march 19. 2004 * jU S t O U t
MUSIC
▼
S olid G round
Vivian’s Keeper •
S e lf released
ostmodern
folk music
makes refer-
ences; you can
choose to feel or
to think. This
disc lets you tap
your physical
footsie and rumi
nate poetically on
the ubiquity of
Ani DiFranco’s
influence.
Queer trio Vivian’s Keeper
Solid Ground is
the third release for
the Portland all
queer band Vivian’s
Keeper, but its first
with heartthrob
Leila Chieko on
drums and percus
sion. Her kick brings
a bright evolution.
T he new sound is cleanly produced folk rock
with multisyllabic story songs, feminist sensi
bility and organic seasonal metaphors about
relationships. O n most tracks the drum kit is
mixed in the sonic middle, so it sounds like
pop music if you listen in the car.
These three intelligent musicians have chops
enough to weave vocal hannonies and a half-
dozen instruments, overcoming the traditional
limitations of the pop trio format. Dedicated to
our lost local prodigal Dave Carter, there’s an
P
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eatingoiit
plays Mississippi Pizza Pub on April 2
evocative Tracy Crammer violin cameo and even
a bit of banjo.
For fun I liked the infectious, quirky queer
girl love song “Puzzle." A couple of songs become
a tad too earnest, but you won’t waste your
support-kx:al-bands money discovering this CD.
Vivian’s Keeper returns from its latest tour
for a homecoming show 8 p.m. April 2 at Mis
sissippi Pizza Pub, 3552 N. Mississippi St.
Expect to be engaged and charmed.
— LC Hansen
C omfort W oman
Meshell Ndegeocello * Maverick
isexual musical miracle Meshell
Ndegeocello (often mocked as
“that man-hating lesbian”) has
a last name that matches her fifth
and latest album like no other.
B
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eatingout
Ndegeocello in Swahili means “free like a
bird,” corresponding ro the artist’s trademark
unpredictability and Comfort Womans message
of freedom through love.
Reminiscent of her most heralded album,
Bitter, the new release steers away from the
musician’s rebellious political soapbox. This
one is about introspection and lots and lots of
feelings— incredibly sensual, spiritual, cosmic,
mind-freeing, vulnerable and, above all, drip
ping hot with desire. Apart from the occasional
lapse into the familiar sociopolitical stabs
(“motherfuckers like fancy things...gotta have
everything”), the topic throughout is as com
mon as it gets: love.
The rhythm of this soulful chill-out disc is
as steady and comforting as a heartbeat. Its
dreamy, electronic acoustic monotony connects
all songs into one erotic lullaby, moving like
the waves of a calm, brooding ocean. The sul
try mcxxl is occasionally sped up by a touch of
gentle reggae or a hurst of guitar solo.
Most of Comfort Woman's lyrics are not par
ticularly intriguing or intricate or even original
(“don’t leave, stay, stay with me, say you love
me”), hut ordinary' lyrics don’t cramp Ndege-
ocello’s style. Lazy writing is brilliantly erased
by remarkable integrity and by the spellbinding
intimacy of each song.
Like an irresistible siren,
Ndegeocello whispers in your ear
and butters you up slowly, gently,
provokingly: “You know what you
like, come on, you know what you
want.” You will spin this disc while
making love, you will bum these
songs to conquer your new cnish.
— Els Debbaut
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cDufin$
Voteii the
SeTTlfi
PortnîncuÜl
Club Lounge
Lunch:
ami lunch too!
S pecial O m elettes • E spresso
• G ourm et S alads • H omfmade S oups & M ori
•
11atrr1:30ptT) TueS-bn
Dinner:
N Lornbord
(S03) m - w
Lounge:
Bette Midler • Scmy/Columbia
he late Rose
mary Clooney
I was one of the
top jazz/pop vocal
ists of the 1950s.
The fresh-faced
blonde’s meteoric
rise to fame, includ
ing an appearance
with Bing Crosby in
the enduring hit film White Christmas, was
punctuated with a string of hits like “Come
On-A My House” and “Mambo Italiano.”
Clooney (aunt of the less enduring George
Clooney) died in January 2002, but her legacy
lives on in this disc by Bette Midler, who was
prompted to record it by her friend and first
musical director, Barry Manilow.
Midler has always excelled at singing other
people’s songs, and here she shows off a range
of styles, including ballads, boogie-wixigie and
bluegrass. The album focuses on Clooney’s
early career, and all of the arrangements are by
Manilow, who duets with Midler on the lively
“On a Slow Boat to China.”
Linda Ronstadt also joins in the fun, fill
ing in for Clooney’s actual sister on the duet
“Sisters.” O nce or twice M idler’s voice is a
little unsteady and just a tad off-key (most
noticeably in “Tenderly”), but her singing is
heartfelt, and you can sense how affection
ately she feels toward both Clooney and
the music.
— Floyd Sklaver J H
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eatingout
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oar boast!
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Casual Dining
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Game Room
Open 4:00 Daily
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public house a brewery
Wednesdays BREWERS NIGHT
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of Sandy on 40th • 5 03 .2 8 2 .0 6 2 2
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