sang what started as a schmaltzy ballad and ended with an overstated and hilarious chorus of “We’re not going to tune it/No, we ain’t gonna tune it” to the melody of the old Twisted Sister song. A particular standout from the new album was “Reva Thereafter,” written by all three band members to help Nate work through his grief following the death of his grandmother. Before the song, Nate told the audience a little about her and eloquently painted a picture of a strong, determined woman who took her own life at 95 years old. “You wrote the letters one by one into the setting of the sun/Tell me, what was it like to send yourself into the light that night?” When he openly sang of his pain, we could feel it with him. Isn’t that the ultimate goal of most songwriters? To make your listener feel? As the members of Girlyman interacted with each other and with the audience, we all became invested in the stories that they told in each song. Doris’s profession that her optimism inspired “Good Enough” (“Somewhere back in time we made each other laugh / And I could see how that was good enough”) was sincere and heartfelt, and Ty’s confession that ”Hey Rose” is about a dark period of […]
Oct 1st, 2007 by Vital Archives
Sharon Jones & the Dap-Kings
They spend all of their free time lending their considerable talents to other people’s work, which makes one wonder how Sharon Jones and her backing band, the Dap-Kings, have had any time for themselves. Jones recently worked with Rufus Wainwright; the Dap-Kings can be heard tearing up pop radio as the backing band on Amy Winehouse’s smash “Rehab.” Yet along comes 100 Days, 100 Nights, their third release, on their own Daptone imprint. Expending all that energy on other projects hasn’t diminished the drive to create on their own; 100 Days sizzles with the classic Motown soul of Aretha and Stevie. While the Dap-Kings’ work on Winehouse’s Back to Black carries a distinctly pop sheen, 100 Days takes wood stripper to that glossy finish, leaving behind raw trumpets, gritty rhythms and the classic two-beat guitar stabs from Motor City faves like one-time Kings’ cover “Uptight (Everything’s Alright).” The lazily upbeat “Tell Me” comes closest to what would have been considered a pop hit in the days of Martha and the Vandellas, but that’s not to say that the midtempo groove that dominates the album won’t get asses on the floor. Of course, the real star here is Jones and her bluesy, ballsy alto, which wails away on tracks like the reproachful “When the Other Foot Drops, Uncle.” Maybe she isn’t likely to become the household name that Winehouse and Lily Allen are on their way to becoming. But since Jones and her band are bringing home plenty of green via their extracurriculars, Amy and Lily are welcome to their celebrity; just occasionally leave this crew to their own devices, and if they keep turning out records like 100 Days, 100 Nights, everyone wins.
Oct 1st, 2007 by DJ Hostettler
Growing up, moving out and keepin’ on.
“We love coming to Milwaukee because we just always get such, there’s so much excitement; so much is coming back to us from the crowd. It just feels really good to be here.” That’s how Ty Greenstein, one third of the increasingly well-known band Girlyman, ends our interview. I’ve been sitting around Shank Hall with them for about half an hour chatting and it’s time for their sound check. I thank them for taking the time to talk to me, and they thank me back warmly. Let me just repeat that part – they thank me! I drive home with a smile on face, thinking about the things they said to me. I had been a little nervous about the interview earlier. I mean, I’ve been writing for VITAL Source for years, but as the Slightly Crunchy Parent. In the office I’m referred to as the Crunchy P (Crunchy Pea? Crunchy Pee?), not as a music reviewer or even as a reporter. I worried as I drove over to Shank Hall that I would come off exactly as I am, a moderately dowdy woman who spends most of her time with her kids and rarely does anything as grown up and metropolitan as interviewing a band. When Girlyman came into meet me, they were short one member of the trio. Doris Muramatsu wasn’t well and needed to rest before the show, and so the interview would be with Ty Greenstein and Nate Borofsky. Seeing the two of them without Doris was a little startling, as the three have been together almost without break since the band’s inception six year ago. Not only do they work and perform together, but until recently – when Ty and Nate moved to Atlanta — they shared a small apartment in Brooklyn. The band has continued writing, practicing and performing together; the move has done nothing but good things for their creative process. “We spent almost seven years living together in the same small apartment in Brooklyn,” explains Nate, “and after a certain point, it started to feel a little…” “Small.” Ty finishes. “Yes, small,” laughs Nate. “It started to feel smaller and smaller. Genevieve, our manager, was also living with us at the end, and then we got a dog and so really, it just got really small.” Ty adds, “In the beginning it really gave us a creative push. We were all in one space and it really easy to just write songs and do all this creative work. That got us through the first three or four years. We just didn’t have much else besides each other.” But after so much closeness, it was time for a change. Nate and Ty both moved to Atlanta while Doris stayed in New York. Nate tells me, “We’re still working out ways to meet for practice, but when we are together on stage, and even just seeing each other, it feels more vibrant. We’re more invigorated about playing together now.” Ty elaborates. “Something changed and […]
Oct 1st, 2007 by Lucky Tomaszek
Charles Mingus
*Cornell 1964 was released in July, but we think it’s worth a listen — and Blaine is here to tell you why. Maybe it is no surprise that a spirit as indomitable as Charles Mingus survives 28 years after ALS shuffled his body off this mortal coil. The bassist/bandleader/writer’s legacy has grown in no small part due to efforts by his wife (and former Milwaukeean) Sue Mingus. Her discovery of this recording, much like recently unearthed live sets by John Coltrane and Thelonious Monk, serves as another chance to pull the image in the rear view mirror up close and marvel at the music created by this great band. With three tunes clocking at over fifteen minutes and another pair sprawling into the half-hour range it becomes obvious these musicians are seriously at work. There is no endless noodling, only tight full-band sections, spotlight solos and some great improvising. Clifford Jordan and Eric Dolphy’s horn playing throughout the two discs sounds like a conversation – squeezing out sparks as the ideas ebb and flow. Mingus once wrote a letter to Downbeat Magazine decrying the free jazzers’ new definitions of musicality, but Dolphy and Jordan’s playing makes use of all the bases within Mingus’s nearly Baroque themes and folk-forms with solos just on the edge of squawking and crying, all held down by the ESP rhythm section of Mingus’s bass and longtime campadre Dannie Richmond’s drumming. Cornell’s version of Mingus’s “Fables of Faubus” would be a great place for any new listener to dive in and the group’s arrangement of Duke Ellington/Billy Strayhorn’s “Take the “A” Train” offers a look at Mingus’s fearlessness and reverence in dealing with a mentor. It is obvious just how much joy these musicians have with these tunes. Shortly after this gig the band toured Europe; Dolphy died at age 36 due to complications from diabetes. As a frozen moment, this recording is more than document. It is a new highlight in the Mingus discography.
Sep 24th, 2007 by Blaine Schultz
“Keep guard over your EYES AND EARS as the inlets of your heart …” — Anne Bronte
The percussion of two eyelids meeting during a blink is not audible to the human ear, which consists of fibro-elastic cartilage covered with skin and fine hairs. In contrast to the eyes, the ears are always working. Visual reality is limited to a single, blinking field of vision and sight requires the tireless work of the ears to give it direction. Thus sight is aided by the ears, but rarely are the two given equal attention onstage. The Milwaukee Symphony Orchestra will address the disparity between sight and hearing this season by presenting two concerts featuring music written specifically for the eyes. In April, the MSO performs the score to Charlie Chaplin’s City Lights as the film is projected overhead at The Marcus Center. Earlier on, the MSO will perform a special Halloween concert featuring scores written for Alfred Hitchcock films. Hitchcock worked with such influential film composers as Bernard Hermann, Dimitri Tiomkin and Franz Waxman, so this could be profoundly good. The work of another composer who wrote largely for the eye will be included on a concert at the Wilson Center in September as visually appealing Grammy-nominated vocalist Monica Mancini performs on the 15th. Included will be songs written by her father Henry, who wrote scores for over a hundred films in his lifetime (The Glenn Miller Story, Breakfast at Tiffany’s, The Pink Panther ). Monica will perform some of her father’s songs (such as “Moon River” and “Dear Heart” ) to clips of the films in which they appeared. In the realm of more contemporary film music, The Waukesha Symphony Orchestra will present Corigliano’s Suite for Violin and Orchestra from his Academy Award-winning score to The Red Violin. The WSO will be joined by American virtuoso Maria Bachman – one of Corigliano’s favorite violinists. In a similar hybrid of film and music, The Skylight Opera closes its season with Nine: The Musical. Written by Maury Yeston and Arthur Kopit, this Broadway hit is an oddly skewed adaptation of film legend Frederico Fellini’s autobiographical masterpiece 8½. The musical adaptation of Fellini’s highly surrealistic and self-referential film may seem like something of a curiosity, but the show was a big hit on Broadway. The Skylight has a flair for putting together visually appealing presentations, so it will be interesting to see how they render what should prove to be a very interesting evening of musical theatre.
Sep 1st, 2007 by Russ Bickerstaff
Danbert Nobacon
Danbert Nobacon has earned his place in the canon of well-known unknowns. Kicking around in Leeds since the late ‘70s, Nobacon was a founder and vocalist of Chumbawamba, which though they only had one international radio hit (1997’s “Tubthumping” ) managed to keep the royalties flowing and the tours rolling until the band’s demise in 2004. Now he’s back on Chicago’s Bloodshot Records with a debut solo outing that only a certified veteran could produce. Although the impact of Nobacon’s musical offering is felt upon first listen, it’s also one of those “creepers,” “sleepers” or “seepers” (however you want to word it) wherein the songs and the downright artistry involved only open up after repeated exposure. The rewards are great – almost revelatory – but the extra investment is required to fully appreciate the treasure within. Despite how one might be predisposed to view The Library Book of the World given Chumbawamba’s history, this is not one-hit wonder, get-rich quick, use-once-and-destroy pop music. It’s also not a bludgeon and impale, politicking musical manifesto. It’s artfully layered, full of lyrical twists and turns that include insidious declarations, wholesome ruminations, contemptuous wordplays and, perhaps most of all, damn good music. The arrangements are sparse for the most part, which gives the songs and their subject matter the wind to sail. All in all, it’s the work of a songwriter who is a journeyman at his craft, reaching what he’s after creatively. These are songs for the tavern, both the stage and the bar. And though Danbert’s voice is a bit of an acquired taste, his delivery is impeccable. It seethes with the integrity of conviction, sways with the power of knowledge and soothes with the empathy of experience. There’s an underlying vein of humor throughout the disc, but in the end, what else is there in the face of unrelenting, apathetic ignorance?
Sep 1st, 2007 by Troy Butero
Carolyn Mark
Victoria, B.C.’s most acclaimed Party Girl, Terrible Hostess and less lime-lighted half of the Corn Sisters, Carolyn Mark has removed the training wheels of collaboration (her last release was strictly duets) and is again riding solo. Nothing Is Free, whose liner notes devote the disc to “all the Cowboys, Vampires, Pirates, Poets, Scarecrows and Enablers,” is a reflection of the Can-country minx’s adorably kooky “Point o’ View.” In Mark’s universe, hopes are kept “where we can see ‘em,” those without investments can justify spending “thousands of dollars/keeping Friday alive” and aver that “it’s easier to love an idea/than it is a man.” Equally endearing are Mark’s auctioneer vocals on “1 Thing” and “Get Along,” tracks that could easily be caroused to under a state fair beer tent. Not to be pigeonholed to a do-se-do, Mark’s sound flutters from sunny surf rock (“Happy 2B Flying Away” ) to spacey daydream (“Destination: You” ) , pollinated by her husky Natalie Merchant purr and lyrics that pack a Loretta Lynn punch. “Poisoned With Hope” is uncharacteristically bulky and grating, but pardonable given Mark’s unmatched whimsy and otherwise fluid execution. Folksy, nobody’s-fool showstopper “The 1 That Got Away (With It ) ” will most likely earn the attention of femme rags like Venus and Bust, but until she flags down a more mainstream demographic, Mark will continue her notoriety as “the other Corn Sister.” If her liner tribute to the freaks and underdogs is any indication, though, she won’t be shooting off flares any time soon.
Sep 1st, 2007 by Amber Herzog
