The Disappearance Of Zoe

Whatever happened to Zoë?

Despite her two albums, I know very little about the woman. Even resources online provide little insight. What I have discovered is that the England-born Zoë Pollock (who performed under her first name) released two albums in the nineties: 1992’s Scarlet Red And Blue and 1996’s Hammer - and then she just seemed to disappear.


Zoë’s debut, Scarlet Red And Blue was released on M&G in 1992 and featured the single, ‘Sunshine On A Rainy Day,’ which became a European smash a year prior. Other singles failed to perpetuate its success and the record flopped.

Scarlet sounds dated now with its synthesized arrangements, but at the time, it was a fairly strong effort from an otherwise unknown artist .


Four years later, after reported clashes with her record label and producers, Zoë worked alongside producer Youth (Heather Nova) and wrote the songs that would eventually be released her sophomore record, Hammer with RCA.

Hammer’s tone is considerably more harsh and gritty than Scarlet, both in sound and lyrics. Some speculate this is the result of the break-up between Zoë and Youth during recording. Still, it’s a better record than her debut. Gone was the insipid pop and in came a much more powerful collection of songs that blended rock, folk and even Celtic sounds. The title song possesses a driving force of thumping percussion which correlates well with its apt title, while delivering some lyrical rage: “If I had a hammer/I’d hit you on the head/I wouldn’t stop the poundin’ ’til I knew that you were dead.”

Hammer could categorize itself next to releases by Alanis Morissette or Sinead O’Connor. But perhaps this is ultimately why the record went nowhere, as it was released during the onslaught of female singer-songwriters hoping to find a place next to Morissette’s debut juggernaut, Jagged Little Pill.

Now, nearly a decade after Hammer’s release, I have no idea what Zoë is up to. Perhaps there was a third record. Maybe she quit music altogether. If someone out there knows anything, enlighten us, would you?

Update

Zoë is back and is recording new music after a twelve-year hiatus! To read more of the details, click here

I Will Burn Again Tomorrow

Mentions of Leslie Feist have been making the rounds amongst music-related sites as of late - and with good reason. Her second album, Let It Die, has been on the minds and speakers of music aficionados since its release nearly a year ago and Feist (who performs under her surname) has been loosely dubbed as a modern-day Joni Mitchell.

The Canadian-born Feist got her start playing in a high-school rock band and over the years, eventually landed a gig as a guitarist for rock outfit, By Divine Right.


In between touring for the band, Feist wrote and recorded her first album, Monarch (Lay Down Your Jeweled Head). The record had a limited release (and is sadly out of print and extremely hard to find), but introduced her unique indie-pop sound which I could only best describe as a more coherent Cat Power. It’s lo-fi production seemed to befit the record’s overall mood.

‘It’s Cool To Love Your Family,’ the album’s first track, is an infectious, up-tempo pop song complete with violin, while ‘La Sirena’ serves as a beautiful, four-and-a-half minute soothing haze.


Nearly five years later, Feist’s second album, Let It Die, was released via Arts & Crafts, and suddenly, a buzz began to form and continues to do so. Let It Die puts Feist into a category all her own. It could be her hushed alto voice, which is both warm and unassuming. Or maybe the subtle, but perfectly placed use of strings and guitar that set the album’s mood. Whatever it is, Let It Die boasts so many strong tracks that it’s difficult to choose favorites.

The undeniable catchiness of ‘Mushaboom’ and Feist’s perfect interpretation of the Bee Gee’s ‘Inside And Out’ could surely be a radio hits if given the opportunity. ‘One Evening’ is superb too, with its traces of nostalgic 70’s groove and it’s ‘ba-ba’ chorus. From start to finish, Let It Die is no sophomore slump.

A huge marketing push is planned to accompany an American release of Let It Die, which is currently set for April 2005. The album is currently available as a European import.

Never one to stay idle, Feist can also be heard on albums by the Kings Of Convenience, Broken Social Scene, Apostle of Hustle and just recently, The New Deal.

Downloads:

It’s Cool To Love Your Family
La Sirena
One Evening
Inside And Out

WWW:
Feist (official site)

Cover Girls, Vol. 7

Bree Sharp covered Don Henley’s classic ‘The Boys Of Summer’ on her excellent, if underrated, sophomore album, More B.S.. The result is nearly five minutes of finely crafted rock that would no doubt make Mr. Henley proud.


Even though ‘These Boots Are Made For Walking’ has been covered many, many times, Trish Murphy’s rendition is interesting in that it doesn’t seem to add too many flourishes to the classic track. Of course there is a modernized instrumentation (namely harsher-sounding electrics), but the foundation remains the same and Murphy pulls it off swimmingly. Murphy’s version can be found on her 1999 album, Rubies On The Lawn.


It seems to me that everything Garrison Starr does is packed with such raw power, it’s extremely difficult to not be affected. An accomplished guitar player with a true love for her craft, Starr tackled the late George Harrison’s ‘Taxman’ on her 8-song EP, 24-7.


It’s a bold move anytime someone covers the music of PJ Harvey, but Boston violinist/singer-songwriter Tracy Bonham succeeds with an aggressively raw, live cover of ‘50ft. Queenie.’ Recorded live for the WFNX ‘Live at Fort Apache’ series and released as a rare b-side on the Australian import single for Bonham’s The One, one listen of Bonham’s shrieking violin will surely have you momentarily believing Harvey was on-hand performing with her.

Downloads:

Bree Sharp - The Boys Of Summer
Trish Murphy - These Boots Are Made For Walking
Garrison Starr - Taxman
Tracy Bonham - 50ft. Queenie (live)