#MWE July 2023
The wind-down before the August sabbatical
Due to several writing deadlines, I’ve taken August off from extracurricular writing, and that began in July, as you can see the posts decreasing throughout the month. (I’ll be back to normal, or close to it, in September, and I’m planning to start double-posting these on twitter and bluesky.) Some good ‘uns from my queer folx, particularly: hardcore band Destiny Bond, hardcore disco cowboy Adam Mac, and especially Waylon Payne’s hardcore country. It’s kinda funny that Payne’s triumph was produced by Frank Liddell, husband of Lee Ann Womack, because the record it feels the most analogous to is Womack’s own There’s More Where That Came From. My cishet Pick Hit is Martin Fry/ABC’s 40-years-on Lexicon of Love Live, still as suave and sly as anything. Musts to Avoid: Paul Lekakis (he doesn’t even cut it as a disco dolly), and Christgau’s #1 of 2012, Neil Young’s Americana, which I was surprised to find such a slog. And for the record, Alicia Keys’ holiday record is about 60/40, a touch better than I expected.
Adam Mac, Disco Cowboy (2023): Truth in advertising! Country songs & arr w/ occ disco rhythms; “Take Myself Home” = better version of MC’s “Flowers” w/ a Nile Rodgers-esque guitar lick. Lotsa twang in his voice. & lotsa great queer lyrics, like “One That Got Away.”
Yarbrough & Peoples, Be A Winner (1984): Mixed-gender duo’s 3rd is a v ‘84 R&B LP, w/ mechanized beats, powerful fem vocalist (Peoples), weaker male (Yarbrough). Mostly so-so except “Don’t Waste Your Time.” “I Only Love You” v weirdly sounds like sped-up Apollonia 6.
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Neil Young & Crazy Horse, Americana (2012): A largely mirthless collection of US classics rec’d to make a heavy-handed point, mostly trad songs, but also “Get A Job” (?!) and “This Land etc”. “Susannah” and “Travel On” spark, but most of this is just plodding.
Destiny Bond, Be My Vengeance (2023): Hearing a transwoman-led hardcore band singing a song centering the lyric “This is for all the trans kids” fucking rules. RIYL Dag Nasty, mid-’80s MRR punk zine vibe, maybe a more melodic Limp Wrist? Bonus: 10 songs/18 min!
Arlo Parks, My Soft Machine (2023): Singer-songwriter whose music reads more indie pop. “Bruiseless” starts things strikingly - I “oh!”d at its end - but much of this melts into samey, fast. à la TS’s 2020 pair, I suspect I’d enjoy these songs more if stripped down.
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Paul Lekakis, Tattoo It (1990): Almost impressively bad. Save “One Step Closer” (well-made SAW manqué) & the brilliantly slutty oontz-oontz “Boom Boom” (rec’d 3 yrs prior), his only LP is garbage dance-pop. He can’t sing, either. Embarrassing for everyone involved.
Sheila Walsh, Future Eyes (1981 UK version): On her debut, the Scot mixes slushy Christian AC balladry w/ some delightfully spiky new wave/rock (“Love in My Life,” title track). Lyrics let her down, but you can hear her interesting edges before they got sanded off.
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Waylon Payne, Blue Eyes, the Harlot, the Queer, the Pusher & Me (2020): This LP is so blindingly great, it’s almost hard to take. His songwriting is remarkable, prod is lush where needed & stripped likewise, vulnerability he allows in his voice hits deeply. [Highly recommended reading, follow-up tweet: https://americansongwriter.com/waylon-payne-track-by-track/ ]
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Inner Life, I’m Caught Up (In A One Night Love Affair) (1979): US studio disco, 5 long dancefloor-ready tracks notable for a surprisingly understated (non-belty!) Jocelyn Brown on lead vox. Songs are fine, just workmanlike & unexceptional, save for title track.
Zaida Zane, Boy Eyes EP (2023): I hear Jersey club, reggaeton rhythms, & ‘90s R&B echoes (“Skydancer” has me humming “Say My Name”) on the debut EP by this Atlanta-based DJ. There’s even a little ‘90s Tresor in the backbone of “ZZ Plant.” A v smart start.
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ABC, The Lexicon of Love Live (2023): Rec’d live 40 yrs to the day Lexicon of Love was released, this classic-album-plus double (smart add’l song selection) hits the spot. Key: Anne Dudley’s lush string arr & conducting orch. Martin Fry’s vox is just as strong as ever.
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Alicia Keys, Santa Baby (2022): She’s in all of her various modes here: “sexy” (title track, not really), too earnest (“Please,” “War Is Over”), tender (“Christmas Time,” which works nicely, & orig “Alone”). “Chestnuts” arr is smart. Piano focus is good, & strong.
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