Re: Oh! The pain! -- actually, Bjork's _Debut_ pans out...

[marek@casbah.acns.nwu.edu (Marek Lugowski)]

	as010b@uhura.cc.rochester.edu (Tree of Schnopia) writes:

>So as yet I haven't bought "Debut," to which you can only be referring.
>Jon votes in favor...could I see some other hands?

It's good.  Took me a few days to absorb much of it.  I suppose what throws
most first-time listeners who are familiar with the Sugarcubes is that all
you have here is the *voice* and varied percussion, with very reserved
keyboards and guitars, relatively speaking -- none of the smashing zing of
The Sugarcubes' wild and crazy instrumentation and instantly penetrating
melodies.  Having seen Sugarcubes live on a very good night on the "Life's
Too Good" tour in a fairly small club I can only appreciate this
unsatisfied expectation for dynamism.

But.  Her singing is good.  Her voice has the same elements that made her
unique before, and she has more avenues to show them off.  If you can get
past your prejudices as to what an alternative music doyenne is *supposed*
to be performing, then you'll go a long way towards achieving enlightment:
appreciating the fine music and the excellent music-making on _Debut_.

To rub some salt into the wounds of any reading snobs: I was struck on
hearing "Big Time Sensuality", how similar Bjork and Debbbie Gibson can
choose to sing if they choose to meet up at that end of the green.  For
those who have never heard Debbie Gibson other than crooning "Anything Is
Possible", I suggest opean-mindedly comparing "Big Time Sensuality" with
these cuts from _Anything Is Possible_: "One Hand, One Heart",
"Moodswings", and "Try".  Focus on the vocals and the arrangements.  The
two performers could have easily swapped songs, written for one another, or
sang together.  An amazing vision: Bjork and Debbie Gibson dueting on the
same stage...  Can you guys and gals take that or would your cosmology
shatter into zillion pieces?

Debbie and Bjork have a a thing or two in common, including proficiency at
singing, strong voices, great stage presence, zanny humor, and keyboard
playing (Debbie likes to tinker at programming too), interest in producing,
and expressly thanking their mothers on the CD sleeve (yes, I read enough
Icelandinc to figure that part out).  I bet they could jam or sing dazzling
Broadway/cabaret songs around anyone, alone or together.

Someone hold me before I go fishing in old Olivia Newton-John records for
similarities to Bjork's harp-backed "Big Time Sensuality".... anyone with
a copy of _Xanadu_?

Okay, enough snob-baiting.  The point I am making is that the artists are
rather more adventurous than their fan clubs.  Pity.  Same thing happened
to k.d. lang and, yup, to KaTe, after _Lionheart_.

_Debut_ is well executed and dancable in places, always listenable, full of
detail and is Daniel Lanois-grade produced, which means, not overproduced,
produced very cleanly.  I have my reservations about how the production of
"There's More to Life Than This (Recorded live at the Milk Bar toilets)"
came out, but with that sole exception I think it all hangs together nicely.
Bjork's voice remains unburried in potential avalaches of sound.  The voice
is showcased A+.  The writing is okay to good.

Definitely worth my $10.88 + 8.85% tax.  As is side two of _Anything Is
Possible_, which unfortunately, is attached to the first side...

			"Everyone has their own opinion"

				-- Debbie Gibson 

				-- Marek

P.s Corki Hale's harp playing kicks butt, esp. since it is all alone out
there, and every mistake would glare even to the tone deaf.  Nelle Hooper,
producer, did a fine job blending Njork and Corki.  I want to know if Bjork
performs this one live, which means trucking a harpist and a heavy fragile
tunning-hungry harp for just one song...  Anyone can say what happened at
the Forum in London?