TOM'S ALBUM REVIEW

Has there always been a dance element to Suzanne Vega's music? The release of Tom's album certainly seems an appropriate moment to dive into the Vega back catalogue and find out. The cracking contribution to the movie Pretty In Pink, Left of Center, showed that a mild danceableness (thanks mainly to Arthur Baker) didn't harm her thoughtful lyrics, and although it would be difficult to shake a let to most of her other recorded work to date, (apart perhaps from Book of Dreams, which set her up as Belinda Carlisle's mature sister) the potential is there. Vega's peculiar, Lou Reed influenced way of half speaking, half singing her lyrics and the strong rhythmical texture of most of her songs would both work well in a more dance oriented context. It is undeniable, however, that a lot of people who like Suzanne Vega hated the DNA remix of Tom's diner, and an equal amount of people who loathed her Girl-with-Guitar image loved it. Does this mean that Vega fans are afraid to dance? Well, they could always take up ballet... At one point there was talk of a full album of Vega remixes, but now that idea seems to have been put on hold. A shame really, because the remix of Rusted Pipe, which is featured on Tom's Album, again shows how well Suzanne Vega songs can be adapted to the dance floor. There is a spiritual side to house music that is hardly ever recognized but which goes very well with the song's lyrical theme of self renewal. Apart from Rusted Pipe there are twelve other tracks on Tom's Album Three of those we know. The original a-capella version and the instrumental version of Tom's Diner, which were both featured on "Solitude Standing," and the 'original' DNA remix. Which leaves nine versions of varied quality. Among the highlights are Daddy's Lttle Girl, a funky rap version by Nikki D, with a new lyric about 'getting nasty with Vaughn' and unwanted pregnancy. Apparently it is one of Vega's own favourites too. Equally endearing is "Jeannie's Diner," which incorporates the theme tune of the t.v. series "I Dream Of Jeannie." Marilyn Whitelaw's vocals are charmingly out of key, which only adds to the gentle amusement. Then there's "Waiting At The Border," sung by Beth Watson, which takes the viewpoint of a soldier in the Gulf War who is 'sitting in a bunker in the middle of the desert' and reflects on the moment that he will be called upon to go out and fight. There are some crap versions included too. Take Michigan & Smiley, who churn out a rather lame reggae version or the NDA Project, which is little more than an inferior Itale-house imitation of the original DNA remix. There is also a Swedish version, "Takes Kafe" by Mats Hojer, which somehow makes me glad that no one tried a Dutch one. In the 'interesting' category fall the versions of Peter Behrens and After One. The first, called Dep De Do Dep and sung in German, centers around the song's hook line, and the problem that you can't get it out of your head once you've heard it. The Tom's Diner rap by After One takes the viewpoint of someone in Tom's diner who is watching Suzanne Vega go through the events that make up the song. The funniest and at the same time most embarrasing version included here comes in the form of Tom's ? by Bingo Hand Job, who consist of REM, Peter Holsapple, and Billy Bragg. It was recorded during REM's now legendary 1991 performances at the Borderline club in London. Suffice to say that is even worse than their drunken version of Roger Miller's "King Of The Road" (which is on the Dead Letter Office album). All in all, Tom's Album is an entertaining listen which nearly fills the gap between "Days Of Open Hand" and the new album which should be released in 1992.

Oene Kummer