SUZANNE VEGA

In the last two years I've purchased collections of re-recordings by two of my all-time favorite female singers, Carly Simon and Kate Bush.  Last year, a third favorite started putting out what may be the most ambitious of any I've picked up so far.

I received two CD's by Suzanne Vega in the mail on Saturday.  They're the first two volumes of re-recordings in a series entitled "Close-Up."  What sets Suzanne's project apart from those formentioned is that each disc follows a certain theme.  But like Carly's, the songs are given a more stripped-down sound than the originals.  This particularly excited me about Suzanne as the music on two of her albums, "99.9F*" (1992) and "Nine Objects Of Desire" (1996) were produced with an electronic, "industrial" sound (think Joan Baez meets Nine Inch Nails).  While I think they were works of art, it's also been a joy hearing them here with a more intimate approach.  Unlike Kate, Suzanne revisits all of her albums for the new series.

"Close-Up: Vol. 1, Love Songs" is a collection of songs from her back catalog that focus on relationships of all kinds.  This includes reworkings of her debut single, "Marlene On The Wall" and "Caramel" which was used in the film "The Truth About Cats And Dogs."

(Amanuensis, 2010)

You hear little to no percussion on the first volume where with "Close-Up: Vol. 2, People & Places," there is some sneaked in.  "Fat Man & Dancing Girl" sounds close to original in that regard.

It's noteworthy to mention that the second volume includes reworkings of Suzanne's biggest hits.  "Luka" (#3 Pop & AC, 1987, Billboard) is slightly shorter than the original as instrumental breaks are cut out.  The new version of "Tom's Diner" (#5 Pop, 1990, Billboard) is perhaps my favorite yet.  The original recording was the opening track of "Solitude Standing" and done a cappella in 1987.  It was set to music by techno-dance project DNA for the hit version.  I had wondered which way Suzanne would go here and she patterned it after the latter using an electric bass with string instruments.  Another welcomed twist is the use of all the lyrics in the new recording (DNA cut out the last three lines in their version).

One new song was recorded for the second volume, "The Man Who Played God," a humorously sarcastic look at how people like to take matters in their own hands today.

There are two more volumes in the "Close-Up" series and I hope to get them soon.  If what I have so far is an indication, I know I won't be let down.