Suzanne Vega - Songs in Red and Gray
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Artist: Suzanne VegaEdition: Music CD
Format: Import
CD Release Date: 2001-09-25
Music Label: Spectrum Hmn
Soundtracks:
- Penitent
- Widow's Walk
- (I'll Never Be) Your Maggie May
- It Makes Me Wonder
- Soap And Water
- Songs In Red And Gray
- Last Year's Troubles
- Priscilla
- If I Were A Weapon
- Harbor Song
- Machine Ballerina
- Solitaire
- St. Clare
Free Music Notes for Songs in Red and Gray
Free Music Review: The problem with working with the people you date
Hit: 5 Stars
Suzanne Vega's initial albums established her as a pop star with folk sensibilities, an interesting stage persona, and a frightfully earnest person willing to risk a bit of pretension in pursuit of a good lyrical image. Fans find her graceful, understated and intelligent. Some detractors find her work a bit precious and the lyrics a bit faux "poetic". I've always been in the fan camp. Her retention of Mitchell Froom as her producer on the 99.9 Degrees album marked a departure from the less raucous melodies and production values of her earlier work, as her songs acquired an edgy set of production values. At its best, this new presentation mode helped her break out of the boxes which the restrained production values of her earlier work could create. At its least effective, some of her songs sounded as though they had been put through a mixing board in an MFA project for a studio engineering degree. Artistic adventure sometimes is followed by personal adventure, and Mr. Froom and Ms. Vega ultimately married. We now pick up the plot one divorce and one child later. Songs in Red and Gray is the inevitable breakup album that one might expect a somewhat introspective artist such as Ms. Vega to produce. Contrary to expectations, though, Songs in Red and Gray is consistently strong, notwithstanding its focus on the aftermath of a failed relationship. Rupert Hine seemed to me an odd choice to produce her album, although I greatly respect what he has done for many other artists. Given his popmeister tendencies, I was concerned that Ms. Vega, under Mr. Hine's guidance, would either try to sound like a "hit machine" or that she would be swathed in a twee "folkie" sound altogether too safe. My concerns were entirely unfounded. The mix here puts the acoustic guitar and the voice back in the forefront, and largely eschews the sonic tricks used in the Froom productions to try to add a bit more "relevance" to Ms. Vega's works. The result is a wholly satisfying effort, neither quaint nor poppy. The melodies here are very good, and there is no strain of the artist trying too hard to be radio-relevant. Post-divorce albums are a mainstay of modern pop, and in the past have succeeded both artistically and commercially (indeed, Fleetwood Mac's Rumours, one of those rare commercial succeses which is wholly aesthetically satisfying, is in this camp).Although Ms. Vega's lyrics are bitter in parts, overall this is not a "rant piece" about failed relationships, but a wistful look at failed relationships and their unintended consequences.
She pulls up just a centimeter short of putting any "How Do You Sleep?" songs in, and this album is the least "elusive" set of lyrics she has ever recorded. I must confess I would not miss a future lyrical evolution away from the "headful of bees" her divorce themed songs cover here, but I don't begrudge her speaking about what matters to her. One is tempted to say "this is the old Suzanne Vega", but in reality this album does what she used to do well in her first two albums, but then goes on to evolve into something better. Suzanne Vega's first album of her forties suggests she will be with us in a very good way for many years to come. The divorce theme seems to be a trend these days (my understanding is that also lyric-oriented but quite distinct Liz Phair is embarking on a similar album soon), but this one stands on its own nonetheless. This is a clear buy.
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