Within a month or so of each other, local performing songwriters, the brothers Greg and Steve Tannen, each issued CDs.
Greg's was the first and it's a wonderfully crafted piece of folk/pop/rock. Greg has one of those classically buzz-edged
folk-rock voices and his exhuberant personality is evident on every track. He's glad to be alive and making music and it
shows. Most songs start out with Greg's acoustic guitar followed by just the right amount and volume of background support.
Track one, "I Feel Lucky This Time" starts out with some jangly Byrds-like guitar chords and when the drums kick in,
these old bones of mine feel the reminicence of that youthful spring/summer rush of hopping in a car and joyously setting
out to feel the sun and wind while heading for "that certain someone." Don Everett Pearce adds hamonica backing which
emphasizes the unrestrained joy that continues from verse to verse. In one stanza, the central character stops to help a pretty
lady change a flat tire and while it's strictly for a "thank you," she shoots him a look that he's gonna "take to the bank."
Buddy Holly would've been happy with this one.
The Benelli twins, Chris and Craig, on drums and guitar respectively provide some wonderful backup on the recording.
When Greg plays live with the full band, it's fun to watch both Benellis working intently at their craft. Chris seems eternally
zoned in on the traps, his eyes never wandering, working extra hard to provide exactly what percussive effect each song requires,
no more, no less.
The CD alternates back and forth between upbeat and soulful numbers. In "Everthing I Said," Greg's voice turns softer for this
aching--searching, for "Vanessa, lost in Grand Central…I was late, traffic was bad" Chris provides a quick rippling syncopated
rhythm on the tom-tom throughout while Craig uses just enough reverb on a spare electric lead. The memories of her include:
"standing by the big clock, with your hair up…can we stop by my place… and…fall to bed when we fall to pieces" He knows he's
not the first for her nor will he be the last, but his affection for her will never change. In the evocative bridge, when Greg sings:
"Summer comes and summer goes…I'd give a lot to know what summer knows…" it brings goosebumps.
"Mary" is another enormously satisfying romp with a film noir/stage drama feel. The song has a Doors-like stomping beat and
slashing guitar chords with lots of reverb. It descibes a youthful assignation; the young woman, stealing away in the night, driving
away with her man who wants her "framed in starlight," to "take the road as far as it will go…to get a little something that the
world can't touch."
Brian Kingman, an old friend who donated his talents on many occasions to help raise the level of sound quality at
the Fast Folk Cafe did the mixing and engineering. Kudos, Brian.
The CD can be ordered from the website CDBaby at www.cdbaby.com/gregtannen
Steve Tannen/Big Senorita Sleepless Productions ©2000
Steve Tannen was the first cover feature for this newsletter/listings guide almost a year ago in June, 1999. Because I could never
hear enough of his fine voice or his songs, I had asked him why he couldn't issue a studio or live tape while work on his CD was
still in progress. Whenever I brought the subject up, Steve good-naturedly just smiled and indicated that he just wasn't interested in
doing anything smaller on an intermediate basis.
Steve finally handed his debut CD, Big Senorita to me one night in mid-April. This impressive debut vindicates his judgment.
The production is excellent and and is a satisfying emotional rollecoaster ride. At the center is Steve's voice, strong and expressive.
In addition, the use of organ throughout the CD adds a lot. I'm not sure how much this instrument is in use in pop/rock recordings
right now, but its use here seems paradoxically fresh-sounding yet nostalgic at the same time. The Benelli brothers are in attendance
here also, lending their impressive musicianship.
An early favorite at Steve's shows, "San Francisco," contains one of my all-time favorite lines about non-connection with certain
self-centered members of humanity (either sex): "I once dated an actress-to-be…she was amazingly life-like." It also contains the CD title
in the line: "and so I heard the song of the Big Senorita…" The fat lady is singing, and it's time to get the hell out of L.A. and back up to San
Francisco to see if an old flame is still "down in the mission." A mandolin trills ecstatically above acoustic guitar's strum while the drums
and percussion pound out a shuffling samba-like beat. Similar to brother Greg's road song, the expression here is of pure joy as the
wheels spin on the pavement, moving away from a dead relationship toward a fresh start somehere else.
"Sing Me to Sleep" is a bluesy shouter of a song, that, sung live, has Steve at his most expressive, his body sometimes violently snapping
to it's 4/4 beat. Twangy guitar, snarling organ and great lyrical imagery complete the picture: "I hung around like cigarette smoke on your jacket
and in motel rooms the lullaby was the sound of the traffic…you came up like a wind, came up like a weed / all black and blue, all lipstick and need …
you head downtown in your black leather jacket / you're getting old now but you still stop traffic …/ the sun comes slow like it's thinking it over
the moon shoots a dirty look over its shoulder / and I'm so lonely without you. Check the June archives, if you like, for the complete lyrics.
In "Brother Uptown," the lead guitar povides a rolling mantra-like lament, high over the melody The song's central figure experiences
the disappointment and loneliness of finding a lover with someone else. Later, as he's falling asleep on the floor of his brothers' uptown apartment,
drunk on the "Cuban Mule," the brother slips money in his jeans, not quite unnoticed.
"Love in Vain" is a stroke of confidence--writing a song with the same name as an old blues number and Rolling Stones hit. It's still a keeper.
Here, a woman collects men like toys and is working toward a whole set. The man "knows all there is to know about missing a train…
love in vain." Producer Jon Gordon's lap steel underscores the anger and fleshes out a powerful number.
While Steve might disagree, I consider the last track, "Love Come Knockin,' to be his signature song. This is one I play over and over.
Acoustic Live described the song's powerful, quieting impact on audiences during live performances in the premier issue. For me,
personally, this is one of the better crafted "longing for love" songs to ever see the light of day. Great lead guitar and organ/synth increase
the song's compelling nature over it's live rendition, something I thought impossible. I can only wish for a lot of airplay and
perhaps even a cover or two by some famous heavy hitters (as good as Steve sings it, this song is one that others will want to sing also).
There are a lot more moments of musical ecstasy than are described here.
The CD can also be ordered from CDBaby at www.cdbaby.com
It is now one of the three featured selections on the CDBaby homepage.
For more bio/information and gig updates, Steve's homepage is at www.stevetannen.com
If you read this in time, the CD Release Party is this coming Wednesday, May 17 @ 9:30 PM
"Full Band, Violins, Mandolins, Back Up Singers in Tight Black Dresses."
at The Bitter End, 147 Bleecker Street, NYC. $5 cover
with: Chris Benelli -- Craig Benelli -- Alan Markel -- Sam Shaber -- Greg Tannen -- Chris Tedesco -- Shannon Post --
Emily Curtis -- Jodi Sheeler -- Gabrielle -- plus special guests...