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Title: Chartattack.com review of Trinity Post by Jareed on May 1st, 2002, 7:30pm Trinity-St. Paul’s Centre Toronto, Ontario April 27, 2002 by John Teshima Sarah Slean seemed a little bowled over by the size of her audience on this Saturday night. She giggled and gawked incredulously, offering faux swoons to the enthusiastic hundreds in attendance. After all, clubs, not concert halls, have been her familiar territory of the past. But the 25-year-old singer-songwriter is now riding a deserved wave of increasing popularity, no doubt due to the airplay of her "Sweet Ones" video and single. Being a little overwhelmed probably explains why Slean was a bit slow in making a connection with her audience. During the first four numbers, Slean said virtually nothing and kept her eyes shut the majority of the time. Although she writhed expressively on the piano bench and her face communicated the intensity of her emotions, the effect was still somewhat distancing. Then she launched into a cover of Lenny Kravitz’s "The Difference Is Why." Freed from the restrictions of pounding the ivories for this song, Slean began to loosen up and engage with the audience. From that point onward, Slean settled into a confident and masterful performance that pulled the audience closer and closer to her. Despite the early stiffness of her interactions, the music never suffered one iota. Slean opened with powerful versions of "Eliot," "Duncan" and "Bank Accounts," pounding into submission anyone who came expecting more delicate material. Slower numbers such as "St. Francis" and "Book Smart, Street Stupid" were rife with dramatic shifts in dynamics. Even solo performances, such as "Me, I’m A Thief" were mesmerizing in their intensity. Slean was backed by a crack six piece band, including a string section and Sarah McElcheran on trumpet, flugelhorn and what appeared to be a conch shell. They all followed Slean effortlessly, through every swooping change that her music demands. And although it’s early in the tour, arrangements were already evolving beyond the recorded versions – for example, an enchanting bass obbligato section in a verse of "Duncan." Particularly benefiting from musical retooling are the older songs "Weight," "Eliot" and "My Invitation." These three had already been vastly improved when re-recorded for Slean’s latest CD, Night Bugs. Live, they continued to gain further complexity and depth. Slean also closed her set with a knockout version of "Playing Cards With Judas," arguing strongly that she should perhaps go back and re-record her entire catalogue. So despite some early jitters, in the end Slean had no trouble performing in a larger venue. Next stop, stadiums! |
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Title: Re: Chartattack.com review of Trinity Post by Nikolita on May 1st, 2002, 10:48pm thanks for the article... but my response.... NOOOOoooooooo....... she shouldn't re-record everything!!!!... I like her songs just the way they are!!!... though her re-recordings are good, the originals still maintain my favour. nikolita^_^ |
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Title: Re: Chartattack.com review of Trinity Post by Nikolita on May 1st, 2002, 10:50pm ha ha! (proud of myself for that one!) nikolita^_^ |
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Title: Re: Chartattack.com review of Trinity Post by Thom_E_Yorke on May 2nd, 2002, 5:27am wow... Will my picture work ? http://perso.wanadoo.fr/live-recordings/wendykissc.gif *christophe* |
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Title: Re: Chartattack.com review of Trinity Post by Thom_E_Yorke on May 2nd, 2002, 5:28am Yes it does ;D !!!! *christophe* |
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Title: Re: Chartattack.com review of Trinity Post by guyfromARGYLEROAD on May 2nd, 2002, 5:39am It's only because I have listened to her SMALL performance MP3's that I should agree with the SHY, over-whelmed fact. Some people need to get used to it, I grew up on stage so...no matter. Her songs LIVE knocked me out! He hit the nail on the head. When you wanna hear the album version you CAN...at HOME. She doesn't stretch the arrangements TOO far. She hit me in the face with some amazing dynamics as well. I was soooo impressed I cannot stop talking about it. He forgot to mention, "The Score"...which was perhaps the most overwhelming part of the show. I glow with anticipation knowing she must have a thousand songs in her, I'll be waiting to hear them all eventually form. Good review, great opinions. Jay |
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Title: Re: Chartattack.com review of Trinity Post by Jareed on May 2nd, 2002, 9:19am i love the NOOOOOOOOOOO by nikolita. quality stuff. the review was pretty decent, it is true though, sarah did use to talk alot more between her songs, but jesus she's only human! (or is she? :P) and oh for GOD SAKES i hope she doesnt re record her whole catalogue. that would just be blasphemous. why fix what is not broken! |
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Title: Re: Chartattack.com review of Trinity Post by Seraphiel on May 2nd, 2002, 5:25pm I don't think she should re-record her older stuff. Playing different versions and improvising is what live performances is all about but re-recording them seems a little... I dunno... counterproductive. :( Concentrate on recording the new stuff rather than tweeking the old on albums. I gave my brother a copy of Night Bugs I'd bought and he hates what she's done to Eliot and Weight on it. I must admit that I myself skip it sometimes on my CD player. |
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Title: Re: Chartattack.com review of Trinity Post by Hejira on May 2nd, 2002, 9:09pm I disagree completely. I think that sometimes a particular recording doesn't do a song justice. I think Weight sounds so much better on Night Bugs. I really don't think that Universe 'sounds' great as a record. I'm not going to be overly critical--it was her first record! Still...with better production values and arrangements that better suit the songs, I think some of those songs could become much more...'classic'. I don't think it's necessary for her to re-record her whole catalogue though. That's a bit drastic. But reworking a few here and there? Why not? She has some strong older material that should not fade into obscurity. |
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