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|
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| Artist |
Mark Nicholas |
| Title |
Standing Right Here |
| Label |
Down and Dirty Records |
| Reviewer |
Joe Hartlaub |
| Rating |
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STANDING RIGHT HERE is an interesting project. Mark Nicholas goes on a bit in
his liner notes about how he had 15 songs, thought that was too many, cut two
of 'em, but then added two more, and basically tells you more than you wanted
to know about how STANDING RIGHT HERE came to be. It IS a lonnng CD, over 70
minutes long, so he at least gives you more than your money's worth (hell,
there are some DOUBLE CDs that don't run that long!), and it might have
benefited from a little judicious editing, but the guy is interesting enough
at least in spots, to make it worth the ride.
Nicholas, on most tracks, has a voice somewhere between Andy Devine and
post-Band Robbie Robertson and a worldview like Mojo Nixon on an almost
therapeutic dose of thorazine. The most interesting tracks, like on most CDs
these days, are stacked up at the beginning. "Scared" leads things off, and
kind of sets the tone for the whole CD, with Nicholas musing about how he can
stand up on stage in front of people but has some reticence to deal with
other, more mundane things. It's an apparent contradiction which, I think,
most people are going to identify with though they rarely admit it. "Talk
About Nothing" and "Me & Allie" seem to be about the same person, a lost love
that departed because of Nicholas' inability or lack of desire to commit;
Nicholas expresses his feeling in "Me & Allie" that as long as they sat and
held hands, everything was just fine, but, alas, Allie wanted more. A lot of
these songs, such as "Ben's Bridge," and "Falling,"with its line "I know I'll
wake up tomrrow/but I'm not sure that I'll be all right" when juxtaposed with
the hilarious but sad-in-its-way "Beer" raise what I call the Leonard Cohen
contradiction: listening can be a cathartic experience, but the act of
seeking out these songs is a sure sign that you need to call the Hotline and
talk to someone. Nicholas, with his spare arrangements and whisper-like
vocals, has his hand out to you; whether it's to pull you off the ledge or
keep you company on the way down is up to you. This is highlighted by the
(almost) closing track, "Time That I Go," where, in light of what has passed
before, one is not sure whether the singer is walking out the door or off of
the planet.
The most enigmatic track on the CD, however, is the
rapidly-becoming-requisite "hidden" track, a surprisingly upbeat little a
capella gem that sounds as if it were taken from an outtake of a recording
session by someone other that Nicholas. Maybe it's a hint of things to come.
Whether it is or not, it'll be interesting to see what comes out of him next
time around, regardless of what twists and turns he takes his listeners on
while he's on the road there.
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© 2001 AMZ/music-reviewer.com
Robert R. Lewis
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