The Mumps late, great, and openly gay lead singer Lance Loud matter-of-factly crooned “I must confess that I can't get enough of me.” Lance—neither could we.
Why We Love the Mumps
Rachael Sage, L.P., Lance Loud, Dudley Saunders, and even Patti LaBelle—and more.... By Leslie Clare, Lance Scott Walker, Troy Carrington, and Andrea Rodricks
Mumps How I Saved the World Anchored by their late, great, and openly gay lead singer Lance Loud, these boys were arguable pioneers of the late ’70s NYC punk scene. But they haven’t gone down in history in the same way as their peers Blondie, Television, and the Ramones, and it’s anyone’s guess as to why. Some theorize that Loud’s flamboyance played into it, others that his appearance on An American Family, the first-ever reality TV show, tarnished their credibility. Others just maintain that their songs weren’t strong enough—Loud was a terrific vocalist, but he struggled as a singer. Nevertheless, their catalog is ripe with great material, and this complete collection even includes a DVD of live video—with a reunion show by the band in 1990, just four short years before Loud’s untimely death. As in “Fatal Charm” he so matter-of-factly crooned “I must confess that I can’t get enough of me.” Lance—neither could we. From Sympathy for the Record Industry (www.sympathyrecords.com). —LSW
Rachael Sage Ballads & Burlesque With delicate, quirky vocals and intriguing keyboards and orchestration, Rachael Sage's brand of folk pop seems at once both retro and modern. Ballads & Burlesque , her sixth album released on her own label, MPress Records, explores the art of seduction in all its guises. Sassy and spirited, this lesbian artist comes across as candid, earnest, and playful. Her feminist awareness and direct style have provoked comparisons to Alanis Morissette and Ani DiFranco, but her distinctive personality (which sparkles as originally as her droll decorative sense) shines through on this album. Between writing, composing, and running her own record label, Sage performs 150-200 dates a year in venues across the country--at press time, she was slated to appear at the Houston Pride Festival 2005. From Mpress Records (www.mpressrecords.com). For more information: www.rachaelsage.com. -- Leslie Claire
L.P. Suburban Sprawl & Alcohol The chord progression in “Wasted,” the opening track to this New York songwriter’s second effort, is arguably one of the most overused in all of pop music. It’s a pity, too, because there’s definitely something to her voice—a raspy yet resonant (and very trained) nod to Chrissie Hynde that finds great corners to explore in every song. And there are a couple of standouts for that matter, namely the upbeat “The Darkside,” which is both a step away from the album’s overwhelming number of ballads and from that damn chord progression. From Light Switch Records (www.lprock.com).—Lance Scott Walker
Dudley Saunders The Billy White Acre Sessions+ He’s hard to characterize, though he’s been compared to artists like Jeff Buckley and Chris Isaak. But Dudley Saunders’s rich, plangent voice and thoughtful delivery (not to mention the sharp, contemporary slant of his lyrics) transcend his Appalachian folk/country/gospel roots. He’s been featured in experimental-funk bands, on Indian-fusion rock tracks, and on avant-garde “neo-pop” records. But his second solo CD, The Billy White Acre Sessions+, brings Saunders full-circle. The unforgettable track “The Undoing (Everyday)” examines the actions we regret and must struggle every day to put behind us. This multi-talented gay artist possesses vocal prowess and superb musicianship that evoke a haunted, contemplative longing—yet never lose an underlying optimism and joy. From Fang Records (www.fangrecords.com). More info: www.dudleysaunders.com. —LC
