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Moyet’s and Vega’s latest
deserve underground respect
By Scott Harrah
Senior Editor
Alison Moyet, “Raindancing”
(CBS)/ Suzanne Vega, “Solitude
Standing” (A&M).
Female musicians in the 1980s are
treading through precarious and often
misused waters. Madonna and Cyndi
Lauper are too camp to be taken
seriously and those who do possess
voluminous talent, Whitney Houston
for example, are wasted thanks to
Kodak camera commercial lyrics and
grotesque overproduction.
Record Review
The New Music set sometimes refuses
to even recognize women. The senti
ment seems to be that although women
may have mellifluous voices, they have
no place among roots-rock, male
oriented genre babies. Grasping at the
tenuous threads of an alternative to all
this are Suzanne Vega and Alison
Moyet.
Moyet, the angst queen singer/song
writer, who with partner Vince Clark
made up the underrated, misunderstood
synth-pop duo Yaz, has been desperately
searching for a fair vehicle since she
went solo two years ago.
Her voice, a crisp, cold puff of smoke
that often blasts through equally vin
dictive lyrics, illuminated the dolorous
techno-synth arrangements of Yaz, but
since then producers have been trying
to turn her into some torchy pop diva.
On her second solo effort, “Raindanc
ing,” producer Jimmy Iovine has tried
to update her style with some annoying,
obnoxiously upbeat studio babble that
is neither complimentary to her voice
or her image. With lots of cloying little
ALISON MOTET
I I I M I t ( I I (
whirls and twirls of the studio mixing
dial, Iovine adds electronic idiocy to
her tracks, making them come off like
bad cuts from a new-wave variety show.
Herb Alpert even adds a few pointless
horn arrangements.
Only "Is This Love” and her tepid
but bearable remake of "Weak In the
Presence of Beauty” are true to the
spirit Moyet has always dragged across
her own neurotic ice. Moyet is hardly
the attractive, jiggly sex bunny MTV
wants her to be, and she’s never had
the airplay that’s made her a superstar
in her native England. Alternative radio
stations sometimes play her songs, but
she’s no longer the experimental better
half of Yaz, thus stripping underground
appeal she needs.
Moyet is one of music's most provoca
tive voices, but producers seem to keep
pointing her toward the bargain bin.
Suzanne Vega, on the other hand, is
a hauntingly gifted muse who's still
independent enough to control her
message.
See ALBUMS on 57
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