Your reviewer was first attracted to OH SUSANNA’S songwriting talents after repeated exposure to the recent 2CD “BEYOND NASHVILLE” (released by Manteca in late 2001) which included her supercharged bar-room lament “Ted’s So Wasted”. Thinking maybe we’ve got another LUCINDA WILLIAMS here, it was time to investigate further.
And the brilliant news is that “Ted’s So Wasted”s parent album, ”Sleepy Little Sailor” (actually the third album from the Toronto-based songstress SUZIE UNGERLEIDER) more than fulfils the promise of that initial track, featuring 11 beautifully-poised tracks that simply weep with emotion.
“Sleepy Little Sailor” was put together at the Bath, Ontario studio owned by Canadian heroes THE TRAGICALLY HIP with Colin Cripps (of CRASH VEGAS fame) twiddling the dials. The Press Release notes he was: “concerned with performance, not perfection” and that instantly shines through, with a series of intimate, live off the floor takes, Suzie’s beguiling, close-miked vocals scoring every time.
Live with the album for even a short time, though, and you’ll realise that OH SUSANNA’S capable of tackling a variety of styles with panache, because her songs have such vast reserves of passion and power. Her themes (generally love and its’ vicissitudes) may be universal, but you’ll soon find yourself sucked into the vortex of her affecting, personal worldview.
Indeed, as soon as you’re acquainted with the dreamy longing of the title track, you realise that she’s far more special than just another burgeoning Alt.Country star: an impression reinforced by a slew of ensuing songs like the smouldering confession of “River Blue” with its’ killer chorus and Luke Doucet’s NEIL YOUNG-style lead break; or “Kings Road” – a swingin’ mid tempo rocker fuelled by teenage betrayal. Hell, she even pulls off a cover of OTIS REDDING’S “I’ve Got Dreams To Remember” with aplomb to spare!
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Suzie’s core group of musicians work superbly as a unit throughout. In drummer Joel Anderson and bassist Bazil Donovan, she has rhythm section with rare sensitivity; keyboardist Bob Packwood makes with some tasteful BENMONT TENCH –style embellishments and in Luke Doucet she has a guitarist capable of cutting loose, but in true PAUL KOSSOFF tradition, he’s respectful enough to work around rather than through Ungerleider’s vocals.
But the true star of the show is never in dispute. Ms. Ungerleider is in total control on the two devastatingly good final tracks. “St. Patrick’s Day” is amazing: sensual and nautical images swept away on a heaven-bound vocal (reminding me a little of KRISTIN HERSH without the kook factor) and Doucet’s sighing wisps of pedal steel. Remarkably, though, even this is usurped by the closing “Ride On”: eleven minutes of exquisite heartbreak and beauty that seems to flash past just like that.
“Sleepy Little Sailor” musically exudes the trappings of (very) superior Americana (yes, I know we’re talking Canada here) but mix in Suzie’s immensely personal piquancy and you’re sampling a house speciality in a class of its’ own. We’re really onto something here, people.
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