It’s not her fault
“ALBUM” from Page 56
Solitude Standing,” her successful
follow-up to 1985’s underground smash
“Suzanne Vega,” is proof that Vega is
the folksy parable spinner so many
feminist artists have desperately tried
to be for years. The difference is that
Vega doesn’t hammer the listener over
the head with tired pseudo-politico
babble.
“Luka,” Vega’s hit at the moment,
seems an unlikely candidate for the
pop airwaves. Few vocalists cc Jd get
away with a song about the little kid
downstairs telling how he gets slapped
around. But Vega’s deadpan delivery
and sincerity removes the slightest
vestige of melodrama and instead makes
an impossible pop subject seem bear
able.
Vega’s forte is her stream of con
sciousness lyrical forays. These aren’t
hummable ballads as much as they are
melodic ramblings where Vega plays
the subjective observer, thrusting her
self into the situation and draining
each slice of veracity out of it.
In the a cappella opener, “Tom’s
Diner, Vega describes a mysterious
woman entering one of the East’s
infamous greasy spoons. Vega doesn’t
bother explaining anything here or
anywhere else on the album; she merely
describes the scene and obscures the
outsider’s motives. She relates the
fortitude of daily existence to her own
neurosis without dragging the public
into her demons.
If anything, “Solitude Standing” is
about the loner and the romance behind
that, premise. On the title track, when
Vega sings, ‘ ‘Solitude stands by the
window/She turns her head as I
walk into the room, ” you begin to
understand the magnitude of her
imagery and the meaning becomes
simple. Vega avoids the source of her
own angst, but it seems to creep up in
each tacit fold of her paranoia.
When that becomes evident in each
song and each lyric, it’s easy to realize
just how important a talent Vega is
going to be as her career matures.
Courtesy of A A M Records |
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Student guide
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Save time and installation costs by plugging it in on
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