k.d. lang — „makeover“ (May 28, 2021)
★ Když doma vládne tísnivé ovduší, jsou zvířata dost neklidná. k.d. lang: „makeover“ je nová kolekce klasických remixů některých jejích nejoblíbenějších písní. Album přináší remixy písní vytvořených v letech 1992 až 2000 poprvé a zahrnuje „Sexuality“, „Miss Chatelaine“, „Theme from The Valley of the Dolls“, „Summerfling“ a hity tanečního žebříčku č. 1 „Lifted by Love“ a „If I Were You“. Objednávky Nonesuch Store zahrnují papírovou panenku ve formátu PDF pro domácí tisk s ikonickými pohledy z celé její kariéry.
★ Eclectic, trailblazing singer~songwriter who began as a throwback country singer in the 1980s, but soon transitioned to adult contemporary crooning.
Birth name: Kathryn Dawn Lang
Born: November 2, 1961 in Consort, Alberta, Canada
Location: Vancouver, British Columbia, Canada
Album release: May 28, 2021
Record Label: Nonesuch
01. Lifted by Love (Club Xanax Mix, 1993) Remix produced by Ben Grosse and k.d. lang * 4:00
02. If I Were You (Close to the Groove Edit, 1995) Remix produced by Junior Vasquez ** 4:25
03. Just Keep Me Moving (Movin’ Mix, 1993) Remix produced by Tony Garcia * 6:41
04. Sexuality (Tony Maserati Final Radio Remix, 1995) Remix produced by Robert Holmes and Tony Maserati ** 3:47
05. Miss Chatelaine (St. Tropez Mix, 1992) Remix produced by Greg Penny *** 3:46
06. Theme from the Valley of the Dolls (Junior Vasquez 7” Mix, 1997) Remix produced by Junior Vasquez **** 3:38
07. The Consequences of Falling (Love to Infinity Radio Mix, 2000) Remix produced by Love to Infinity ***** 3:05
08. Just Keep Me Moving (Wild Planet Mix, 1993) Remix produced by Tony Garcia * 6:16
09. If I Were You (Main Mix, 1995) Remix produced by Junior Vasquez ** 6:11
10. Sexuality (DJ Krush Full Mix, 1996) Remix produced by DJ Krush ** 3:29
11. Summerfling (Ananda’s Sweet Bird of Summer Extended Mix, 2000) Remix produced by Chris Brann ***** 8:40
12. The Consequences of Falling (Love to Infinity Funk Mix, 2000) Remix produced by Love to Infinity ***** 7:16
13. Lifted by Love (Elevate Your Love Mix, 1993) Remix produced by Bobby D’Ambrosio and Curt Frasca * 6:20
14. Summerfling (Wamdue’s Makin’ Me High Dub, 2000) Remix produced by Chris Brann ***** 5:25
* original versions from Even Cowgirls Get the Blues: Music from the Motion Picture Soundtrack (1993)
** original versions from All You Can Eat (1995)
*** original version from Ingénue (1992)
**** original version from Drag (1997)
***** original versions from Invincible Summer (2000)
★ Lang possesses the vocal range of a mezzo~soprano.
↔ “I had the idea of putting together a dance remix compilation, as I mused about how we built community in those days before the internet, mobile devices, and dating apps,” lang says. “Those dance clubs were a key to a world, which was still called ‘underground’ in the ’90s. I also surprised myself by finding that there was a cryptic, sort of secret zone in my career, that hadn’t been explored, overlooked even by me. Two of these tracks had even hit #1 on the dance charts!”
↔ Called “one of the greatest singers of all time,” by Elton John and “the greatest female singer in the whole world” by fellow Canadian Michael Bublé, k.d. lang’s distinguished career includes four Grammy and eight Juno Awards. In addition to a fruitful collaboration with Tony Bennett (who calls her “the best singer of her generation”), lang has performed alongside luminaries including Roy Orbison, Bonnie Raitt, Elton John, and Loretta Lynn. She sang at the closing ceremonies of the 1988 Winter Olympics in Calgary and the opening ceremonies of the 2010 Vancouver Winter Olympics. lang has contributed music to the soundtracks of several films, including Even Cowgirls Get the Blues, Midnight in the Garden of Good and Evil, and Happy Feet. She has also appeared in a number of films, including Salmonberries, The Black Dahlia, and Eye of the Beholder. In 1996, lang received Canada’s highest civilian honor, the Order of Canada.
↔ lang released her first album with Nonesuch Records in 2004, the acclaimed and highly personal “Canadian songbook,” Hymns of the 49th Parallel, featuring work by Joni Mitchell, Leonard Cohen, Neil Young, Jane Siberry, and others. Her subsequent releases on the label include Watershed (2008), her first career retrospective Recollection (2010), and Sing It Loud (2011). Most recently, Nonesuch released Ingénue: 25th Anniversary Edition in 2017, comprising lang’s multi~platinum, Grammy Award~winning original album, as well as the previously unreleased 1993 MTV Unplugged performances. In the words of Uncut magazine, “Ingénue still dazzles, 25 years on. Luminous, languid and seductive to the point of intoxication. This reissue proves its status as a modern classic.” To coincide with the anniversary, lang performed sold~out concerts in Canada, the US, Australia, UK, and Ireland; a DVD of the show, Ingénue Redux: Live from The Majestic Theatre, was released in 2018. “A canny and sumptuous blend of roots music and pre~rock pop, Ingénue sounds as great today as it did upon its release. The songs shimmered with dreamy textures,” wrote the Los Angeles Times. “lang is so good that she is in a class of her own. Wow. Just wow. Most other singers should just give up now,” proclaimed the Daily Telegraph.
By Tom Beedham ⌊May 26, 2021⌋ Score: 7
↔ Following the breakthrough success of her sophomore classic Ingénue and her subsequent coming out, k.d. lang occupied a curious corner of music’s psyche throughout the ’90s and leading into the new millennium. lang was a regular nominee at the Grammys and a Vanity Fair cover had her posing for a shave at the hands of Cindy Crawford, but radio didn’t know what to do with her. Too queer for country, too country for pop, lang’s musical expression was obscured in plain view, but at the same time, she was cultivating a devoted fan base that glommed on to her articulations of queer, female desire.
↔ With makeover, a new release compiling remixes of hits lang released from 1992 through 2000, it’s suggested that her persona precipitated an adoring following in the underground dance community, too.
↔ “I had the idea of putting together a dance remix compilation, as I mused about how we built community in those days before the internet, mobile devices, and dating apps,” lang offers in a release. “Those dance clubs were a key to a world, which was still called ‘underground’ in the ’90s. I also surprised myself by finding that there was a cryptic, sort of secret zone in my career, that hadn’t been explored, overlooked even by me.”
↔ With that framing, makeover sounds like a landmark archival project, but its mythologizing leaves out the part where the tracks it positions as carefully curated, once well~cherished artifacts were readily available (save for some license wrangling, probably), all originally packaged with singles by the majors lang worked with, surely as a gesture to incentivize consumers.
↔ If this weird posturing — “Two of these tracks had even hit #1 on the dance charts!” — isn’t a complete turn~off, the final product still kind of works. Reset in swirling, spectacular motion, mixes from elusive industry pros of the era expertly locate lang’s tendency to occupy a space at the intersection of internal investigation and extroverted expression, and they ride the tension to some pretty ecstatic release, that’s at once of its time but remarkably all over the board.
↔ Ben Grosse and Lang’s own “Club Xanax Mix” of “Lifted by Love” gives the track a Sade groove, Tony Garcia’s “Just Keep Me Moving” mixes trade the original’s cow~funk in first for a throbbing house atmosphere and then a paisley jungle sitar jam primed for the open~toed hacky sack crowd, and a Love to Infinity “Radio Mix” of “The Consequences of Falling” invigorates the downtempo original with a confidently shimmering house treatment that’s glitter all over, while their “Funk Mix” thumps into the night.
↔ In a hypothetical live setting, Tony Maserati’s “Final Radio Remix” of “Sexuality” would be a bit of a nonstarter in the same set, but DJ Krush’s take on the track taps into its mystery and recasts it as noir trip~hop inquiry.
↔ If lang’s songs were idiosyncratic expressions of one woman’s desires, they had a versatility that made them ripe for dancefloor application, plum full of secret yearning and grand gestures. Captured on this awkwardly marketed remix compilation, they’re just as galvanizing, and as this package arrives just in time for Pride Month — potential libidinal repression of a second consecutive pandemic summer be damned — they sound just as timeless and nostalgic as ever.