Yet another 2 cent opinion on TRS.

[wagreiner@ucdavis.edu ()]

Newsgroups: rec.music.gaffa
Subject: Another 2 cent review of TRS.
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Just my two cents on The Red Shoes:

I'm a bit suprised at how much negative reaction there has been to TRS.
Although there has been quite a bit of positive reaction too, I thought
this album would be more universally heralded.  Of course my view might
be skewed somewhat by the fact that I was quite disapointed in TSW and
my first thoughts upon listening to TRS was "thank god its not TSW II."
But after several more listens TRS seems to be holding up fairly well.
This seems like a very personal album, despite the use of so many guests
most of whom seem to be under-utilized.  One really gets the feeling that
Kate has been having relationship problems!  There is more of a feeling that
she is referring to specifice events and feelings rather than the broad general
landscape of "Hounds of Love."  (I was refering to the song there not the
album.)  She no longer seems content to sing about the more philosophical
subject of her need to "run away" from love in general but tackles the subject
on a very intimate level.  My feelings on the songs individually:

1.  Rubberband Girl.  Don't let the self-conscious "artiness" of Big Stripey
lie fool you into thinking it has more to give than RG.  (This is, in general,
I think, a very giving album.)  This song seems to me to function almost like
an old blues song.  The blues, when done properly, is music that takes you
outside your troubles and delivers you from them by admitting them and placing
them honesty in front of yourself to examine and expel.  Here the idea seems
the same.  "I've tried to resist to much and ought to be more emotional 
flexible so I can handle my troubles better."  And so she takes a problem in
her life and turns it into a lot of fun.  By the end of the song "Here I go.."
she is having a great time just playing with her voice and is caught up in
the joy of the moment.  A favorite of mine so far.

2.  And So Is Love.  Another excellent moment on the CD.  Simple but honest,
heartfelt.  Eric Clapton, who thankfully despite a previous poster does not
imitate Dave Gilmour, provides the albums best intrumental moments.  Not
quite a Louis Armstrong to her Bessie Smith, he does manage to respond to her
emotions fairly well.

3.  Eat the Music.  Don't get into this one too much.  Just seems way too
musically repetitious to me.  The song also loses much emotional intimacy 
by hiding behind all these fruits.  IMHO of course.

4.  Moments of Pleasure.  The piano floating above Kate's voice eases the 
sadness of this track.  Not quite as emotionally heartwrenching as "This
Woman's Work" (my favorite track off TSW) it is nice.

5.  The Song of Solomon.  An effective promise/pleading.  Refreshingly 
frank without being clumsy.  I think she's come a long way from "Feel It"
which I always thought was clumsy.

6.  Lily.  Well, I can't say that the concept grabs me (I'm just not into
this new age "protection from psychic attacks"(?!) stuff, but an excellent
groove and riff in this song.  And of course an artists philosophical outlook
(no matter how silly it may seem) hardly matters.  (One doesn't go to pop
stars for philosophy!)  What matters is that it means something to her and
her honest feelings come out.  And the Roy Orbison growl is great.

7.  The Red Shoes.  Relentless and great.  The "Curve... cross... line ..."
section is a lot of fun.  The only complaint I have is that the "she
gotta dance ... legs fall off" seems too literal.  We can figure most of
this out from the rest of the song.  It feels like the song is going along
fine and then she feels the need to come in and recite the story line.

8.  Top of the City.  I'm not so crazy about the chorus here, but the 
"And I don't mind if it's dangerous" line is worth the price of admission
alone.  Powerful without being overwrought.

9.  Constellation of the Heart.  Again, I can't say I love the title line
and "chorus."  The imagery doesn't work for me.  But I love the "We take
all the telescopes ..." groove.  And the dialogue with Kate and the background
singers is great, Kate sounding loose and spontaneous.

10.  Big Stripey Lie.  Self conscious yes, but also very effective.  Enough
has been written about it already.  I concur with Jon Drukman's interpretation.
Most disturbing song on CD.

11.  Why Should I Love You?  Great chorus!  Except that it feels like Prince
is never allowed to cut loose fully.  Kate slows things up a bit too much with
her "There's just something 'bout you".  Overall I like it a lot, though.

12.  You're the One.  Does this remind anyone else of O'Conner's version of
"nothing compares 2 U"?  Not quite as emotionally powerful but a fitting
note to end the CD on.  Seems to sum everything up well.  Beck's guitar,
although not prominent is okay.  Welcome relief, it seems to me from Mr.
McIntosh who seems really ineffective for most of the album.

Gosh, this was more than two cents, huh?  Inflation, you know.

All in all, I think the CD is fine.  No disappointment here.  Then again,
maybe TSW lowered my expectations.  Only time will tell, I guess, but I have
a feeling that this CD will be enjoy a large amount of playing time.

Wade