Date: 22 Aug 99 12:36:47 PDT From: Erin West Subject: Review of Great New Album by Lesbian Artist Enjoy and please publish! Thanks! EW Review of New Catie Curtis Album: A Crash Course in Roses by Erin West: 3767 Arnold Avenue San Diego CA 92104 + erinwest@netscape.net Back in the summer of `97, Catie Curtis had three solid albums under her belt, and was about to release a truly fabulous fourth. The self-titled CD should have been the booster rocket that catapulted this lesbian singer/songwriter from Saco, Maine out of modest folk fame and into mainstream, national prominence. Unfortunately, her record label (EMI's Guardian) self-destructed shortly after the self-titled album's debut, stalling the inevitable. It now falls to her latest release, A Crash Course in Roses, to finish the job. All indications are that it will succeed -- handily. A Crash Course in Roses, released August 3, is Curtis's sabbatical baby. Most of the songs were written or finished during 1998, the year she was mostly between record companies. Rather than fritter away the time in creative limbo, she decided to tour less, relax more, and write up a storm. The result is a rich and rewarding collection of songs about self and other, about accepting life on life's terms, and appreciating whatever comes your way, which may or may not be what you were hoping for. Curtis describes Crash Course as an album about life-changing experiences, such as falling in love, going to war, and losing someone dear to you. Certainly it is all of those things. But Curtis has written about love on every album, and referred to death on most. What is different and deeper this go `round is the perspective she brings to her material. The melodies and music are every bit as polished and satisfying as they have been since her first CD, but the lyrics have broadened to address the feelings and expectations of those around her. The love songs, in particular, speak not only to whether her needs are being met, but whether she has what it takes to meet the needs of someone else. This expanded frame of reference marks not only a growth in the quality of the songs, but suggests a corresponding maturity in the songwriter herself. The album benefits measurably from the added texture and breadth. Take the first cut, for example. Gave Me Love, written in the tail end of 1997, starts out as a thank you note to a person who has lavished unconditional love when it was desperately needed. The result is not only the beginning of redemption, but also the start of wondering whether the recipient will be able to return so precious a gift in kind. World Don't Owe Me Nothing recognizes that life holds no guarantees of love or joy, so when they come your way they are to be treasured. The song also reflects Curtis's new found willingness to halve her grief by sharing it with another, and concedes the key role her music has played in helping to distract her from sadness. Despite its thoughtful subject matter, World Don't Owe Me Nothing is immediately catchy and thoroughly upbeat. 100 Miles revisits a familiar Curtis theme: the idea of being out of step with the rest of the world. But instead of assuming the worst, she wonders whether being different mean she is 100 miles ahead of everybody else, or 100 miles behind. And she is willing to take the risk of exposing those doubts to the woman she loves. Crash Course is the first Curtis album to focus more on life's bounty than its betrayals. This is no small feat considering it also follows a period of tortuous loss for Curtis. Between the last album and this one, death claimed a young niece, and a dear friend. Look At You Now approaches the former tragedy by explaining how inspired Curtis continues to be by her sister's strength, and Fusco's Song treats the latter tragedy as a tender ode to a sweet man and a special friendship, both cut short. The ability to transform sorrow into something positive and beautiful is more evidence of her personal and professional growth. Perhaps my favorite cut on the album is Magnolia Street, a song so clearly autobiographical that I have no doubt it refers to a real street, a real car, and the real love of Curtis's life, a camp counselor named Liz. Unlike the faithless lovers of albums gone by, Liz is the muse that not only inspired this current crop of love songs, but also has the ability to suggest song ideas to Curtis, who then writes them whole. The album's seventh cut, the haunting I'll Cover You, is an example of their creative partnership at work, while Magnolia Street is a celebration of their perfect fit. Capturing, as it does, the magical moment when two people first realize they have fallen in love, Magnolia Street will surely become one of the instant classics in Curtis's repertoire. Crash Course is not without it's share of Curtis whimsy. Stay Up All Night is about a performer who would gladly give up the possibility of immortal fame in exchange for an all night encounter. And Wise to the Ways offers provocative, stinging commentary about the excesses of television news. But it wouldn't be a Curtis album without at least one spirited rocker: Burn Your Own House Down compassionately documents the artist's unwillingness to allow someone she cares about to self-destruct. Seldom has such potentially heavy subject matter been so singable, so rousing and so satisfying. Not just here or there, but throughout all 14 cuts. What Crash Course has in common with the rest of Curtis's work is that there are no weak spots. The heart of a 16-year old drummer still beats within her, but Curtis has an unerring ear for stringed melody and literally every song glows with appeal. It doesn't hurt that she has a unique voice that rises and falls with the emotional tides of her storytelling. Curtis is an immediately accessible performer whose voice radiates an honesty and sincerity that never fails to engage. Her songs personally effect her, and the listener cannot help but be personally effected as well. As accomplished as her solo work is, Curtis's voice is equally angelic in harmony with others. She gets plenty of help here, including back up support from Mary Chapin Carpenter and an assortment of regulars. And the superb talents of Jimmy Ryan on electric mandolin are as much a plus on the album as they are when the two perform live. If you have not had the pleasure of listening to Catie Curtis's music before, A Crash Course in Roses is definitely the place to start. If you have had the pleasure before, then run (don't walk) to your nearest record outlet. Yeah, it's that good. INSTRUCTIONS: OBTAIN ALBUM, BIOS AND B/W PHOTOS BY CONTACTING KRISTEN DRISCOLL AT RYKODISC: kristend@rykodisc.com. ____________________________________________________________________ Get your own FREE, personal Netscape WebMail account today at http://webmail.netscape.com.