A Fire Burning Brightly
Let me put it to you bluntly: Barbara Manning, a minor celebrity in
the indie world and a veteran of World of Pooh and the San
Francisco Seals, has recorded a flat-out great album. 1212,
containing about an hour of Manning's music, is another indication
of her real and enduring talent. Although Manning has often been
compared to other female artists, such as Suzanne Vega (who she
often sounds uncannily similar to) or Liz Phair (who shares little
with Manning besides her gender and her record label), after
dozens of recordings, 1212 should, at the least, show that
Manning is a wonderfully unique artist who possesses her own,
rich voice.
1212 begins with a 20-minute suite of songs called "The
Arsonist
Story," which is about just that. Beginning with news accounts of a
burning
building, going on to a mother's realization that her teenage son is
the
guilty arsonist, and ending with the boy's drowning/suicide,
"Arsonist Story,"
consisting of four songs that weave in and out of each other,
mixing viewpoints,
musical styles and narratives, is in many ways typical of Manning's
style.
Taking what is a normal day in the lives of normal people and
merging it with an
extraordinary event, the San Francisco-based Manning has an
uncanny ability to communicate what's going on inside the heads
of people you're more likely to meet walking down the street than
in an Academy Awards fete. And "Arsonist Story" displays
this quality in spades. From her description of the mother's
realization of her son's actions (she saw it in his "wild eyes" when
he came home) on the suite's best track, "Evil Craves
Attention/Our Son 10x10" to her description of the arsonist's
alienation and ultimate death ("Trapped and Drowning"), Manning
hits everything right on the head -- every word rings true, every
change in music feels just right. And what a range of music it is:
"Evil
Craves Attention..." begins with a straight-up pop feel, with catchy
hooks
and a strong chorus (which focuses, not incidentally, on the
repetition of
"evil" ); "Trapped and Drowning," on the other hand, is an
expansive, almost
dreamlike composition, with horns soulfully singing out muted
desperation in
the background.
Although much of 1212 (the date of Manning's birthday -
Dec. 12)
has a dark tone to it, Manning's seemingly endless ability to come
up with
great melodies makes the album seem eerily at odds with itself at
times. "End
of the Rainbow," a song whose lyrics include "Life is so lousy in
the
cradle... There's nothing to grow up for anymore" (a bleak attitude
if I ever
heard one) is nonetheless the type of tune you're likely to find
yourself
humming on a sunny afternoon.
Although it's hard to pick out highlights -- song after song, you
convince
yourself that this is going to be the single, this is going to be the hit
song -- there are some standouts. "Rickity Tickity Tin," a song
loosely about
matricide, fratricide, and just about any other -cides you can come
up with
(and which, again not coincidentally, has fire as one of its themes)
has a
creepy, almost waltz/march-like quality to it, a melodic mood which
captures
the specific deliberateness of the tune's main character. And "Isn't
Lonely
Lovely" starts out with a mournful piano line that continues with a
steady
deliberateness throughout the song, and is likely to end up being
mentioned
in more than a handful of reviews. Bittersweet and aching, "Isn't
Lonely
Lovely" portrays, as well as I've heard in quite some time, the
feeling that
washes over you when you realize that life can be so wonderful,
but that to feel the fullness of life, it will be painful as well. "Isn't
lonely lovely," Manning sings, "If you want it," the notion being that
to lose yourself in love, sometimes you will find yourself on the
other side all alone. As in "The Arsonist Story," Manning uses a
muted trumpet to wonderful effect -- a line here, a line there and
somehow it all comes together just right.
And then, before you have time to recover, comes the urgency of
"That Kid," a full-throttled song, once again about loneliness
("Everybody wants to be loved," the chorus intones, in what could
be a theme for the album).
Manning shuns publicity. You're not going to see her on the cover
of Details anytime soon. And, since she's able to continue
to make the music she loves, and make it under the conditions she
wants, it's hard to argue for anything more. But after listening to an
album as good as 1212 and then checking out this week's
Top 40, it's hard not to feel that Manning isn't
quite getting the recognition she deserves.
But she wouldn't have it any other way. After all, isn't lonely
lovely?