Seeing Red

I have two exceptional shows to write about. On Saturday night I saw Mary Lee’s Corvette and on Sunday, Amy Kucharik and Gracie Terzian. Mary Lee and Gracie are redheads, Amy has some red highlights, so you can say that I saw red. Sure that’s pushing things but now I don’t have to think of a title. I always let you see how the sausages are being made. It’s part of my charm or an annoying habit; it depends on your point of view. 

As I’ve said before, I have no idea why I haven’t seen Mary Lee in more than a decade. I first saw her do a show with the Kennedys and she was part of my regular rotation. Then … I have no idea what happened. I will not let it happen again. The show was at Pete’s Candy Story, which is two blocks from my school. It’s nice not having to think about my commute. I could sleep on my way there and be confident that I’d wake up in time for my transfer. Unfortunately there was a train delay and I missed part of the first song. I got one of the few remaining seats at the venue. I didn’t know anyone there other than Mary Lee. She was doing songs from her upcoming album, Will Anyone Know I Was Here: The Songs of Beulah Rowley. Mary Lee told us the story of Beulah Rowley and how she got her hands on the songs. She also told us, “Just because I made it all up doesn’t mean it isn’t true.” If I knew nothing else about Mary Lee I’d start off liking her. Making up a fictional history and acting as if it were true is one of my favorite notions.

Since the show I’ve  been quandering, what is it that makes Mary Lee’s songs special? My Gentle Readers know that my pet peeve is nice people playing nice songs nicely. I find most music generic. This is my highbrow way of saying, “It’s basic!” Mary Lee’s music isn’t. It’s not because of the high concept, the conceit that it’s the work of the long dead Beulah Rowley. As I listen to every line I hear the difference between her music, that engages my attention, and the mass of musical mediocrity that makes up most of the soundscape. She doesn’t have a distinctive use of language. The music is not following progressions that strike me as odd, but each and every note has purpose, as does the orchestration; she was backed by an electric guitar and stand up bass. About the only technical thing I noticed was that Mary Lee’s rhythm guitar was more prominent that the lead electric. The acoustic was carrying the sound while the electric was providing grace notes to the vocals. That’s not a real explanation, it’s just what I can find the words to describe. Perhaps the best way of saying it is that she is not trying to sound like her concept of pop music, but is following her own muse. You’ll hear something from the new album on the March 23rd edition of  Gord’s Gold. 

I have to get to a meeting so I’ll have to tell you about Amy and Gracie in my next entry.