The sound is edgy, hard rock metalesque contrasting to Maiah's music which I would best describe as perhaps Neo-Folk. Next performance was by the duo Dreadlight made up of Kandra Tolvstadt and Toria Beck who have been writing and performing songs together since high school. Her performance was certainly a showcase of an entertainer who gives 100% and rolls with the situation and prevails. She played over an hour and by the end of her set the rain had slackened to a drizzle. (check out Senorita on Dreadlight's YouTube)ĭespite the rain the spirits of the crowd were not dampened whatsoever and Maiah poured her heart into every song. A beautiful blend of voices which needs to be heard. Culminating in a stirring version of Radiohead's 'Creep' with her voice ever angelic against the dark lyrics of the song.įor a few numbers Maiah was joined by Kandra and Toria of Dreadlight for vocal harmonies. The music was a blend of her original compositions and covers as only Maiah can do them. Maiah was joined for much of her performance by Bethany Joyce on cello adding a wonderful counterpart to Maiah's raw arrangements. An enthusiastic NO and a request for Maiah to play 'I'm Only Happy When It Rains ' by Garbage which prompted Maiah to put an arrangement together on the spot performing a cover of the song to start her set. However she was protected from the elements and asked the crowd should she wait to start. Maiah took the microphone first and the rain decided to join her. There was a nice selection of merchandise for sale while a pair of dogs roamed the area and people were slowly arriving. However the backyard barbecue atmosphere wasn't hampered whatsoever as Maiah and Dreadlight casually did their soundchecks. A warm Saturday in Chicagoland with darkening skies slowly encroaching. This was a very casual event as one could imagine. Certainly worth looking Maiah and Dreadlight up on YouTube to get a taste of their music. I have only been aware of their music for a couple of months so it's all rather new to me. My impressions are as a neophyte in regards to these talented young musicians. James was gracious enough to invite me to see this performance. I also have a video in comment of the song "Tunic(Love for Karen)" by Sonic Youth off their 1990 LP GOO. It was a loving tribute to a remarkable woman who met with a sad and tragic end to her bright career. I present to you this video of a wonderful cover of the song "Superstar" performed by New York noisecore band Sonic Youth. She was listed as number 94 of the best all time singers in a 2010 ranking. Karen beat out John Bonham in a 1975 Playboy readers poll of best drummers.
She felt most comfortable on stage behind her Ludwig drum kit. She was praised by Hal Blaine and Buddy Rich for her drumming. Artists such as Madonna, Sheryl Crow, Natalie Imbruglia, Shania Twain, Pat Metheny, Elton John, and Sonic Youth's Kim Gordon. A list of musicians who were influenced or admired Karen is lengthy. The legacy left behind by Karen and her brother is immense.
SUPERSTAR SONIC YOUTH COVER TV
The Carpenters had a 14 year career which saw the brother sister duo record 10 albums, have several successful singles, as well as have a few TV specials. Her three octave contralto voice is unmistakable.
However she certainly made her mark on American pop music in the 1970's. You’ll never hear Karen and Richard the same way again.Karen Carpenter was just 32 years old when she passed away, 40 years ago today. Taken as a whole, If I Were A Carpenter succeeds wonderfully in finding new (and often weird) resonance in one of the most familiar catalogues in pop history. And then there are tracks (such as Cracker’s “Rainy Days And Mondays”) where the mood teeters between parody and homage. Several bands - including Redd Kross and Shonen Knife - don’t bother with such analysis and simply romp through their tunes with reckless abandon. At the other extreme, Sonic Youth picks up on the depressive side of the Carpenters’ work and turns “Superstar” into a suicidal dirge. The Cranberries’ cover of “(They Long To Be) Close To You” and Matthew Sweet’s version of “Let Me Be The One” stick close to the originals. But their interpretations vary radically, veering from the coyly sentimental to the coolly ironic. Most of the artists contributing to this project seem to be fascinated with the sibling duo’s often-haunting brand of ‘70s-era pop. Not exactly a tribute album, If I Were A Carpenter (1994) is more like a psycho-aesthetic exploration of Karen and Richard Carpenter’s musical legacy.
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