No Subject

(by Stephen Leon)

THE HOME FRONT: Once you get over the urge to check birth records and find
out whether Kate Bush and Happy Rhodes are the same person, you can begin to
appreciate the unique talents of Rhodes, a relatively reclusive local
musician whose rare live performances dazzle and whose locally produced
albums sound almost too sophisticated not to have come from a major label.
Her latest, EQUI POISE (Aural Gratification), continues in her tradition of
smartly arranged and immaculately produced discs that showcase Rhodes'
elegant songwriting and rich, wide-ranging vocals.  From a husky lower
register Annie Lennox-like muted passion to the heavenly acrobatics echoing
her musical godmother, Rhodes' voice is in constant motion, evoking an
intoxicating swirl of myriad emotions.  Her singing is complemented nicely
by spare instrumentation, mostly atmospheric guitar and keyboards and
generous servings of exotic percussion (Rhodes and co-producer Kevin Bartlett
supply most of these, with occasional help from such local notables as Chuck
D'Aloia and Mark Foster).

  Rhodes is a capable lyricist who is clever with her phrases even when
bordering on didactic ("Save Our Souls" contrasts a hypothetical longing for
an alien messiah with our poor stewardship of the Earth and its species,
while "Play the Game" treads rather heavily on socialized sexism).  Her most
affecting songs are more open to interpretation: the mythic "He Will Come,"
the mystical "Mother Sea" (underscored by the stately sadness of Martha
Waterman's piano).  If I have a complaint, it is the almost new-age sameness
of mood; Rhodes might do well to take a cue from Kate Bush and expand her
stylistic palette.  She's too good to make music only for a wine-and-cheese
audience.

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Any typos are mine.



Henry (changh2@rpi.edu)


P.S.  Sorry, don't know either Chris or Dave.  Bray Hall is, by the way,
a dorm for first year students, and was (at least last year) one of the
rowdiest.  Pizza on the ceiling, etc.