GrooveOut

by Gregg Shapiro

COMING OUT SINGING
Celebrate our history month with queer music

Happy Gay and Lesbian History Month! The latest crop of releases by queer artists, from the lesbian, gay and bisexual communities, should get you through the end of the year with no trouble.

Peaches sings “I don’t have to make the choice/I like girls and I like boys” on “I U She,” a kinky bisexuality mantra from her new album Fatherf**ker (Kitty-Yo/XL/Beggars Group), the eagerly anticipated follow-up to The Teaches of Peaches. Expertly straddling the worlds of punk, hip-hop and electroclash (in, I would imagine, thigh-high platform boots), Peaches is even riper on this album than she was before. Stomping in on opening track “I Don’t Give A…,” Peaches spits a pit in our eyes as she rants “I don’t give a f**k” over Joan Jett’s “Bad Reputation.” She raps about her labia majora (“soft as angora”) and knocking us out “like Rocky Balboa.” She goes head to head with Iggy Pop on “Kick It,” on which they quote each other like old friends. Once again, Peaches sends it out to the men, boys, girls, women, and ladies on “Shake Yer Dix.” She duets with Taylor Savvy on “Stuff Me Up,” on which they encourage the listener to “eat a cookie/eat a big d--k every day” and “eat a cookie/eat a big clit everyday,” and sings the praises of anal sex for men on “Back It Up, Boys.”

Bisexuality is also the focus of Bi The People: A Compilation of Bisexual Artists & Friends (Violent Yodel). Compiled by Skott Freedman, who also contributed the track “The Price You Paid,” the various artists’ disc benefits the nonprofit Bisexual Foundation. Other contributors include Jill Sobule (the sexy and funny “Saw a Cop,” about being pulled over by a female officer), Laura Love (“If You Leave Me”), Melissa Ferrick (“Fighting Chance”), Bitch And Animal (the Eminem-slamming “Secret Candy”), notorious bisexual Tom Robinson (“Boy Girl”), Jewel tour opening act Anne Heaton (“Black Notebook”), Pansy Division (the oldie “Luv Luv Luv”), Carol Burnett’s daughter and bi disco diva Erin Hamilton (a dance cover of Kiki Dee’s “I’ve Got the Music in Me”), queer Celtic artist Ashley MacIsaac (“Sleepy Maggie,” with vocals by Mary Jane Lamond), openly gay American Idol contestant Jim Verraros (“I Want You”) and the ubiquitous Rachael Sage (“What If”), among others. 

The Pie-Love Sky (Big Head) by openly bisexual singer/songwriter Jodi Shaw was produced by Steve Addabbo, who co-produced Suzanne Vega’s first two albums. It’s hard not to draw comparisons between Shaw and Vega (even to Natalie Merchant, whom Shaw sounds like on “The Forger” and “Kristine’s Lullaby”), but Shaw does emerge her own person throughout. From her acoustic interpretation of Yaz’s “Only You” (Ms. Shaw, you have excellent taste in cover material) to original folk tracks such as “The President Knows,” “In Cabrini-Green,” and “Is,” to the drum loops of anti-folk tunes such as “Dumbo’s Feather” and “Out of Love,” the Pie-Love Sky’s the limit.

Creative and life partners Drew Daniel and Martin Schmidt, return with the latest effort from their group Matmos, The Civil War (Matador). After working with some other “high profile” artists and the release of Drew’s wonderful The Soft Pink Truth side project, the electronic sound collagists once again set a higher standard for the genre with this album that touches on the American Civil War, the 1660 English Civil War, and civil wars closer to home. Those are bagpipes and a tin whistle on “Z.O.C.K.,” but I bet you never thought you’d hear them in this setting. “Reconstruction” is more like a deconstruction, and “Y.T.T.E.” finally gives those waiting for a chance to dance to get up and do so. Matmos’ interpretation of “The Stars And Stripes Forever” has the potential to inspire flag waving in even the most unpatriotic listener, or marching at the very least.

Openly gay JS Adams of Blk W/Bear collaborated with Mark Beazley of Rothko on Wish for a World Without Hurt (Trace). Like the Matmos album, the eight songs on Wish are cut-and-paste recordings. The subject matter of the album addresses the events of September 11, 2001, and serves as a in remembrance of that day. Experimental and difficult, this funereal disc may not be the most accessible piece of music that you have heard, but it is hard not to have some sort of response to this music.

 Sounds from the Bedroom (Spitshine) by $3 Puta is the sound of electroclash clashing with itself—beat-box rhythms, synthesized melodies, and buzzing guitar. In songs such as “WEHO,” “Dyke Magnet,” “Yoda,” and “Punk Rock for Fashion Fag,” Raquel Contreras and Rodolfo Garcia share their concerns with images, identity, and socialization in the LGBT community with a hint of humor and more than a touch of truth. They also raise the issues of being in the queer performance world on songs such as “Fan or Friend,” and “Hard Hat,” as well as more personal experiences on “Gender Bender” and “The Rape Song.”

Speaking of accessibility, Preacher Gone To Texas, an Iowa-based hardcore “scremo” band has the potential to reach both straight and gay fans of this polyp-producing style of emo rock with their album Choice Vs. Chance (Sinister Label). Musically, Preacher Gone To Texas ought to appeal to fans of Thursday and The Blood Brothers, among others. Add to that the bonus of a couple of openly gay band members, including totally cute guitar player Matt Moody, and everyone will be happy. A reprieve arrives in the piano-only closing track “One Scream: Motive for Movement.” Although I don’t have a mothering bone in my body, all I want to do is offer vocalist Matt Johnson a Thermos full of hot tea with lemon and honey.

A queer punk revival is in full effect with new releases by Super 8 Cum Shot (Super 8 Cum Shot, Volume II) and Pansy Division (Total Entertainment). Burn Your Rainbow (Spitshine) by Skinjobs also deserves a place at the table. From songs about non-conformity (the title track), queer love (“Peep Show Love,” “Might as Well Be You,” queer recruitment (“Recruiting,” which ends with the declaration “We’re queer and we’re recruiting—now!”), and how queer history and rock and roll are on the same plateau (“Hands in the Air”), Skinjobs get their point across, loud and clear. Five of the hidden tracks are spoken-word bonuses, and the fifth is a song about “the lesbians of the Skinjobs.” These genuine punks put hetero poseurs such as Good Charlotte, Sum 41, and Something Corporate to shame. In fact, I strongly recommend that the members of the above-mentioned bands check out Skinjobs (and Super 8 Cum Shot and Pansy Division) to find out precisely what is lacking in their own songs.

On a much mellower note, Remember Who I Am (Clever Shark) is the memorable debut disc by queer trio Girlyman. Imagine a bent Nickel Creek and you have only scratched the surface of Girlyman’s lush three-part harmonies and modern bluegrass/folk sound. A truly cooperative effort, all three members of Girlyman (Nate Borofsky, Tammy Greenstein, and Doris Muramatsu) contribute to the songwriting process, and they alternate taking the lead vocals on the tunes. Standouts include “Say Goodbye,” “Fall Stories,” “Even If,” “Postcards from Mexico,” “Amaze Me,” and a praiseworthy cover of “My Sweet Lord.”

A great poet once said “make it new,” and that appears to be the challenge before lesbian singer/songwriters. With so many women who came before them and so many more trying to do the same thing, making it new may be easier said than done. On her fifth album Birthmark (Egasage), Aerin Tedesco does her part by ornamenting her folk-pop songs with an electric guitar here (“Downside Up”) and a cello there (“Fuel”) and even a didgeridoo (“London”). Some Cajun percussion spices up “Crush,” and the banjo on “Cowboy” give it, well, its pluck.

On her fourth album Single Bullet Theory (Wirl), queer biracial singer/songwriter Pamela Means sounds like what I imagine Rachael Sage would sound like if she stepped out from behind her electric piano and picked up a guitar. Cocked and loaded, Means fires off what is easily one of the best musical summations of the current political situation on the song “O.D.” (which stands for “oleaginous diplomacy: government initiatives made on behalf of oil companies”). She also addresses racial and queer issues on “Two Halves,” “Augusta,” and “The Devil’s Henchmen,” with equal directness.

The anti-folk songs on Andrea Bunch’s distinguished debut album Numinous find a common place for acoustic instrumentation and clear and powerful vocals to be enhanced by unusual samples and synthesizer sounds. “Earthworms” for instance, features a machine-like grinding under the surface. A babbling brook and bird calls interwoven with synthetic crunches and a beautiful piano gives “Colorloc” its unique hue. A debate about art and insecurity introduces the bittersweet “Sugar.” Electronic beats and flutters give “Species” its life force, and “Coil” winds itself around a more traditional folk sound. “Deosil” uses vocal samples to conjure a Middle Eastern feel, while the piano and vocal “Cottonwood” shows Bunch in another light.

Paving the way for Girlyman, Pamela Means, Andrea Bunch, and just about every other queer singer/songwriter from the last 30 years is Janis Ian. Working Without a Net (Rude Girl/Oh Boy) is a double-disc live set that features songs from Ian’s 35-plus-year career. From “Society’s Child” to “Days Like These” to “Boots Like Emmy Lou’s,” the recordings (from various venues and a multitude of countries) span the years 1990 to 2003, and offer an impressive, if incomplete, overview of Ian’s work. Some of Ian’s best-known tunes, including “At Seventeen,” “Jesse” (a hit for Roberta Flack), and “Fly Too High” (co-written by Giorgio Moroder!), are also present. A new studio disc by Ian is forthcoming in early 2004, and I look forward to seeing how she follows up her excellent 2000 studio album God & The FBI.

 Calico (MP3. com) by queer Chicago-based performer Scott Montgomery includes songs from his deservedly acclaimed Elaine Place and Roscoe album, such as “A Spank of Happy,” “Drama Lives in Lincoln Park,” and “blo.” It also features new songs, including the well-timed “Baghdaddy,” “Cali” (about a Calico cat, who “doesn’t break the skin when she chews,” and her owner), the funky folk of “Better Days,” and the crazy rhythms of “Scooty Boo.”

Finally, you must know that a queer music column would be incomplete without a few CDs by dance artists. Kevin Aviance follows up his 1999 Box of Chocolates full-length album with Entity (Emerge). Aviance gets dipped, flipped, and licked on “Give It Up,” co-written by gay DJ, songwriter, and record producer Tony Moran, in which he compares himself to both a drug that will make you go crazy and to cotton candy. His smash hit dance single “Alive,” also a Moran co-composition, which features his trademark stuttered vocals certainly deserved its lively reception. “Power,” co-written by Aviance, is a hand- and roof-raising number. “Freak It (Live Out Loud),” is Aviance’s most retro recording, reminiscent of the ’80s sound of The Gap Band, and is a standout track. Equally surprising is the queer blues of “Seattle,” which illuminates yet another side of the multi-faceted artist.

Houston Bernard manages to be more graphic than the aforementioned Kevin Aviance (and that’s no easy feat) on his electroclash EP I Love Houston (houstonbernard @ yahoo.com). Beginning with the “I’ve never been on a horse before” confession of “Ride It Cowboy,” he then asks the musical question, “Do you really want the dick?” and follows it up with very explicit directions. Rocking a little harder on the new wave edge, “Str8 Acting” begins with street cruising and features the chorus “I’m a straight-acting, huge-dicked faggot/I’ll f*ck you in the mouth.” Openly bisexual, Bernard turns his attention to the opposite sex on the tracks “U Smell So Nice” and “Oh Boy Relax.”

At the 2003 OutMusic Awards in June, Gregg Shapiro received the annual honor for Outstanding Support, which recognizes involvement by non-musicians in furthering the work of GLBT performers.