Why be wrought when you can be overwrought? That’s a question that Michael Longoria might have asked himself as he set out to record Broadway Brick by Brick (Broadway Records). Just as it seemed the cabaret community had turned a corner by expanding its palette to include interpretations of more daring modern material, along comes this affected and clichéd offering from “Jersey Boy” Longoria. Seemingly unaware that love is a four-letter word, not a four-syllable word, Longoria, who granted, has a pleasing voice, takes to the recording studio like it’s a mat at a gymnastics event. Even more disappointing is the uninventive choice of material, as if there wasn’t a decent song from a Broadway musical after Sunset Boulevard or Mamma Mia from which to choose. Check again, mister! Longoria does deserve praise for singing some songs that were traditionally sung by women, including “Tell Me on a Sunday” (from Song and Dance), “As If We Never Said Goodbye” (from Sunset Boulevard), and “Music and the Mirror” (from A Chorus Line). Closing the disc with “Over the Rainbow” was a wise choice, as it gave Longoria the opportunity to clear out before someone dropped a house on him, too.
Fast Forward (EAR Music / Edel), queer singer/songwriter Joe Jackson’s first album of original material in seven years, is his best and most consistent disc of the 21st century. Jackson, who along with Elvis Costello and Graham Parker, arrived among the first wave of punk / new wave artists, was a synth-pop pioneer (remember “Steppin’ Out”?), composed memorable movie scores (check out Mike’s Murder and Tucker) and dabbled in jazz and symphonic music over the course of his lengthy career. Separated into four city sections – New York, Amsterdam, Berlin, and New Orleans (in which the song were recorded) – the 16 selections are fine examples of Jackson’s versatility. His covers of songs by Television (“See No Evil”) and German cabaret composer Peter Kreuder (“Good Bye Johnny”) co-exist comfortably alongside top notch originals including the title tune, “Ode to Joy,” “Poor Thing,” “If It Wasn’t For You,” “A Little Smile,” “The Blue Time,” and “Keep On Dreaming.”
It’s incredible and exciting to think this, but each new Tegan and Sara album has become its own sort of event. Since the release of the queer twin duo’s major-label debut in 2000, as they evolved their definitive folk-pop style to their current electro-powered sound, their popularity has continued to mount. Love You to Death (Rhino / WB), propelled by the insanely irresistible first single “Boyfriend,” spins around like 1980s nostalgia filtered through the 20-teens. There’s so much to love to death here, including the desirable “Stop Desire,” the dramatic “White Knuckles,” the dazzling piano and vocal break-up ballad “100X” and its flipside “B/W/U,” the retro strut of “U-Turn,” and the swirly dream of “Hang On to the Night.”
Is there anything Margaret Cho can’t do? She’s a comedian, a writer, an actress, a burlesque artist, an activist, and a fashionista. In 2010 she expanded her reach with her music album Cho Dependent and has just released its highly anticipated follow-up American Myth (Margaretcho.com). On the whole, the album, a collaboration with lesbian singer/songwriter Garrison Starr, feels like a more serious effort, beginning with the way that Cho has become a better singer. Opener “Come With Me,” as well as “Moran & Miiri,” “Anna Nicole,” and “Daddy, I Miss You,” also reflect a more fundamental change in her approach to making music. Don’t misunderstand – Cho still knows how to make us laugh as she does on “Ron’s Got A DUI” (which also has a sober side to it), “Fat Pussy,” and “We So Worry.” Brava diva!
First things first – there is nothing as ridiculously exhilarating as “Paris is Burning” on Wild Things (Mid-Century), the new album by out electro goddess Ladyhawke. That said, the disc still has plenty going for it – more than enough, in fact, to justify recommendation. Opening track “A Love Song,” for example, is certain to keep listeners moving. The same can be said for the busy beats of “Golden Girl” and “Let It Roll.” “Wonderland” is wonderful and “Dangerous” lives up to its name.
Heather Mae is not the first queer woman of size to address issues of body image. Beth Ditto and Mary Lambert get some of the credit for paving the way. Nevertheless, Heather Mae’s self-empowering five-song EP I Am Enough (Heathermae.net) is also deserving of attention. To her credit, she’s got talent to burn, both as a singer and a songwriter. “Broken” but with her “feet still on the ground,” as she sings in “Hero,” she vows to get crowned and be the hero in her own story. The brilliant title tune, with its “turn around” advice to detractors, as well as the anthemic “Stand Up,” on which she’s accompanied by a “bad-ass chorus,” are also noteworthy. This is the kind of EP that will surely leave listeners longing for more from the singer.
Filmed in October 2015 at Como, Italy’s Teatro Sociale, Sinfonia Pop (Eagle Vision), the live concert video by Mika features a broad selection of songs from all four of the queer singer/songwriter’s major-label recordings, including his latest, 2015’s No Place In Heaven, as well as a couple of non-LP singles. If you’ve ever had the pleasure of attending a Mika concert, you know he’s a first-rate showman. Even in such a sophisticated setting, backed up by a full orchestra, the buoyant energy of Mika’s music comes through. DVD bonus features include interviews with Mika and conductor Simon Leclerc.
Ladyhawke performs on February 27th in Washington, D.C. at Rock & Roll Hotel and on March 3rd in Philadelphia at Boot & Saddle.