In 2003, A&M Records released an extensive and brilliantly sequenced overview of Suzanne Vega’s illustrious career, unambiguously titled Retrospective: The Best Of. Filled with major hits (“Luka,” “Tom’s Diner” and “Marlene on the Wall” start out the album), fan favorites (“Gypsy,” “Caramel”) and wildly underrated tracks (“Tired of Sleeping,” “World Before Columbus”), Retrospective fulfills all the requirements of an exceptional musical survey. Vega’s decision in 2010, then, to re-record four thematically-driven albums worth of songs from her catalogue seemed at first uninspired and slightly arrogant. It also came across as an act of defeat, following the dissolution of her record deal in 2008 with Blue Note. And to be fair, all of these assessments have a certain level of validity. However, Vega’s re-imagining of her catalogue has been, so far, done with such poise, integrity and thoughtfulness that this somewhat self-indulgent retrospective project is actually a welcome artistic investment.
Simply dubbed, Close Up, Volumes 1-4, each album focuses on a different motif and thread in Vega’s music and characters. The first two volumes have been released (Vol. 1: Love Songs and Vol. 2: People & Places), with two more to come (Vol. 3: States of Being in May 2011 and Vol. 4: Songs of Family). The unadorned beauty of these songs shines through on the compilations, and the fact that these re-recordings in many places improve upon the originals makes it a fantastically gratifying venture.
Vega has always pulled in sizable crowds for her concerts. In the 80s, propelled by the success of her eponymous debut and the inimitable follow-up Solitude Standing, she filled huge venues across the United States and abroad, while “Marlene on the Wall” and “Luka” were firmly seated in the cultural zeitgeist. She is no longer selling out arenas, but the fervor for Vega’s live show has in no way diminished. There was a surprisingly wide spread of ages at her recent San Francisco show at the Palace of the Fine Arts, from children to seniors enjoying the two hour-long concert. She split the show into two main sets, followed by a three song encore. She covered the breadth of her catalogue, while also playing two songs from the forthcoming musical Carson McCullers Talks About Love, which she co-wrote with Spring Awakening sensation Duncan Sheik. Sadly, though, she omitted songs from her insanely undervalued third album Days of Open Hand. But, with a collection of songs so rich and compelling, it’s understandable.
Backed by guitarist Gerry Leonard and bassist Mike Visceglia (with whom she’s worked throughout her entire career), Vega took the stage and immediately started playing “Marlene on the Wall,” to much applause. She continued in a fairly linear fashion, playing through some of the tracks from Close Up, Volume 1: Love Songs, before Leonard and Visceglia left the stage. Vega told a long story about a summer camp in the Adirondack Mountains where she was a counselor in her late teens, and how she fell in love with a boy and wrote “Gypsy” there in 1978 for him. She then played the song, and it was utterly flawless. “Gypsy” has long been a major highlight of her career, and it’s evident why: a beautiful melody fits in with perfect harmony to a heart-wrenching finger-picked guitar line. It’s folk music at its best, and if anything, the performance left the audience wanting more of Vega solo. The accessibility of “Gypsy” in no way detracts from its meaning; rather, it was like getting a glimpse at what Suzanne Vega was before she became Suzanne Vega: The Star. It was like being shot back into the little folk clubs of New York City in the early 80s, for a frustratingly short moment. What exacerbated this disappointment was Vega’s slightly chilly demeanor when playing with her band. With “Gypsy,” though, the frost melted, the indifference disappeared and she was charming, absorbing and relatable. In no ways would one label Vega as bubbly or animated, but she certainly is unfeigned and sincere.
One of the main benefits of her most recent retrospective project is that it shines the light on some lost and forgotten songs that, in many ways, really capture the essence of Vega’s songwriting. Close Up, Volume 2 revisits “Ironbound/Fancy Poultry,” a somewhat difficult but utterly first-rate song from Solitude Standing. Whereas the original contains calypso-like percussion and is hypnotic with its sultry bassline, the updated version speeds up the tempo and is much more focused on a minor-key driven electric guitar. Surprisingly, the edgy guitar removes the emphasis on the instrumentals, thereby spotlighting the songs lyrics. “Ironbound” is a deeply poetic song that sounds like a cousin to her most recent work, Beauty & Crime, a magnificent ode to New York City. Vega performed the song without any instrument, giving all her attention to singing, and she was totally on point.
The second set included major hits “Luka,” “The Queen and the Soldier” and “Tom’s Diner,” but unfortunately much of the set was marred by Leonard’s unrestrained electric guitar. The levels were way out of sync with the other instruments, so his was amplified above Vega’s mic and Visceglia’s bass. It was especially frustrating on “The Queen and the Soldier,” one of Vega’s most heartbreaking songs. It would have fared better had she given it the “Gypsy” treatment, like in the first set; however, Leonard’s attempts at flair throughout only provided a major blemish on an exceptional song. Visceglia, on the other hand, was completely on target with the songs, knowing when to pull back and when to push forward at just the right times. Having worked with Vega since 1985, it’s clear how well he knows and loves these songs.
The focus of the encore was on her upcoming musical, Carson McCullers Talks About Love. It was quite exciting to see two of the pieces performed, as they are her first truly original material since 2007. “Harper Lee” was engaging, humorous and catchy, and proved evident that Vega is still in full command of her talent. The lyrics are literate, thought-provoking and all-together human, with the right amount of author removal, for which Vega is so well known. If the other songs from the musical are as strong as “The Instant of the Hour After” and “Harper Lee,” then it has every ingredient to be quite a success.
Vega closed the show with “Rosemary,” fittingly from Retrospective. Not as plaintive as “The Queen and the Soldier,” not as candid as “Frank & Ava,” and certainly not as tender as “Gypsy,” it’s still a great choice for a closer. It’s both a love song and an examination of character, situated in urban life and referencing literary culture. And just when you think you’ve figured out that it’s a trademark blueprint of a Suzanne Vega song, she ends with the line: “All I know of you is in my memory / All I ask of you is remember me.” One of the most straightforward and candid lyrics she’s ever penned, but in many ways her most affecting and poignant. For an artist twenty six years into her career as a major star in the pop/folk world, Suzanne Vega is remarkably self-aware and capable, but with lines like these in “Rosemary,” she continues to remind us why she is such a luminary among her contemporaries.
SETLIST
SET ONE:
Marlene On The Wall
When Heroes Go Down
Small Blue Thing
Caramel
Frank & Ava
Gypsy (solo)
In Liverpool
Ironbound / Fancy Poultry
SET TWO:
Tombstone
Left of Center
Blood Makes Noise
The Man Who Played God
The Queen and the Soldier
Neighborhood Girls
Some Journey
Luka
Tom’s Diner
ENCORE:
The Instant of the Hour After
Harper Lee
Rosemary
