Peter Himmelman, formerly the bushy-haired hero of the New Wave band Sussman Lawrence, has transitioned into a middle-aged rocker, and his music reveals only the best results. His songs have a muscular, energetic groove that begs comparisons with Bob Dylan—his father-in-law. The lyrics balance pungent humor and well-versed, poignant observations.
David Bowie called them his favorite iPod download. U2 used their song “Wake Up” as the walk-on anthem for their last tour. Coldplay and David Byrne are unabashed fans. Not bad for a band that just debuted its second album.
Rickie Lee Jones broke into the music business in 1979 with the jazz-pop novelty hit “Chuck E’s in Love,” and she has been a maddening enigma ever since. At best she’s inconsistent, at worst she’s the embodiment of the tortured artist: all tantrum and attitude with little worthy fruit to show.
Those who discovered Joanna Newsom’s full-length debut The Milk-Eyed Mender (Drag City, 2004) fell without exception into two camps: either they ran screaming from her Betty-Boop-on-helium voice and tales of bridges, balloons and beans or found themselves enchanted and amazed.
Why does the moon seem so intent to cry, and yet it is your tears that give us dew? Why do the flags grasp silently at wind? Why does the sun refuse to let me stare, and yet it is your hand upon my face that burns? Why does my mother die without remembering my name, while she still sings in church? Why does the IV bag float like my prayer does in this emptiness? Where was it that I lost my way? Why do I see the cross in window panes, in two downed branches broken in the road, in shirts hung out to dry? Why does the mystery of faith sustain us when we keep on asking such questions? Why must we ask such questions?