CLINTON ST. QUARTERLY By Michael W. Adelsheim his first two albums with Art GarIn every category of the various strains of contemporary music — from rock ’n ’ roll to jazz to neoclassical, pop and country — there lurks a common character, the singersongwriter. The late sixties and the seventies seemed to be the heyday of this troubador: it was then that Judy Collins adapted songs from theater, Donovan concocted a jazzy folkrock, Leonard Cohen set dark poems to music, and Joni Mitchell wrote fragile, flighty songs that everyone else wanted to sing. The ascendence of the Beatles and the electrification of Bob Dylan carried the singersongwriter to new heights, and before long the pantheon of popular music was peopled with the likes of Simon and Garfunkel, CSN&Y, Carly Simon Warner Bros. BSK 3443 Come Upstairs Of all the artists discussed in this review, Ms. Simon has made the most drastic changes in her music, and I love them. Much of this is probably due to producer/keyboardist Mike Mainieri, who co-wrote the music of every song here. Far from merely adding jazz textures to Simon’s music, as Mainieri’s background might indicate, there is also a bow towards new wave rock ’n’ roll. It’s not to the point of becoming dominant, but it’s definitely a new Carly Simon. At the risk of playing People magazine reporter, I must conclude that another large factor in the new sound is a failing in her marriage to James Taylor. All the songs point that way, although James does sing backup on James Taylor, Cat Stevens and Elton John. These artists brought a sensitivity to their music that perfectly mirrored the self-concerns of the post-protest — or “ me” — generation. Most of yesteryear’s balladeers have faded from the ranks of superstardom — whatever happened to Cat Stevens? who cares? — and it’s no surprise that the style has fallen into critical disfavor in this age of new wave writing. Nonetheless, it is a mark of the genre’s resilience that singer-songwriters continue to excite and enthrall the music-buying public. Herewith is a selection of some of the cream of modern-day singer-songwriters, some veterans, some newcomers, all making vital, evocative music. three cuts. Not only does Carly move away from her chamber music orientation in general, but specifically, she has found a new daring with her previously smooth voice. On some songs, such as the grinding “ In Pain,” large cracks appear, extremely effective in conveying the mood. Other of the best songs here are the hit single, “ Jesse,” which moves in a mid-tempo time with a feel like some old Rod Stewart song, and the title track, which is as quick as the desire the song reveals. And more. Perhaps I’m biased, but this is the best Carly Simon album in years. A Paul Simon Warner Bros. HS 3472 One Trick Pony The common characteristic in all the music Paul Simon has made since funkel is control. As a matter of fact, that Simon has only recorded six full albums of new material since 1968 (two greatest hits packages, one live album, and a few new songs for The Graduate have filled in the time) is evidence of his painstakingly slow method of creating. Every song features a melody that neatly fits his lyrics, which probably comes from his feeling, revealed in a 1968 interview, that his lyric writing was superior to his composing, and that was where he would begin work on a song. Thus, Simon has become one of the craftiest popular songwriters of all time, and it’s no contradiction to use both the term “ art” and “ craft” about his work. There really is a special niche for Simon: his melodies are typically graceful, with a light blues or jazz feel. Lyrically, he touches reflectively upon his subjects, combining a quirky sense of self-deprecation with an urge to make small details loom large. One Trick Pony is really a movie soundtrack, the movie seeming to have been Simon’s major work for the last few years. From the looks of it, the movie’s going to be about a boy who grows up to play rock ’n’ roll, but never becomes a star. This is not an original concept, but at least in album form, Simon makes it feel fresh. The opening song, “ Late in the Evening,” is a Latinesque capsule history of the boy, in which Simon shows his skill at setting a separate scene in each stanza. The funky groove and sardonic humor of “ Ace in the Whole” is also a highlight. And the resigned humor of “ God Bless the Absentee” works with reference to Billie Holiday’s “ God Bless the Child.” There are no weak songs here. A Tom Waits Asylum 6E 295 Tom Waits Tom Waits, once the seventies’ answer to the fifties, became a sad sight indeed. Being a hipster was not enough, after the cigarettes, booze and late hours turned Waits’ voice to escential lotions and oils Custom Scenting 60 scents to choose from : • Massage oils • Lotions for all skin types • Bubble baths & bath oils Unique g i f t items under f ive do lla rs Tues-Sat 10-5:30 727 N.W. 21st Ave. Portland, 42
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