Solitude Standing 0895243458

Citation preview

P IA N O /V O C A L

Tom's Diner \ Luka , ' t Ironbound/Fancy Poultry In the Eye

Night Vision

Cherry Lane Music Company, Inc. quality irf/pnnted Music PO Box 430 Pori Chester NY 10573-430

n'Lfiy u

Solitude Standing \ Calypso , | 'v Language ' ‘ Gypsy ; ‘ i Wooden Horse (Caspar Hauser’s Song) Tom’s Diner (Reprise)

■ Management - Ron Fierstein and Steve Addabbo AGF Entertainment Ltd.

■ Piano/Vocal Arrangements - Mark Phillips

■ Production Manager - Daniel Rosenbaum

■ Art Direction - Frank Morano

■ Administration - Deborah Poletto

■ Cover Art - © 1987 A&M Records, Inc. All Rights Reserved

■ ISBN: 0-89524-345-8

■ Copyright © 1987 Cherry Lane Music Company, Inc. International Copyright Secured All Rights Reserved

G ary Green

CONTENTS

3 SUZANNE VEGA by Billy Altman 5 Luka 10

Solitude Standing 15 Night Vision 21

In the Eye

26

Language

33 Calypso 40 48

Gypsy

Wooden Horse (Caspar Hauser’s Song) 56

Ironbound/Fancy Poultry 62 Tom's Diner 64 Tom's Diner (Reprise)

SUZANNE VEGA “I suppose that the things that interest me most are character and place,” says Suzanne Vega, the New York-based recording artist whose distinctive songwrit­ ing talent and eclectic musical approach have brought her both national and international acclaim in the two short years since the release of her stunning debut A&M album in April of 1985. “I’m always curious about the atmosphere that people come from, and not so much what they do but why they do it,” she stresses. If striving for getting be­ neath the surface and uncovering those private feel­ ings and secret thoughts that all people harbor within themselves is a theme that seems to recur throughout many of her songs, that’s only understandable, since she is someone who knows all too well that our percep­ tion of things can often be quite different than what they actually are. To be sure, there has been, since virtually the begin­ ning of her professional career, much more to Suzanne Vega than meets the eye. Watching her performing alone on the small stages of various Greenwich Village clubs several years ago, with nothing but her own acoustic guitar serving as musical accompaniment, her earliest supporters could certainly be forgiven if, in their enthusiasm, they mistook her for the kind of tradi­ tional folk singer she never really claimed, nor sought, to be. “When I first started playing in clubs in the early Eighties,” she recalls, "my perspective must have seemed very strange. At the time, I wasn’t quite sure where I fit in, with music, with the world. I knew that I was aiming for something, but I wasn’t really sure what it was. I knew it wasn’t folk, necessarily, although there were a lot of things that I liked about early folk—Woody Guthrie, Cisco Houston, for instance—because it was real and you could tell it was real. It wasn’t real for me personally—I certainly didn’t know anything about freight trains—but you could tell from listening that these people had been there, and that there was no pretentiousness about them. But after I started per­ forming regularly, suddenly there was all this press cal­ ling me a folk singer, even though I didn’t think that a

song like, say “Cracking,” could really be construed as a folk song. After all, it wasn’t exactly ‘Wild Mountain Thyme.’ ” Suzanne’s “perspective” (“I think it’s probably my fa­ vorite word right now,” she says) at the time was that of a young woman barely into her twenties, a woman who, though she hardly looked it, had been raised in the tough neighborhoods of New York City, who’d been a serious dance student for almost a decade, and who was working in theatre while majoring in English at Bar­ nard College. Although Suzanne grew up in a home where the tastes in music leaned heavily towards folk (“When I was young, the whole aura around singer/ songwriters like Dylan, Paul Simon and Leonard Cohen was very strong”) and jazz (“I remember listening to a lot of Astrud Gilberto and Brazilian music”), and as a teenager had done some performing at church base­ ment-type coffeehouses where “they’d give you a plate of brownies and a cup of juice after you played,” she is quick to point out that her philosophy in regard to songwriting was profoundly influenced by a rock ’n’ roll concert by former Velvet Underground leader Lou Reed that she witnessed in late 1979. “At the time,” she notes, “everybody around me was into punk and new wave, but I just wasn’t paying much attention to it. I barely even knew who Lou Reed was—I remember asking the guy who wanted to take me if he had any hits, and he said, “Walk on the Wild Side,” and I think I went because I at least knew that one song. He was being really aggressive and hostile towards the au­ dience, and I just thought, ‘What is going on here?’ But there were a few songs that he did that night that really got to me, songs like “Heroin” and “Caroline Says Part II” that I found I just couldn’t stop thinking about. And the concert really wound up having a great effect on me, because afterwards I didn’t see songs, or songwrit­ ing, in the same light. For the first time it occurred to me that you could write a song using only one chord and say anything you wanted to over it, and someone just might listen to it. Before that, I always felt that songs had to make sense,have some kind of narrative.be some-

3

how traditional in structure. But Lou Reed was writing in Albert Flail, and a half-hour BBC television show culled a very different way, and about things that I knew about. from footage of the concerts drew an estimated audi­ So it was a shock of recognition and realization at the ence of over two and a half million viewers. “I spent a same time—that you could not only write a song any summer in England in 1979,” she says, “and I was re­ way you felt like, but that you could also write about any­ ally very inspired by the country’s style. I remember thing you felt like.” wishing that I could somehow make an impact there. As both her writing style and self-confidence de­ So in many ways, the response I’ve gotten in England veloped and grew, Suzanne began to regularly venture has been very, very gratifying.” down to Greenwich Village, and at clubs like the Still, becoming a star—and, inevitably, a celebrity— Speakeasy and the legendary Folk City she found a is not something that Suzanne is sure she’s necessarily sympathetic and nurturing environment made up of comfortable with, at least not yet. And in an age of big musicians and listeners who shared her belief in the in­ stars possessing even bigger egos, Suzanne Vega’s tegrity of “intelligent music that takes risks.” She quickly impressive talents as a singer, songwriter, and per­ began to draw sizeable audiences and rave notices for former are perhaps matched only by her equally impre­ her shows in New York and Boston and, ssive perspective on the trappings of as the breadth of her songwriting skills fame. While her brand new album, Sol­ “For the first time it became increasingly apparent and her itude Standing, featuring such stand-out occurred to me that musical horizons expanded, the simple you could write a song tracks as the provocative “Luka,” the tag of “folk singer” ceased to fit. “One of playful “Tom’s Diner,” the sinewy “Night using only one chord the most distinctively original performers Vision,” and the foreboding “In the Eye,” and say anything you in the entire pop realm” was the way one is certain to bring her not only more criti­ wanted to over it, and local critic put it—a description that cal support but also a more expansive someone just might seemed much better suited for the author popularity than ever before, Suzanne listen. Before that, I of such far afield compositions as the rap­ Vega remains a refreshingly unassuming always felt that songs artist whose dedication is first and like “Cracking,” the jazz-tinged “Freeze had to make sense, Tag,” and the ballad-styled “The Queen foremost, to the work at hand. have some kind of and the Soldier.” “When I’m performing at a concert and These songs, as well as such stellar narrative, be somehow I finish my set and I see people getting all works as the reflective “Marlene on the traditional in structure." excited, I always feel a bit ambivalent,” Wall,” the atmospheric and dusky “Small she confesses. “There’s a part of me that Blue Thing,” and the graceful, free-falling “Some Jour­ says, ‘Be happy for this,’ and another part that just feels ney,” can all be found on Suzanne's self-titled first distracted, that wants to say to the audience, ‘Hey, album, which was carefully and sympathetically pro­ calm down, alright?’ In New York, if you stand up and duced by engineer (and, along with Ron Fierstein, co­ they just look at you, you know things are going well. manager) Steve Addabbo and former Patti Smith But to go to Ireland and have Group guitarist Lenny Kaye. On it, Suzanne’s voice and two thousand people guitar were sensitively complemented by the elements screaming and howl­ of a full-scale electric band, and the experience ulti­ ing is very different. mately led to her decision to tour with a complete back­ My first response is up group. “You get a sense of energy with a band that I that I couldn’t never quite understood until I was playing inside of possibly be that one,” she says, “There’s a rough edge that I simply big a deal, and couldn’t get on my own that I think comes through now, that they should and I’m happyforthat.” all sit down. I While the Suzanne Vega LP received uniformly ex­ mean, I hate big cellent reviews and a significant commercial response deals. Don’t get me in the United States—given the strict formats of most wrong, though,” she American radio stations, and the general climate for laughs. “I like know­ music that may initially seem to be somewhat, er, left of ing that people are center, Suzanne feels that “it’s actually done much bet­ listening to my ter than I thought it ever would”—the album was an songs. And I do like overwhelming and unqualified success in Europe. “In being appreciated.” some ways, I wasn't all that surprised about doing well The feeling, one sus­ over there,” she admits. “Many of the people I like— pects from her growing Leonard Cohen, Laurie Anderson—have always audience, is more than tended to do better in Europe, so it kind of makes sense mutual. to me.” In England, in fact, Suzanne has become quite —Billy Altman a major star, to the extent that a British tour last fall in­ cluded two sold-out performances at London’s fabled

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IN THE EYE Lyrics by Suzanne Vega Music by Suzanne Vega and Marc Shulman

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IRONBOUND/FANCY POULTRY Lyrics by Suzanne Vega Music by Suzanne Vega and Anton Sanko Moderately bright Am

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TOM’S DINER Music and Lyrics by Suzanne Vega

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TOM’S DINER

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