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| Canadian lesbian singer k.d. lang put together a worthy tribute to her songwriting
countrymen on ‘Hymns of the 49th Parallel.’
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‘Hymns of the 49th Parallel’
k.d. lang
Nonesuch Records
www.kdlang.com
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HOME > SOVO SCENE > MUSIC
By: Andy Zeffer
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Lesbian singer k.d. lang is a master of taking standards and making them her
own. She did it well on her album “Drag” by taking on tunes as diverse
as “Theme From Valley of the Dolls” and “Joker.”
Then there was the rapturous duet of “Crying” she covered with
the legendary Roy Orbison, the song’s originator. The Alberta native
also proved adept at exploring romantic themes on “Invincible Summer,” a
lush trip back in time with dreamy ‘60s Burt Bacharach-styled pop.
But on “Hymns of the 49th Parallel”, lang really hits the core
of her ethereal voice and talent. The singer traveled back to her roots on
this release, collecting a series of songs from acclaimed Canadian songwriters
Leonard Cohen, Joni Mitchell, Neil Young, Bruce Cockburn, Ron Sexsmith and
Jane Siberry.
Maybe it’s the intimate connection that gives this album such a stark
vulnerability. Lang opens herself up with this work, exposing a purity rare
in other recording artists.
This album is more than a listening experience. It cradles fans in lang’s
rich, comforting and gentle voice.
The CD begins with Young’s “After the Gold Rush.” As soon
as lang breaks into the opening lyrics, listeners know they are in for a treat.
Lang obviously has an affinity for the songwriters, and it’s apparent
that she pored over the work of many artists before deciding what to include
on “Hymns.” The list includes legends like Young and Mitchell,
and younger artists such as Siberry.
Every composition seems to share an introspective quality. These songs roll
together so well, it’s as if they were written at the same time for the
same album.
Young’s “Helpless” yearns for his hometown of Ontario, and
lang brings it brilliantly to life. Mitchell’s “Case of You” is
a perfect selection for the CD, especially in moments where lang reaches a
breathy point in her vocals that sweeps listeners off their feet.
Lang seems to have a special affinity for Siberry, who penned both “The
Valley” and “Love is Everything.” The latter closes the album
and is particularly sweeping, but not drawn out.
With her expansive vocal abilities, lang could go over the top, adding in
the vocal trills and thrills that so many vocalists feel compelled to exercise
in the post-Mariah Carey/“American Idol” era. But lang and her
chosen material are far too earnest and dignified for such extraneous hoopla.
Lang’s simply too cool to go there.
The orchestrations are forthright and open, and lang sings with a band that
includes Teddy Borowjecki, her co-writer David Piltch and Ben Mink, who is
also co-producer of “Hymns.” Musical legend Eumir Deodato, who
has worked with the likes of Aretha Franklin and Astrud Gilberto, arranged
and conducted the strings.
In an interesting choice, there are no drums on the CD with the exception
of “Jericho” by Mitchell. Lang has said in media reports that she
did not want to use drums because they would attach each song to a genre, and
she wanted them to stand on their own.
And stand on their own they do. The lack of drums works because it adds to
the overall softness of the album.
Lang’s voice makes it is almost impossible to muck up anything she touches.
But with “Hymns,” she has truly created a masterpiece. It is a
worthy tribute to her homeland.
And she gets good marks for a clever title, naming her album after the 49th
parallel of north latitude that forms the border between Canada and the United
States.
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