The Blistering Sun - Rachael Sage

Author's product rating:   

Originality	Groundbreaking
Lyrics	Sublime
Quality and consistency of tracks	A couple of weak links
How does it compare to the artist's other releases	Outstanding
Value for Money	Excellent

Advantages:	Larger - than - life songs, original arrangements
Disadvantages:	Might be a little too "performance - based" for some

Recommend to potential buyers:

yes

Full review

Rachael Sage is a fairly unknown singer-songwriter this side of the pond, and it's probably fair to say that she hasn't made a huge impact back home in the States either although she did land the 2005 Independent Music Award for Best Folk/Adult Album Alternative (AAA) artist. Despite releasing at least seven albums she's yet to make any kind of breakthrough into mainstream play-lists and there lies the problem - whilst her material is AAA in substance, it's also quirky enough to fall outside the scope of most US radio networks. For someone who discovered Rachael Sage through her 2005 album "The Blistering Sun", I feel that's something of a shame, because there's definitely a market for this kind of music. Whilst it's clearly pop in nature, there's almost a bigger performance going on within each song, the larger-than-life, fulsome arrangements dragging the tracks out from what would be mediocrity. If you're looking for something a bit different and slightly unusual, you'd do well to listen to this particular album.

A self-taught pianist, Rachael Sage also turned her hands to poetry and this probably developed her song-writing skills - enough at least to land her a coveted slot in the Lilith Fair line-up during the mid-1990s where she met the likes of Sarah McLachlan. This inspired her to ditch her then-current six-piece band and go it alone as a singer-songwriter. Gigging in various US and European cities, she received support from Ani DiFranco and Suzanne Vega among others following the release of her first few albums. By the time "The Blistering Sun" appeared in 2005 she seems to have certainly honed her craft for writing and arranging slightly quirky yet rather memorable songs. There's sizeable influence from jazz here although it's not dominant, whilst others fall back upon folkier roots. Omnipresent, however, is her cultured piano playing - it provides a pleasant backbone to the slower numbers. This album is hardly background music - it virtually demands serious listening, but manages to remain very enjoyable.

There are a lot of tracks on "The Blistering Sun" - fifteen in all:

01. Alright, OK
02. Featherwoman
03. 93 Maidens
04. Wildflower
05. Violet Or Blue
06. Lonely Streets
07. Older
08. Hit Song
09. Burning Witch
10. Paperplane
11. Proof
12. Surprise
13. Anything Anywhere
14. C'mon Over
15. Calypso

Once "Alright, OK" spins up on the CD player you know you're in for something a little different. The jazz influence is omnipresent but content to sit in the background, never all-consuming, whilst the horns and trumpets simply add to the overall ambience. Her voice is clear and precise yet warm enough to appeal despite possessing more than a hint of quirkiness - something that also percolates through into the arrangement itself. Not just 'alright, OK' - this is a much more enjoyable song than the title gives credit for, and one of the 'performances' I alluded to earlier, certainly one not to forget in a hurry.

"Featherwoman" relies heavily on Rachael's piano-playing skills to set the mood, the notes providing a great foundation for her precise yet warm vocals - the softness displayed in the verses are contrasted with almost Michelle Branch-like abilities in the uplifted choruses. A much more conventional song, it hints at the range the artist is capable of delivering. Beyond the piano there is a credible piece of backing going on, yet her vocals dominate the song so much you'd hardly notice that there's anything else happening.

There's a much more traditional feel to "93 Maidens", which according to the inlay notes is based on the letters of Chaya Feldman, a Jewish teenager who lived in the Warsaw Ghetto and took poison rather than be captured by the Nazis. Strong stuff, but the cold subject matter is warmed somewhat by a fine performance that is keenly assisted by a contemporary-sounding accordion backing track.

"Wildflower" ably demonstrates Rachael's remarkable vocal prowess and uses a jazz-tinged score to accomplish this. Arguably the most upbeat track so far on the album, this playful number might not be the most original thing you've ever heard but it certainly makes you sit up and take notice.

A change of tack can be detected on "Violet Or Blue", where there's a much more introspective tone in terms of vocals and backing. She's again more than a simple singer here, more like a story-teller using rhythm and blues to get the message across. If you're into simple yet intelligent piano-based songs, you'll warm to this straight away.

The 'big performance' angle returns on "Lonely Streets" with piano and horns aplenty, whilst the arrangement is jazz-influenced throughout, especially in the breaks when the horns really kick in. It's sassy but never self-indulgent, a song that never fails to impress every time I hear it. Quirks abound in the lyrics too - where else could you get away with the line "you're the beetle inside my mouth"?

Just when you think you think Rachael Sage inhabits some kind of off-the-wall world, she comes up with "Older", a much more mature-sounding and conventional song that nevertheless wins me over with her assured delivery and lyrics that go beyond the usual album fodder.

If you're looking for something different - an artist that has her quirks and foibles, sure, but can certainly deliver a belting song and gives you your money's worth every time, then Rachael Sage's "The Blistering Sun" may be what you're searching for. The hooks and arrangements survive close scrutiny and repeated listening only serves to reinforce the notion that she's one of the more original artists I've heard recently. I'm certainly not sorry I bought this particular album.

The inlay provides full lyrics (two songs to a page, the even numbered songs seem to be printed upside-song), and in keeping with her quirks the artwork is reproduced in what could be described as a meld of Andy Warhol and DC Comics. There are also photos of Rachael wearing several very different (and self-designed) get-ups.

It's hard to find fault with this CD - again, she's not Gemma Hayes so no "Flawless" rating but this comes rather close.