Hot & Sweet Various Artists (Outmusic)
Just because it's gay doesn't mean it's good, as "Hot & Sweet" repeatedly demonstrates. However, a compilation highlighting out and proud artists is a very fitting record for Pride season, and some of the songs are worthy efforts. Although many of the female artists sound like Ani Difranco knock-offs, Rachel Sage is the most successful one with "Unbeauty," a quiet piano-driven song. Other stand-out tracks include Aaron-Carl's "Coming Out Story (b.i.t.c.h.)" a R&B-infused number with a great hook about coming out to his mother. Tom Robinson's "Boygirl" recalls Gavin Friday's 1996 record "Shag Tobacco" with its growling spoken vocals and edgy synth beats. "Madman" by Kevin Hannan has an early-REM feel to it. Alix Dobkin takes us back to 1973, not an easy time to be singing "A Woman's Love" with lyrics like, "Because she's a woman, confusion in my feelings. I tried to name it everything but love, but like a magic dream it would not be turned aside." "Hot & Sweet" is a diverse mix, proving that, when it comes to queer music, it isn't all women with acoustic guitars and dance-pop divas. Our music is as diverse as our community. "Hot & Sweet" is worth checking out. Pick up a copy at www.outmusic.com/CD.
Make Yr Life by The Butchies (Yep Rock Records)
Okay, I have a confession to make. When "Make Yr Life" arrived at the office I was in no hurry to listen to it. This, my friends, was a mistake. "Make Yr Life" is a damn fine record and by far the best of The Butchies' career. They are as punk rock as ever; but more polished, more focused, and more, dare I say it, pop. "Make Yr Life" is a highly accessible record and is sure to get The Butchies wider recognition (though perhaps not the world domination they are seeking). "Make" is filled with punky, guitar-driven tunes like "Send Me You" and gorgeous slow numbers like "Second Guess." The only complaint is that occasionally the singing sounds a little too detached and sleepy, like on "17," which is actually an older Butchies tune previously available only as part of a compilation. The best and most surprising song is their cover of "Your Love," originally done by The Outfield in 1985. You know this song: "Josie's on a vacation far away, come around and talk it over. There's so many things I want to say, you know I like my girls a little bit older. I just want to use your love tonight. I don't want to lose your love tonight." The Butchies strip it down, slow the tempo, and make it into the quintessential heartbreak mix-tape centerpiece for young lesbians everywhere. See The Butchies perform live at Michigan Pride June 12.
I by The Magnetic Fields (Nonesuch)
Stephin Merritt, the man behind The Magnetic Fields, has produced his most accessible record yet with "I." Merritt is both charming and bitter with songs like, "I Don't Believe You" and "I Don't Really Love You Anymore." Add in "I Thought You Were My Boyfriend," and breaking up has never been so much fun to do. The quirky pop music belies the inherent sadness in the lyrics ("I just hope you're happy stringing me along. While you're stringing I'm here singing this, my saddest song," he sings on "Boyfriend"). The album is at its best when it is musically upbeat. The dirge-like "I Die" and "I Was Born," for example, sport the bitter lyrics minus the charm. "I was born, I hate this part," he sings. They are a tad over dramatic, as if selections from a sad-gay-bastard rock opera (for which Merritt would be perfect). However, these are outweighed by highlights like, "I Wish I Had An Evil Twin" and the beautiful "It's Only Time," which might be Merritt's most personal, and dare I say romantic, song yet.
Patience by George Michael (Sony)
It has been eight years since George Michael's last studio album, which may be why he called this new record "Patience." Both the time frame and the title beg the question: was it worth it? The answer: sort of. "Patience" is a very solid adult contemporary pop record. It's not likely to appeal to the under thirty crowd. Even "Amazing," the most catchy tune and the first single, is not likely to be a hit with the kids, but is likely to appeal to grown-up gay men. Even the "gayest" and most up tempo songs like "Freeek! '04" and "Flawless (Go to the City)" lack any kind of sassy edge. With "Patience" Michael seems to be taking himself much too seriously, forgetting that some of his best work was done when he was an ass shaking, leather jacket wearing pop star. "Won't you people look at all we have? Don't you want it? Can't you see the things you lack?" he sings on the title track, a slow piano-driven tune. "Patience" is more akin to 1990's "Listen Without Prejudice" than 1987's "Faith." But "Prejudice" marked an artist exploring new ground and making a surprisingly good, and arguably timeless, record. With "Patience" we find Michael still rejecting the title of pop singer and still trying too hard to prove himself as a serious artist. Doth thou protest too much?
Airstreams & Satellites by Garrison Starr (Vanguard)
There's nothing particularly wrong with Garrison Starr's "Airstreams & Satellites." It's perfectly serviceable pop rock in the vein of Shawn Colvin's "A Few Small Repairs," minus the piano ballads. Starr's got a decent voice, shimmering guitars, and good (though sometimes too slick) production. However, none of the songs particularly stand out, making the record sound like one forty minute song. That is, until the last track, "Inside Out." By far the record's most interesting and personal song, Starr sings, "Mom, he is meant for me but she turns me on, she turns me on. And I've worked long to make you proud. You've turned my soul inside out. And what is wrong to be sorry for? What is wrong? Can you be sure that God doesn't live here any more?" The only trouble is that "Inside Out" is tacked onto the end of the record's title track as a hidden bonus track. Why, Garrison, why? The hidden track may have been cool when CDs were new and artists were experimenting with them, but it isn't cool now. It's annoying. If the song is good enough to stand on its own – and "Inside Out" is – then let it stand on its own. I have to question the logic of an artist who tacks on her best work as a throw-away track.
The Dresden Dolls by The Dresden Dolls (8ft. Records)
When I think Dresden I think: German city destroyed by firebombing in 1945. When I think Dolls I think: creepy movie from the 80's about antique dolls that come alive and kill people. Neither thought is particularly pleasant, but both shed a lot of light on the punk Cabaret duo The Dresden Dolls. Think Patti Smith meets Alan Cumming as the Emcee in "Cabaret" on Broadway. The Dolls are Amanda Palmer on piano doing the singing and song writing and Brian Viglione on drums. When I read that Palmer studied and worked in avant-garde theatre in Germany I thought, "No shit." The songs are, to say the least, theatrical, and I'll even give them original. But Palmer's vocals are an acquired taste, often sounding overwrought and like she's forcing a bad German accent (she's from Boston). Lyrically Palmer is a fan of twisted narratives using a lot of big words. On "Girl Anachronism," a song about a psychiatric patient, she snarls, "I was too precarious, removed as a cesarian, behold the world's worst accident, I am the girl anachronism." The song's best track is "The Jeep Song" which is about the phenomenon of thinking you see the car of your ex everywhere you go. Overall I give the Dolls kudos for their artistry, but it isn't something I ever care to listen to again – unless I'm putting it on at Halloween to scare children.
