Kristy Hanson was good enought to send me a CD for review back in.... well, ok, let's not go there. But she's been waiting, and she's been waiting, and she's been waiting...and finally, somewhere between meeting domestic responsiblities and weathering health crises in my family of origin, I've managed to write a review of Kristy Hanson's six-song sophomore release entitled (what else?), "She's Been Waiting". Artist: Kristy Hanson
CD: "She's Been Waiting"
Year: 2003
Produced by: Mike Chiaburu and Kristy Hanson
Executive Producer: Karl Shymanovitz
Recorded at: The Media Union Audio Studio University of Michigan
Mastered by: Chris Konovaliv
Musicians: Kristy Hanson (guitar/vocals); Mike Chiaburu (bass on 1, 4, 6); Todd Waters (drums on 2, 4, 6); Russell Klenetsky (drums, percussion on 1, 3); Justin Keyes and Leslie Hill (boy vocals on 4); The Chick Orchestra; Alisa Horn (cello), Katie Overfield (viola), Jocelyn Frank (Oboe), and Carrie Thorson (flute); Karl Shymanovitz (piano on 6); Jeff Enderton (guitar ear-candy on 1 &2)
Kristy Hanson's "She's Been Waiting" contains six tracks of what I'd call suburban coffee-house music for acoustically empowered indie-girls (Hanson just calls it "Chick Rock" but then, I've always been a bit wordy). Though originally from Florida, Hanson has one of those throaty-sounding vocal deliveries that is perfectly suited to her new geography and culture, namely Ann Arbor and The University of Michigan respectively. Her lyrics are primarily focused on love relationships or the lack thereof, and though I'm guessing, I'd say at least two of these songs were inspired by coed separation anxiety; matriculation is hell on young love.
She's Been Waiting" is Hanson's second release following a 13 track debut entitled "Half The Moon", which is also the title of the second track on this much shorter release. Special appearances include Todd Waters (Donkey Punch) and Russell Klenetsky (Full). Best moments occur on the title track (track 3) and Track Five, "Alone on the Playground" which features a wonderful performance by the "Chick Orchestra"; Alisa Horn (cello), Katie Overfield (viola), Jocelyn Frank (Oboe), and Carrie Thorson (flute).
1. I Think - "I think you aught to know what I'm thinking / I think that you aught to tell me you love me / whenever you think I might need it / I need it more than you think". Love is self-conscious and insecure in the face of responsibility, expectations, dreams and all the other trappings of modern life that often just leave us feeling lonely. The song starts out with a funky drum intro that is stylistically misleading when contrasted with the strumming acoustic guitar that takes over from there. But there's a lovely back-up vocal arrangement on the bridge and I love Russell Klenetsky's percussion work, especially what sounds like a whoomping Mrindangam (indian hand drum). Reminds me of younger and more innocent days at the temple.
2. Half The Moon - A rhythmically awkward intro gives way to a sonic discharge from Hanson's powerful diaphragm that re-energizes the song in the bridge and chorus. Her voice takes on a sinewy quality that reaches into every niche of her technique. With hurried passion, she sings, "Right now I'm a loaded fuse / I'm wired and awake / I've not been sleeping well, you know / I don't want to get used to the hours alone/ So touch me till I burn / 'cause I don't really want to learn / how not to play with fire."
3. She's Been Waiting - A high point on this CD, the title track features thoughtful, empathetic lyrics about a woman who's ready to love again after a long hiatus, but finds herself frustrated and living alone. "My nights are too quiet and my days are too long / and I know I'm not special but I've done nothing wrong / why do I deserve to spend my time just watching and waiting?" Bassist Mike Chiaburu's fretless wandering inspires some rubber-necking air-bass from this reviewer.
4. Can't Go Back - Being alone is ok, but fear of loneliness can break the best of us. Hanson sings, "...I'm never going to make it on my own / and I can't stand that 'cause I thought I could stand anything / but I can't go back to living alone." The songwriting and arrangement is tight, but I wince a bit when Hanson ends a vocal run with her "classically-trained" falsetto (Actually, Kristy informs me that only males have a "falsetto", so let me change that to 'in her upper register'. See what you get when you review a music major!) .
5. Alone on The Playground - Speaking of separation anxiety, Hanson begins with the lyric, "A baby cries the first time his mother leaves the house / he's sure that she's not coming back.../ sometimes I think that's what it's like / three o'clock will roll around / and I'm alone on the playground / and you are nowhere to be found." This ballad features a beautiful arrangement of The Chick Orchestra, a quartet of cello, viola, oboe and flute. Definitely the best sounding track on this release. Personally, I'd like to hear Kristy Hanson expand on this particular recipe in future releases because it works well it hasn't been beaten to death the way acoustically-empowered, coffee-house indie-girls have been. Those orchestra chicks are smooth and tight.
6. Take It Back - Here's the single for modern rock radio - every indie CD has to have at least one, right? Begins with that Susan Vega-esque (e.g. Blood Makes Noise) drum machine patch that sounds like it's coming up from under the bath-water. That scratchy sound contrasts nicely with a bright acoustic guitar and Hanson's clear and strong voice. Everything opens up freeway style in the chorus just the way you'd expect it to and breaks into nice alternate progression for a release of tension. Hanson asks, "What am I so afraid of? / This marks the beginning of learning to let go / I'm running fast as I can / I'm running right past you / You better start running too..." - Mitch