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Artist : Susan Werner
Album : I Can't Be New
Tracks : 13
Time : 0:40 hours
Bitrate : 192kbps
Size : 55MB
Label : Koch
Str.date: 03/09/2004
Rip.date: 09/14/2004
Ripper : Team aAF
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Susan Werner's Koch debut, and her sixth outing overall,
is a collection of self-penned tunes in the manner,
spirit, and flavor that spending a late night working in
an office on Tin Pan Alley might provide. There is a
beautiful, smoky, jazzy feeling that reminds one
simultaneously of Hoagy Carmichael's more laid-back
moments, Jerome Kern's humor, and the deep nostalgic
atmospherics of Tom Waits' early Tin Pan
Alley-influenced material - without the barfly
surrealism. That said, Werner's latest is a thoroughly
modern recording. From the opening piano shimmers of the
title track, which opens the disc, she comes out with it
straightaway - "Coffee, ham and eggs/I can be your
dinner" - and seemingly throws all notions of modern-day
PC lyric acceptability to the wind, thank god. Werner's
lyric sensibility keeps its wit and never gives up the
dignity of her protagonist as she states in a matter of
fact way that she can be all things but new. It's a
beautiful line in the sand that listeners don't hear
much anymore in American song. This isn't defiance; it's
simply acceptance and a humorous but profound truth. All
the best pop songs have them. This album is full of
them.
On "Late for the Dance," a bowed bass and clarinet
accompany her piano and vocal as she offers a tale of
love's regret that is full of whimsy and pondering of
what might have been. The full-fledged swing of "Seeing
You Again" ù complete with the effect of a scratchy
78-rpm record under the opening vocal for effect ù
erases time and space considerations and instead
iterates the song as a finely crafted work that situates
the listener in a place of ease and empathy. But these
three cuts offer just a glimpse through the window of
the completely contemporary setting of "I'm Not Sure,"
with its smoky, sultry flamenco-styled guitar, string
quartet, solo cello, mandolin, and shadowy hand
percussion negotiating the terrain between the blues,
fado, and sultry bossa nova. Likewise, "No One Needs to
Know," where Werner is accompanied only by her guitar
and Eugene Friesen's cello, is a torch ballad whispered
in the stillness of a love furtively begun and acceded
to. In its secret lies its possibility. The
finger-popping standup bass and jazzed-up "doo wee"
choruses in "Philanthropy," with Dave Mattacks' hand
percussion, invert the entire Tin Pan Alley instrumental
dictum by stripping everything to the barest notion of
song itself - and what a song. This 13-song set closes
with that same 78 lisping in the background as Werner's
voice comes across the void singing a husky, brazen love
song that offers up her shortcomings as possibilities
for gaining the other's devotion; yet they are always in
the realm of "maybe if I did," not "if I do." She's
accepting her protagonist for who she is, and it's
enough for the truth of the song; whatever the desired
other wants is immaterial. The piano may not quite
assent to her vocal in its wistful shapes and dulcet
tonal wishes, but the singer's merely nodding to it in
the corner of an empty room, singing and playing into
the night, out of that same office on Tin Pan Alley. The
cycle is complete, the tunes have been written, and it's
time to go home.
This is a brilliantly constructed, soulful, and cleverly
tender effort by a songwriter and musician who is in
such complete command of her gifts that it's almost
scary. In a sense it's fair to say that listeners should
forget everything they know of Susan Werner and
encounter her now, in the fully present articulation of
her considerable gifts.
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01 I Can't Be New 2:54
02 Late For The Dance 3:36
03 Seeing You Again 2:41
04 I'm Not Sure 4:15
05 Much at All 4:08
06 Tall Drink of Water 3:01
07 You Come Through 3:13
08 No One Needs to Know 2:58
09 Let's Regret This In Advance 2:45
10 Don't I Know You 3:05
11 Philanthropy 2:53
12 Stay on Your Side of Town 2:54
13 Coda-Maybe If I Sang Cole Porter 1:46
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▐▓ GROUP iNFORMATION AND NEWS █▌
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aAF was created in Jan 2001 to fill a void left in the scene
by groups who would refuse to release anything but current
year music.paved the way for many groups to follow our lead and opened
up the music scene for all music lovers while took a ton of abuse in
the process.3 years later 13000 albums we proved our point!
check out our tv/svcd/dvdr/divx divisions new for 2004
It's not the Year that Matters it's the Music
aAF Forever
What We're looking for :
ppl who can get promos or pre street rls
ppl who have large cd collections
ppl with skill and experience who feel they can help us
ppl who can supply legal shells or bnc's
ppl who can supply hardware
siteop's who host 100mbit+ 500 gig+ mixed sites for affils
internal sites 10mbit+ 20gigs
Siteop's invite the force to pre 2k4 on your site
Come to the force with us
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░ ░░ ▀██████▓████▓▀ [STILL GOiNG STRONG] ▀███▀
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