Female Tom Waits Show_音乐专辑
Female Tom Waits Show
表演者: Aileen Loy & Blue Valentines
专辑类型: 专辑
介质: CD
发行时间: 2008
唱片数: 1
出版者: celodantas inc.
专辑简介
Aileen Loy & Blue Valentines
Summer 2005 saw the European debut of a collaboration of eclectic musicians with a common love of lying in a pile at the end of the night, singing every word of "Closing Time." The Blue Valentines still hold true to a Pleistocene sense of experimentation but they have managed to drag it into the modern era and make it walk erect, albeit, through the gutter.
On Valentine's Day 2003, Blue Valentines, a consortium of oddball musicians and wayward stage performers (led by Dovetail recording artists Aileen Loy and Chudacek), premiered at the Echo Lounge in Atlanta, GA. That night they performed the songbook of Tom Waits album of the same name and were a huge success. So much so that that the individual artists of Blue Valentines have been blissfully doomed to reconvene every few months (foregoing their solo efforts) in order to blatantly steal (or "pay homage to" if you're a music industry lawyer) Tom Waits' extensive work. Think of them not as a "cover-band," or "tribute-band," but more of a Plagiarist's Society.
Not just another bunch of Tom Waits impersonators in spandex jumpsuits throwing their hankies to the crowd and playing only the later Vegas material, the Blue Valentines bring a love of the gutter and a sense of theatricality to these songs that must be experienced to be believed (unless you are a music industry lawyer). Trust us, front woman Aileen Loy looks nothing like Tom, and her growling vocals on "Christmas Card from a Hooker in Minneapolis" give it a dignity and heartbreaking vulnerability that doesn't wash off any of the grit. Her sultry baritone/bass voice shocks and seduces a crowd; and her beauty and willingness to give herself over to a song haunts them for weeks after. Equally potent are the vocals and multi-instrumental talents of near savant Marc Cram (aka Chudacek). When he takes the lead on "Kentucky Avenue" not a thug in the crowd can help but shed a tear for those halcyon days when they couldn't be prosecuted as an adult. This Duo of Doom form the core of a stage show that'll make even the most beat-down wino get up and sing "Hallelujah!"
Currently residing in Prague, Aileen and Marc first met on the (snort) legitimate stage where she was artistic director of Atlanta's Sensurround Stagings and Marc was a co-founder of Dad's Garage Theatre. He -- a dadaist puppeteer and improv artist extraordinaire -- and she - an accomplished actor and director with a fondness for circus freaks and monsters with hearts of gold -- saw an affinity, an opportunity, and a need to be filled. They immediately made a drunkard's pact and began attracting like-minded musicians and artists of varying degrees of sobriety who join them in performance whenever possible.
The Blue Valentines are and have been in various configurations:
Aileen Loy - Lead vocals / percussion / whip-on-sheet-metal
Andru - Vocals / banjo/rake / metal bowls and chains / chest of drawers / found percussion
Chudacek - Vocals / guitar / saxophone / jaw harp / crate stomper
Kenneth Buck - Bass / guitar
David Sinrich - Vocals / guitar / organ / fiddle
Stacey Bode - Vocals / washboard / blow organ
Deisha Oliver - Cello
Calder Dudgeon - Trumpet / musical saw / percussion
Petra Kuncikova - Alto saxophone / percussion
Gez - Guitar
Review from "The Degenerate Press":
Next up was Blue Valentine, a collection of talented folks doing a performance of the Tom Waits album from which they took their name. The percussionist brought a kitchen cabinet for a drum kit, opened the drawers and pulled out whatever was in it. A couple of metal bowls, a bit of chain, a cookie tin, and proceeded to play them and the cabinet itself. A guy stepped up to the mike and did a fine gravely Tom Waits voice and in general I was enjoying the show. Thenhe gave the mike over to a girl with a smile so broad I thought she could unhinge her jaw like a snake, an image further ingrained in the way she slithered around then hiss and growled out the lyrics to the next song - fantastic. Someone in the crowd yelled out "I love you, scary girl!" She smiled and said "I'm not that scary." Her giggle takes the edge off but her eyes mesmerize and her voice spits like a cobra. Excellent stuff.
-Degenerate Press (Atlanta, Georgia), February 16th, 2004
"They use a wardrobe for their kick drum!"
-- The Yeah Yeah Yeahs
"...like velvet wrapped around roughly cut wood"
-- Steve Huff
http://www.myspace.c
Aileen Loy
Raised as an impressionable church-going young lady in Nashville, TN, cowering to the threats of her fire and brimstone preaching father and her circus roustabout mother, Aileen Loy found a love for speaking hoarsely at a young age. The only baritone/bass in the 3rd grade she never felt quite at home and packed her teddy bear and her tequila bottle and ran away to Atlanta, Georgia to pursue her lifelong dream of world conquest. Her efforts fell far short of what one would hope for in this endeavor, and indeed her schemes remained largely unnoticed by world security organizations although NATO sent her a nice muffin basket after a paltry attempt at a coup and she still keeps in touch with a few of the boys from Mossad.
Dejected and disillusioned, she soon fell in with bad company. After a particularly long lost weekend (the latter half of 1998) she awoke to find herself artistic director of Sensurround Stagings, an Atlanta-based theatre company. Under this mantle of legitimacy she once again strove to take over the world through original productions and theatrical re-inventions such as Professor Guignol's "Theatre of Blood", Clive Barker's "Frankenstein in Love", and her own premiere stage adaptation of Katherine Dunne's cult classic novel "Geek Love" which was remounted as part of the 2004 New York International Fringe Festival. Though critically acclaimed, none of the theatre's productions over the past 5 years has brought any world leaders under her thumb. Not one. Not even a boy-scout troop swearing their fealty. Was a junta too much to ask for such innovative contributions to the theatre? Disappointed, but determined she sought to expand her sphere of influence taking on the role of burlesque chanteuse for such notable troupes as Dames Aflame and Torchy Taboo's House of Heat. While this might have worked for Marlene Dietrich, Aileen found only heartbreak. The boys at Langley were huge fans, but alas no cigar - not even a poison tipped cubano. She fell into a consumption, withdrawing from a world which would not deign to fear her. It took the drunken ramblings of her compatriots in the Blue Valentines back into the go-go world of indie music and global subjugation. And she hadn't been just twiddling her thumbs in her seclusion, she emerged from her hollowed-out volcano fortress with pages and pages of songs she had written about crows, dirt, pieces of string, and murderous country waltzes. With the Blue Valentines and her solo work, Aileen has found the means at last by which she will, if not rule the world, at least poke it in the eye with a big stick. We will all rue the day. "Rue it," she says. "Indeed."
曲目
01 - Diamonds And Gold
02 - Big In Japan
03 - Chocolate Jesus
04 - Falling Down
05 - Time
06 - Jockey Full Of Bourbon
07 - A Murder Of Crows [Aileen Loy & Trunk Show] - Bonus
