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Thalia Zedek, "Been Here And Gone"
Those of you looking for Thalia to continue in the sound set forth byher former band, Come, are either going to be pleasantly surprised ormiserably disappointed in her new direction. I'd lay my money onsurprised. Listening to this record there was one immediate thoughtthat repeatedly came to mind: it's a shame this release will notreceive the great fanfare and praise and record sales it deserves.Thalia Zedek has a voice all her own. Throw out your Patti Smithcomparisons, as they're neither creative nor warranted. Thalia has thevoice millions would kill or die for. It's there, in its gorgeousscratchy beauty, in full effect on this, her first solo collectionwhich contains eleven tracks, three of which are covers (includingLeonard Cohen's "Dance Me to the End of Love" -- a wonderful choice andexecution). Where you think you've heard Thalia before, think again.This release, if nothing else, proves that no one really KNOWS Thalia,nor what she is capable of. Chris Brokaw is along for the ride, but heis not at all in that classic Come form. Very subdued is this music,and rightfully so. That voice demands it. But the best part of "BeenHere And Gone" is hearing Thalia the songwriter move to the forefront.By the time you reach "Back To School," the second track, mind you,you'll almost be haunted out of your skin by this music. Then you hearthe lyrics, and it breaks you. "Can you tell that sometimes I can'tforget that I'm alive?" Incredible. The arrangement is also fittinglyspooky, with viola and trumpet in the most amazing places in the sonicpalette. Sure, it's a far cry from Come, but it sort of had to be,didn't it? In bringing the sparser, quieter instrumentation to thesesongs, Thalia reveals herself for more than she ever has before, andthe listener is blessed for the experience. All in all a fine release,so listen for yourself, already.
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