Good Folks

I am often amazed by the talents unleashed upon the community of faith. This month's Worthy of Note is devoted to some remarkable musicians who combine a rare blend of faithfulness and thirst for justice. Good music, good lyrics, good politics, good folks.

Good Folks

The first few cuts of Carrie Newcomer's solo debut, Visions and Dreams (Windchime Promotions, P.O. Box 3040, West Lafayette, IN 47906), remind me musically and spiritually of the Indigo Girls. On a couple other tunes, her deep, rich, and gritty vocals and lyrics make me think of Holly Near. All in all, though, Newcomer creates a feeling that is distinctly her own. I suspect that as a singer and songwriter, she will be inspiring many of us for quite some time.

Formerly of the group Stone Soup (Long Fields and October Nights), Newcomer's recent release is transitional, both as a solo recording and with some new instrumentation. In addition to some cool acoustic/vocal pieces, the electronic numbers are pretty exciting.

The result is a recipe for success. With balanced portions of instrumental and vocal, Newcomer has come up with a delightful sound. Her strong voice needs strong accompaniment; but too much instrumentation would override this voice as adept with love songs as songs of dissent.

The recording opens with "Visions and Dreams," a tough little number that offers a contemporary interpretation of the old scriptural image. Newcomer dubs harmony over melody, singing, "It's never too late to look ahead/There's a whole eternity in front of you/It's never too late to live right now/And really be who you want to be....I take on faith what I cannot see/'Cause the older ones are seeing things/and the younger ones are dreamin' dreams."

Newcomer also treats us to her insights into friendship. "I'm on Your Side" and "I Don't Want to Fight Today" (these are the tunes most reminiscent of early-'80s Near) provide the occasion for Carrie's strong voice to demonstrate its vocal and emotional range.

On several of the tunes, the weakest aspect occurs in the first few measures. "Something True to Believe In" begins with a nice instrumental lead, which I would have preferred to be a bit more biting, with more of an edge, to bring the lyrics home. Her vocals for "1,000 Miles Away" start slowly, giving the sense that she is trying to sneak in; but once she's in the midst of the song, she gives a nice, confident performance.

To me the most memorable of the album's offerings is "A Whole Lot of Hope," an important reminder for activists today. "Sometimes you just close your eyes and jump/You don't think too long or maybe you just won't/Sometimes you just follow your heart/Don't analyze too long/Or maybe it might just be gone."

As her parting shot, she opens up the funnier side in "Right Brain Born (In a Left Brain World)," an ode to all those poets who've been molded into computer hackers. She claims this as her story with pride, humility, and humor. It's a nice way to end a 12-tune, 50-minute journey together.

Like Newcomer, In This World, a folk duet from Atlanta, credits some of their inspiration to the remarkable success of the Indigo Girls, who've opened up the pop scene for traditional folk acts, especially people who are political and spiritual. In This World's new release, What Key Is This In? (Cimarron Records, P.O. Box 15346, Atlanta, GA 30333), certainly contributes to that tradition itself.

In This World is at its best when Sheri Kling and Dave Ceppos are singing in harmony and playing (respectively) guitar and keyboards. The sound on both "Other Lives" and "Strange World" is reminiscent of R.E.M. (passing harmonies with instrumental support).

Kling and Ceppos find poetic expression for some important concerns - the environment, peace, human rights. Concealing an ethic of goodness in songs about life, ITW invites listeners to conversion by immersion, by singing along with well-crafted lyrics.

A singer/songwriter who is quite direct in her expression of protest is Andrea Ayvazian. On her recently released Stubborn Hope (Hilltown Records, P.O. Box 126, Goshen, MA 01032), her not-so-subtle songs about the treatment of prisoners, the effects of racism, and the solidarity of women are interspersed with songs about greeting lovers and telling secrets to babies. This ability to sprinkle in real-life activity may make her radical politics digestible by mainstream America.

Ayvazian follows in the long line of traditional protest songwriter and singer: She offers tributes to those who have faced courageously the powers and principalities ("Nelson Mandela" and "Ballad to John Herlin"), as well as analyses of the times. That may in fact be her source of hope. She conveys through her music the image of someone who can critique the problems of society while still appreciating life and its goodness.

Her depth is most dramatically demonstrated by consecutive songsone ("Women Are Rising") a women's solidarity song, the other ("Secrets That Mothers Tell Babies") an inspired testimony of the daily wonders. And whether singing about experiences we recognize or those that seem foreign, she offers a passionate portrait of hope.

It is easier to sleep at night knowing that such talented people as these artists are involved so creatively in working toward a better world. These "right brain people in a left brain world" can make a big difference...for the world and for us as we sojourn. They entertain us, encourage us, challenge us, teach us, and offer us joy. Amen.

Bob Hulteen was the Under Review editor of Sojourners when this review appeared.