Have I mentioned lately that I love my life? Who else gets to do what I do. Absolutely no one, that's who. As if my life weren't charmed enough, there are days when arriving CD's coincide with live gigs. What an amazing opportunity to observe all sides of an artist, to have the chance to actually speak a few words with them before I sit down to the keys.
This awesome little scenario occurred last week when I received a copy of Rachel Owen's CD, "Steering With My Feet" with an invitation to see her at Radio Café a few days later. I always go through a few seconds of indecision when this happens. Should I listen to the disc first or see the show? Indeed the cover graphics made me want to put the disc in immediately. Unfortunately, the influx of reviewable material arriving in my box has kept me on a schedule of it's own, so I threw it all up to fate.
And as fate would have it, Rachel found her way to my CD player the night before her performance. On the first go around in the melting pot, Rachel was accompanied by North Carolina folkie Josh Lamkin ("Good Again"), Ella Fitzgerald ("Jazz"), Howard Shore (Soundtrack to "The Cell") and Edwin McCain ("Messenger"). What struck me first was how her self-defined "adult alternative" style set itself apart from the other discs in the player almost immediately. Her songs travel the full gambit of emotions, from the humorous "Luv Me And Leave" to the tender "All I need" (by far the best cut on the album). My only initial complaint was something I couldn't quite put my finger on. I wanted to say it was something about the mix, but I wasn't sure.
Now, here's where an interesting thing happened. I only had time for Rachel to spin through one melting pot session before I saw her play live. I've never had this perspective before of disc, live, disc. It's usually disc, disc, live or live, disc, disc. (Get it?) In other words, her show at Radio Café was sandwiched between the two melting pot sessions of the CD review. It means, NEW DYNAMIC. It means, GREAT FUN for The Scribe.
So off to the Radio Café I went on May 31st to see for myself what this artist had to offer on stage. I arrived about 15 minutes before Rachel was scheduled to play. She was outside when I arrived, enjoying the company of friends and fans while waiting for the previous performers to clear the stage. The crowd outside was such that I decided not to intrude upon her, figuring my time would be better spent finding a seat inside (which would soon be scarce).
Within thirty seconds of the start of her set, I knew what it was about the CD that bothered me. For one thing, I was seeing a totally different artist. Yes, she was singing the same songs and had the same voice, but among recording artists that is really not that uncommon). To an artist who lives and breathes for the audience (which she so obviously does), a recording studio can be a lonely, antiseptic dungeon by comparison.
Assisted in her live music making by Ed Cain on bass, Dan Waltz on guitar and Mary Sharp on backup vocals, Rachel commanded the room for the better part of an hour. She didn't talk much at first, giving them instead the Rachel Owen tunes they were hungry for. But after about four songs, she began chatting to the audience with ease and a twinkle in her eye. They responded with laughter and respect at the appropriate times, which is a huge feat in itself. By the end of the evening, a lot of them were singing along. There's something to be said for a woman who can capture an audience in a town like Nashville, where great music is playing everywhere, all the time.
The highlights of the evening were "The Wasted Times Of Tanqueray" and "All I Need." "Tanqueray" was a rocker that set the room on fire, ending with cheers of excitement from the crowd. "All I need" was performed with such heart-felt conviction that the Goosebumps I had that night have reappeared on my arms now from just thinking about it.
I guess the best way to convey to you what was actually going on in there that night is to simply say when it was time to leave the stage, the audience wouldn't let Rachel go. I mean, it was that simple. Nope, think again, babe, you're definitely NOT FINISHED. And she was happy to oblige, gracing the crowd with two solo numbers: "You Kill Me" and "Angry Folksinger's Love Lament."
I got to speak with her briefly afterwards (although it was a challenge to catch her otherwise occupied with her fans). I was greeted with a giant smile, firm handshake and that same twinkle of the eye that makes her a delight on the stage. Rachel is truly having a good time in a way that suggests that that's THE POINT. I found myself driving home humming Rachel Owen songs, excited to finish the disc review.
I was still humming Rachel Owen songs the next morning as I was loading her second melting pot mix into the player. This time, (as always on the second mix) I was a bit more selective. She went around this time with Hank Williams III ("Rising Outlaw"), Doris Day ("The Essential Doris Day"), and two movie soundtracks with various artists ("Eyes Wide Shut" and "The Classic Film Scores of Bette Davis").
Of course, Rachel stood about alone like she did the first time. I was expecting her to. But I realized that her voice really reminded me of the classic female vocalists my mother played when I was little and so I was trying to recreate an era (sort of as an experiment) with Hank III thrown in to kick it into a high gear that I knew Rachel's disc wouldn't be able to do.
I spent the next four and a half hours letting the mix move through me. I found that my thoughts about it were more or less the same as with the first mix (expect that now, of course, I knew what it was that was bothering me about it).
Now, I'm listening to Rachel's disc by itself as I'm writing this (my normal method). I've been over these lyrics a hundred times. It's a well written, visually pleasing record that lacks the passion I now know Rachel is filled to the brim with. At this moment, "All I Need" is playing. While it's an awesome song, there are no Goosebumps present now. This album is great to have if you've just been blown away by her live performance and want to take something home with you. But if (as a person not doing what I do by trade) I heard the album first, I don't know as if I'd run right out to see a show.
I wish I could give "Steering With My Feet" the rave review I want to give it (especially since there's a whole throng of loyal followers who, I'm sure, will disagree with me), but as a journalist I can't compromise my integrity. Make no mistake; "Steering With My Feet" is a good album with cool songs. I even recommend picking up a copy for yourself. But I know that there's much more to Rachel than what is found here. I mean,
"If you're going to shoot the moon,
blow it out of the sky."
Right?
Perhaps recording with the same musicians she plays live with would be a good start. There was a definite connection there.

RACHEL OWEN: "Steering With My Feet"
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RACHEL OWEN: Live at RADIO CAFÉ
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