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I bought Vol 2 from Nimbit and it had a download card. I don't recall if it was loose or attached to something. I also got an email message with a link to the download page.
Does anyone know if Amazon.UK ships to the US, or if I really have to wait until fall to get the Vol 3 CD?
What do mean by "Nazi merchandise" out of curiosity? I have bought a lot of stuff, besides music and books (mostly tools, etc) from Amazon, although not from the UK branch. Seems kind of silly, to have to order from their UK branch when Iive here in the Seattle area, where Amazon is located.
Ed
"looking for your fingerprints, I find them in coincidence, and make my faith to grow"
I know this review was promised in July, but I guess better late than never, right? Let's say it's on time, because Vol.3 hasn't been released in the US just yet
I'm ambivalent about this installment of Close Up. It includes some of Suzanne's best songs, and most of the songs are respectfully and potently reworked, but there are a few that I would have objected to if I was there is the studio. 'Mental health' songs deserve to be looked at differently, meaning some of them work well when stripped-down, but others need the extra sound and skillful production, to correctly frame the lyrics The results vary on this collection. Here are my thoughts on each song:
Undertow – The lyrics to this song have always made me somewhat uncomfortable, I must admit. Ther's a degree of brutality to them, and the contrast with Suzanne's angelic voice is all the more disconcerting. I would've been happier with an edgier version of the song, but maybe adding the strings, which deepens the contrast for me, will appeal to others.
When Heroes Go Down – Rock on Suzanne! The original version was almost two minutes of concentrated rock and roll, and the new version sounds exactly what I would expect the 'stripped-down' version to sound like, meaning Suzanne strumming her acoustic guitar and singing in your ear. I would have the song end with a hard chord instead of the plucked chord Suzanne went with.
My Favorite Plum – The essence of desire, captured in song form… Gerry works his magic, covering both bass and string parts, and Suzanne's voice sounds even more sensuous than it did 15 years ago. Incredible.
Solitude Standing – Suzanne has taken this complex song and stripped it down to just her and the guitar, with a cello in the back during the chorus. I can understand giving up the synth and the electric guitar parts, but without any percussion the song feels a bit too stripped-down… Plucking the strings is not an adequate substitute for the drums, in my opinion.
Cracking – Suzanne and her guitar in the foreground, with touches of Gerry's electric in the background. Perfect.
Last Year's Trouble – A lot has been written and said about Rupert Hine's production of SiRaG, in favor and against, and most of it is probably true. This song has always sounded too cheerful to me, when it should be a little darker. The new version stripped the song of some of its 'cheerful' elements, but not enough. The way I see it, this is a mental health song, and it could deliver its message with a much better punch.
Solitaire – The game is called Solitaire, and that's spelled O-B-S-E-S-S-I-O-N. The electronic sounds in the original are replaced with Mike's bass and Gerry's arsenal of sounds, and the percussion is nearly preserved. This could have gone fully stripped (just Suzanne and the guitar), but remained half-way, not here and not there. Despite all that, it's still a musical treat
Tombstone – The original jazzy production is replaced, as can be expected, with the more rock oriented version we've seen live on stage (right after the story of the dead cat's Viking funeral). This song works in both versions, and it would probably work in any other.
Blood Makes Noise – Suzanne said in an interview that this song was about a panic attack in a doctor's office. The original version made this panic very apparent, based on the heart beats of the bass line and the screams of the electric guitar. The new version keeps the bass line as the backbone of the song, as Suzanne and Mike have wisely done all these years on stage, and Gerry's guitar gives the rest of the ambiance beautifully. This is exactly what a 'mental health' song ought to be like. I would even add more echoes and disharmony in the background if I could, but then again this is already questionable as a 'stripped-down' song.
Fifty-Fifty Chance – Speaking of heartbeats… the string quartet arrangement in the original version was perfect in conveying the anxiousness of the lyrics, and this is slightly lost with the inclusion of the guitar, as the beat is played only half as often as in the original. The result is inferior to the original, but not by much.
Penitent – One of Suzanne's more potent songs was locked in a shell of a pop song until now. It has broken out of that shell, and sounds as it should always have. The lyrics speak of an inner struggle, wrestling with yourself, and any musical additions (string section included) only get in the way of that message getting through. While I would have loved to have this song completely stripped-down, it is still a vast improvement to the original.
Straight Lines – Perfect.
Pornographer's Dream – The bossa nova still works without the percussion, and Suzanne's voice is even more mysterious and sensual than in the original, if possible. Pure seduction.
Instant of the Hour After – One of the songs from the Carson McCullers show, and not even the best of them… It sounds just like it does on stage, whether with Gerry or in costume as Carson. Just imagine Suzanne with a whiskey glass in her right hand while listening to this one.
But wait! there's more!
Anniversary – Of the two previous versions that are out there, from Retrospective and from B&C, this resembles the former, matching it almost perfectly. Personally, I prefer the B&C version, but the differences are not that substantial; This is still a very touching song of memory and grief, and it would have been near-impossible to ruin it.
Language – The real gem in this collection. Suzanne took one of her iconic songs, stripped it down to the basics, with a bit of echo for the vocals amd a little ambiance ala Gerry, and the result is nothing short of stunning. The song has been reborn, and it is more powerful than ever. The lyrics, some of Suzanne's finest, shine through the masterful guitar work and the whole package sounds incredible. In a single word: perfection.
Thanks for the excellent review, Yuval. I'm looking forward to finally hearing these new versions.
Since you have presumably been listening a lot to the album over the past several months, I was wondering if your review differs in any particular way from your first impressions of the album.
I know that's hard to answer, but I am curious. My pre-order should arrive on the 3rd or 4th, then we'll see (hear). Penitent, Language & SS are perhaps the ones I'm most wanting to hear.
Ed
"looking for your fingerprints, I find them in coincidence, and make my faith to grow"
Great review, Yuval. Makes my mouth water !!! Can't wait to hear "Cracking", "Language", "Solitude Standing", "My Favorite Plum" and "Undertow". By the way, what's making you about the lyrics of the latter ? I never felt that they were particularly brutal. They're certainly not lighthearted, but then neither are the lyrics to songs such as "Luka", "Soap and Water" or "In the Eye". I'm just curious to understand what makes you uncomfortable.
I've preordered the CD and I'm eagerly awaiting the North American release in two weeks. And I'm still hoping that the bonus tracks will be available individually, whether on Nimbit or on iTunes. You know I was really hoping to get "Language" on volume 3, so I'm keeping my fingers crossed.
My first impression of every new song by Suzanne's songs, be it on the studio albums or the Close Up collections, has always been the same. Either I like it right away, in which case I'll continue liking it until something better comes along, or I'll frown and dislike it. In the latter case, I'll continue listening again and again until the brilliance is apparent to me, and then I'll usually love it forever. I hope I made sense.
Louis-Francois,
The songs you mentioned, especially "In The Eye", are intentionally confrontational, but "Undertow" is not. It speaks of a dangerous attraction, one that has an element of harm, that can leave both persons bruised and wounded. The lyrics speak of swallowing whole, and not necessarily in the psychological sense (who leaves only bones and teeth?), and the freedom such violence gives is usually to the violent one, so the references to freedom are not to be taken literally. The song goes on to speak of learning the truth from dangerous stuff, like a knife or a bullet. This is the degree of brutality I mentioned. Maybe what I meant was 'violence', for me they are the same. What makes me uncomfortable (in a good artistic way, of course) is the contrast between lyrics and melody, and this contrast is another brilliant aspect of this song. Again, I hope that makes sense.
Zoli and all,
You're quite welcome. It only took me three months… I hope I'm less busy when Vol.4 is released. As for the bonus tracks, I downloaded them somewhere (don't remember exactly where) to listen to them, and then gladly paid the extra dollars, just to get Language. I recmmend you do the same and make up your mind after listening.
That's quite an interesting perspective, Yuval, thanks for replying.
To me, "Undertow" is definitely about signalling a danger – a warning, really – but not necessarily in an abusive way. More about the many ways that you can completely give in to something – not necessarily to someone, although there is definitely a relationship angle to these lyrics. To me, it's a song that deals with the ways that passion and obsession can swallow you whole, and strip you to the essentials of what you really are (leaving "only bones and teeth", finally allowing the possibility to "see what is underneath"). I would even dare to say that I always felt there was a positive edge to these lyrics, in spite of the danger that they refer to – after all, being reduced to the bare essentials can mean that you will finally find yourself in the process… Then again, English is not my native language, so I could have totally misread the meaning of the song ! Anyway, I hope I'm making sense !
As for the bonus tracks, I am definitely willing to pay for them… IF they are made available to me as a Canadian music lover !
You guys again show why this forum is important, and needs to continue. Where else are you going to find this kind of insightful discussion? I'm really intrigued with the violence you two are exploring here. I had not really thought of that aspect of it, not having gotten past the allusions to it to explore the why of those allusions.
Could some aspect of this violence refer to the internal struggle to "let go" of a, perhaps obsessive, relationship; the battle of heart verses head that Suzanne had when Paul first asked to marry her? The metaphors she chooses always have so many possible interpretations.
Whatever the case, this song is certainly among her many under appreciated gems. I'm sitting on the edge of my chair (literally), waiting to hear the new performance.
I know what you mean about initially disliking a song, Yuval. I mentioned before that I didn't like BMN; to the point that I didn't even listen to her music for 17 years (what was I thinking?!)
Finally, I "heard"; "the thickening of fear", and she got through to me. There are other songs that seem to take a long time to percolate, too.And many that you like, but keep revealing new depths, like Undertow does.
I'm going out on a limb here, Yuval, but was the edginess and tension of 99.9 F what first drew you to Suzanne's music? You said you first heard her around the time that album came out, I think.
I was wondering because I have the impression there are 2 "camps', broadly speaking. Those who consider that period of her music to be her best, and those who prefer her earlier, more acoustic and traditional style. Then there are those that have found virtually everything she does to be excellent, which I seem to do. I guess that makes 3 "camps".
For second language speakers, you guys are wonderfully articulate. Please keep it up.
We'll get you those bonus tracks, Louis, one way or another!
Ed
"looking for your fingerprints, I find them in coincidence, and make my faith to grow"
I totally agree, Ed. Count me in the 3rd camp Then again, the first thing I heard of Suzanne's is the debut album. It wasn't until 1994 that I got around to 99.9F, and my initial reaction to it was an intense dislike. I remember thinking "Who is this and what has she done to Suzanne?". Of course, today it is one of my favorites.
Personally, I've never thought of "Undertow" as anything to do with abuse, more about the alure of dangerous elements of attraction to someone or something, but looking at the lyrics again with a fresh idea, it sorta makes sense too
Suzanne is more than a songwriter, she is a poet. Her lyrics are sometimes obvious, and sometimes cryptic to the point of scratching your head and rewinding the tape to make sure you heard right. This makes songs like "Undertow" say many things to many listeners, and I love this exchange of viewpoints. Maybe we should discuss it in the Undertow thread' over in the 'Songs' section…
Well, I can change my mind, and I love it when an album or a song slowly creeps up on me and wins me over… but there HAS to be something which, from the very beginning, makes me want to return to it.
The "99.9 F" album was definitely NOT love at first sight for me. I didn't have the same reaction that you did, Ed, because I eventually bought it… but it took me a couple of months to do so, which is surprising given how much I love Suzanne's music. The first single knocked me out, but not in a good way. I was really upset ! And the reviews that I read weren't reassuring at all; they were mostly very good, but they did mention that the album had little to do with her earlier stuff, save for a couple of songs. Once I bought the album, at first I didn't know what to think of it. While I did love songs like "Song of sand" and "Blood sings" (no surprise here !), "In Liverpool", "When Heroes Go Down" and "Bad Wisdom", the rest of it was not that sonically attractive to me. Some of it eventually grew on me and some of it still irritates me to this day ("As a Child", "As Girls Go", "If You Were In My Movie", "Fat Man and Dancing Girl"). I eventually learned to appreciate the album and I view it as a courageous move from Suzanne… but it didn't trigger a big emotional response and it still doesn't. I compare it to Kate Bush's "The Dreaming" album, another change-of-pace, somewhat weird album that greatly differed from this artist's previous material. It was so different from what she had done at that point… and yet today, it's an essential part of her repertoire, a move that enabled her to keep going forward as an artist. I grew to enjoy "The Dreaming", but more on a mental level, if that makes any sense… and I feel the same way about "99.9F".
Oddly enough, the "Close-Up" series has really reconciled me with the "99.9F" songs. There is something about the new versions that really works for me. "Fat Man and Dancing Girl" is a personal favourite on Vol.2, something that I would never have expected. The new version of "Rock in this Pocket" makes much more sense to me, it really does justice to the lyrics in a way that the studio version doesn't. There's a sense of danger that comes through, that was absent on the original.
So I guess I walk the thin line between the 3rd and the 1st camp – I'll always be partial and more emotionally responsive to the acoustic, stripped-down Suzanne… but it's certainly a rewarding ride to explore her more adventurous stuff.
For second language speakers, you guys are wonderfully articulate. Please keep it up.
Well, I wasn't fishing for compliments, but thanks !
We'll get you those bonus tracks, Louis, one way or another!
I know… You guys are great ! Sorry for constantly whining about this issue. It was just so much easier to have access to those tracks for vols. 1 and 2…
I did buy the album (99.9) when it was new, although I can't remember how I heard about it, since I wasn't even listening to commercial radio by then. So I didn't like it (I must not have listened far enough to get to "Blood Sings") and put it in a drawer, where it stayed for 17 years. I finally took it out a couple of years ago and really listened, and I was properly blown away. By then I had also discovered DoOH, which I had not known about before either, and the 3 after 99.9. I continue to be amazed that, unlike most songwriters, who might have 2 or 3 on an album you really like, Suzanne usually scores a 9 or 10 with nearly every song on an album, at least for me. Maybe not at first, but they do grow on you. And they just get better, as you get to know them.
I thought for a long time that "In Liverpool" needed the drums and a full band to have the full effect, until I heard her solo of it on the 99.9 single from 1992. If you have heard that, you know what i mean. The emotional impact is exquisite.
Yuval is right-on about the poetry in her music, too.
Suzanne said that one of her goals on this series was to bring a sound to the fans that was more like the way she sounded in concert, but in a small, intimate club setting, like in a living room. If you have heard early club recordings where she played solo, you can tell she has captured that intimate aspect very well.
This "cryptic" and spare austerity that characterizes her songwriting reminds me of the similar style of, for instance, Ernest Hemingway, famous for his blunt, no-nonsense, but emotional descriptions of characters, events and scenes in his works. It is certainly one of the many things that make here work so different from most artists. The fact that she says that she learned to "get to the point" from Lou Reed, among others, is kind of amusing.
Now where is BobKing?
Ed
"looking for your fingerprints, I find them in coincidence, and make my faith to grow"
I have never heard the acoustic version of "In Liverpool" that you're referring to, but the one on vol. 2 is simply breath-taking. It's certainly one of my favourites on vol. 2. Which sort of proves that the essential substance of Suzanne's music lies in her songwriting, NOT in the production. Dress her up with drums and keyboards or strip her down to the acoustic guitar, and her songs still retain their emotional power. How many artist can truly claim that ?
Undertow is an amazing song that I'll probably never fully comprehend, but I'lll take a shot at it since i love the song… First the easy parts – things she's said about the song herself…
1) I made a comment once to Suzanne on Facebook about hoping she'd write more songs for Poez and Suzanne was kind enough to share that the following songs are all about Poez…
"Headshots", "Bound", ""Freeze Tag" and yes, "Undertow".
2) The sharp objects aren't about violence — they're about seeking sharpness and clarity of communication in Suzanne's writing. Basis from some interviews below…
—————————————————————————————————————-
Interviewer: In "Undertow" one line goes "I wanted to learn all the secrets from the edge of a knife, from the point of the needle." Was that a drug reference?
Suzanne: Not specifically. Although I can see how people might take it that way. It was more like…those three images of the bullet, the needle and the knife, are all very concise images. All of them are very hard and cold. They’re all very incisive—the bullet, the needle and the knife all cut, and they’re very precise in their cutting.
At one point I had wanted to write that way. I thought that if I could write like anything I would like to write like a knife. I would like to write in such a way that it was very sharp, because I felt that, I didn’t have that before, that there was a sort of softness or vagueness about the way that I sometimes perceived things. You know?
If you’re confused that’s how you perceive the world. And I just felt I wanted to bring clarity to it. That’s what I mean by learning the secrets of it. I wanted to know how to be sharp and clear and focussed in that way. And it’s something that I still feel. I struggle every day to be clear, to be understood, to understand. So hence those three images.
———————————————————————————————————–
"Undertow" is still Vega's personal favorite, because it expresses her desire to say a great deal with the least amount of words, images, and narrative elements. "the lines I like best are "I wanted to learn all the secrets from the edge of a knife, from the point of a needle, from a diamond, from a bullet,' because I'm always trying to learn the secrets from the edge of a knife; I'm always trying to condense and become more economical. It holds true for the writing, and it also hold true for my characters. I intend for a lot of my songs to have many layers of meaning…"
——————————————————————————————————–
"What I was thinking of was a real undertow. What would an undertow say if it were going to sing a song? Which seems rather simplistic or childlike, but it was a fascinating idea to me. [...] The lines I like best are "I wanted to learn all the secrets from the edge of a knife, from the point of a needle, from a diamond, from a bullet," because I'm always trying to learn the secrets from the edge of a knife; I'm always trying to condense and become more economical. It holds true for the writing, and it also hold true for my characters. I intend for a lot of my songs to have many layers of meaning." The Cutting Edge of Folk from Bullet In Flight, originally published in Clockwatch Review Volume 4, No. 2, 7-14-87/8-9-87 by Ronald J. Rindo and James Plath http://www.suzannevega.com/abo…..kwatch.htm
——————————————————————————————————–
3) Not that anyone has these thoughts, but umm I'll just put the quote from the article here…
—————————————————————————————————————
She introduces Undertow with its opening lines of I believe right now if I could/I would swallow you whole by saying, "I had to take my younger brother aside recently and inform him that this song was nothing to do with cannabalism or oral sex."
———————————————————————————————————–
My analysis for what it's worth…
"Undertow
I believe right now if I could
I would swallow you whole"
Recall in the love song Gypsy Suzanne sings…
"Oh, hold me like a baby That will not fall asleep Curl me up inside you And let me hear you through the heat"
Both of these phrases capture the idea of a oneness where one lover is INSIDE the other implying an extreme closeness of mind, body and soul that transcends normal human experience.
"…I would leave only bones and teeth We could see what was underneath And you would be free then…"
Here I think she's talking about getting to know someone at a really deep intimate level. A point where the surface mask that people wear has been thrown away and you really KNOW the fundamental essence of the other person.
Now what is the "Free" that Suzanne talks about in so many of her songs? I think she's getting at the idea that when someone really does know you, love you and accepts you as you really are with all your flaws, mistakes, bad and good points then you become truly FREE TO BE YOURSELF and gain a heartfelt conviction that you are worthy of true love.
"Once I thought only tears could make us free Salt wearing down to the bone Like sand against the stone Against the shoreline"
Here I really start guessing –
Perhaps the tears refer to the tears that we might shed in confessing things to another, but if we have someone we are close enough to, then maybe we no longer need to confess every element, but rather just get to that point of secure love where we know everything is understood without the need to share every detail of our past..
"I am friend to the undertow I take you in, I don't let go And now I have you"
This part I think is about internalizing someone you love to the extent that they will always be part of you and your life.
"I wanted to learn all the secrets From the edge of a knife From the point of a needle From a diamond From a bullet in flight I would be free then"
So now we know these are references to sharp, accurate communication — finding just the words to share your innermost thoughts and in the process experience that perfect freedom of sharing yourself completely with another.
"I am friend to the undertow I take you in, I don't let go And now I have you
I wanted to see how it would feel To be that sleek And instead I find this hunger's Made me weak"
Now here, crazy as it may seem, I think Suzanne is making a confession to Paul in song about suffering eating disorders…interview excerpt below…
————————————————————————————————————
I think I look less like a folk singer because I've been borderline, really too skinny, and then I look like Patti Smith. I went from one extreme to the other. I went sailing past the normal weight into this other land of complete fragility. I've seen pictures where I look like I've just come off heroin. Like, oh yes, this is Suzanne in her On The Edge Days. I think what I was trying to do was be streamlined, and kind of like the girl in "Straight Lines." I was trying to cut away all the extra stuff in my life I didn't need, including weight, but I found out that instead of being strong and simple, that I was cutting into myself and I was really weak and not strong at all. So I have to look after that now, because I'm not really a frail person and I hate feeling frail." Interview: "Vega Vision", Sounds Magazine, December 6, 1986 by Jane Simon
——————————————————————————————————–
Now if you guys happen to be interested, Poez wrote a poem in response to the song "Calypso" and I have this crazy pet theory that he has also written a piece specifically for Suzanne and at least partially in response to "Undertow", but I don't think he'll ever tell one way or the other. He has said that his work often has more than one source of inspiration, but take a look… Suzanne reads part of the poem personally which is nice as well…
"…Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things don't matter at all, because once you are Real you can't be ugly, except to people who don't understand…" n— Margery Williams Bianco n (The Velveteen Rabbit)
Thank you for bringing these disparate threads together into an excellent analysis of "Undertow". I thought I had read somewhere that Suzanne said it was about Paul, but I didn't know the reference. The comparison of the "sharp, cold" things in the song to her wanting to write concisely is what I was looking for, but was unable to articulate.
I believe you have nailed it for us. And of course, the interpretations of violence and brutality are equally valid, since Suzanne intended this, and many other songs to have layers of meaning and varied interpretations.
How about "Headshots"? She must have snuck that one right past Mitchell.
I'll check out that clip now.
Louis,
Poez is the name Paul Mills, Suzanne's husband, used from the early eighties, when he was reading poetry on the street in Greenwich Village. If you haven't seen this article about how he and Suzanne came to be married, check it out.
The Undertow even had a part to play. This was before FB superseded everything else. I'll see if I can figure out how to upload some of those rarities for you. It doesn't appear to be possible to just paste MP3 files directly into this format.
Best to all,
Ed
"looking for your fingerprints, I find them in coincidence, and make my faith to grow"
There's just so much I have yet to learn about Suzanne's music. She didn't get a lot of press coverage here in Canada, even back in the 80s. We mostly got bits of information and not many interviews. I'm so glad I joined this message board !
I'll add that Paul still uses Poez as his nom de plume and while he works as an attorney nowadays, he is still writing original poetry that you may find to be well worth your while.His first book of poetry is available on Amazon.com, but better hurry if you want a copy – it's almost sold out.
"…Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things don't matter at all, because once you are Real you can't be ugly, except to people who don't understand…" n— Margery Williams Bianco n (The Velveteen Rabbit)
Wow… I thought the days of long essays and even longer threads, disecting and analyzing Suzanne's songs so seriously (especially one so old!) were long gone, and what a pleasant surprise!
As for the analysis itself, even after all these years I'm amazed and astounded every time I listen to Suzanne's music through another Towie's ears and find that the same music with the same lyrics contains so much more than I've thought possible. I doubt we'll ever see this kind of thread on Facebook…
Your analysis brought to mind the song "If I Were A Weapon", in which Suzanne likens herself to a knife, and the other party (Mitchell?) to a blunt and heavy hammer. The analogy of weapons to sharpness of communication certainly makes sense.
Thank you guys — it's nice to have someone to talk to about this kind of thing. I have to agree that as great as Facebook is for spontaneous communication it is a bit harder to have a real in depth conversation with someone.
Suzanne has written some other works that tie into some of these ideas in her book "The Passionate Eye" that I'd love to talk more about, but even here would not be the right place. Just to share them for your consideration will suffice…
cold blue steel
childhood was the forge
in which this character
was hammered out,
a place of unbearable heat,
flames
either molten and raw,
or cold, blue steel,
to be hammered on
until you give way.
the sword
He said "We are making
the perfect sword
and for this we need
the perfect furnace.
We work at night
to watch the flame
temper the steel."
At first I thought
I wanted the sword.
Then I saw
I was the sword.
"…Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things don't matter at all, because once you are Real you can't be ugly, except to people who don't understand…" n— Margery Williams Bianco n (The Velveteen Rabbit)
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