For someone who can talk your ear off, Syd Straw certainly has built an enigmatic career. After establishing her bona fides as an arty modern-rock diva during the mid-’80s, as part of the Golden Palominos collective, Straw released her solo debut Surprise in 1989 – then didn’t make another album for seven years. Her next break, following 1996’s War and Peace, was even longer: a dozen years, ending with the appearance last year of Pink Velour.
Not that Straw wasn’t working through the intervening years. Her husky, distinctive voice has made her a favorite among discerning artists and producers looking for a duet partner or backing vocalist; her list of guest credits is as long as her own discography is short. She also found work as an actress during the 1990s, and a generation of Nickelodeon-bred dorks (you know who you are) remember her as the number-fetishizing Miss Fingerwood on The Adventures of Pete and Pete.
Most of all, she has remained a beloved, influential (and eccentric) presence among fellow musicians, indie-rock scenesters, artists and literary types – always quick with a bon mot (or 10), always with her beloved dog Henry in tow, and always generous with her time and talents. (The title of this Popdose Guide was Straw’s idea, something to do with a well-connected artist who’s released just three albums in 20 years circling all the way back around from obscurity to a position just the other side of ubiquity.)
The Golden Palominos, Visions of Excess (1985) and Blast of Silence (1986)
Straw got her first exposure to the musical big time singing background vocals for Pat Benatar, but she rose to prominence with her contributions to these albums, which (like all the Palominos’ discs) featured collectives of high-profile alt- and art-rock musicians gathered together by former Feelies and Pere Ubu drummer Anton Fier. Visions of Excess was the group’s second album and its most popular, thanks to Michael Stipe’s vocals on “Boy (Go)” and “Omaha” as well as John Lydon’s on “The Animal Speaks.” It was Straw, however, who proved the real discovery on Visions; her riveting vocals came as a revelation toward the end of the set, on the tracks “(Kind of) True” and “Buenos Aires.”
Blast of Silence followed a year later and featured an utterly different sound from its predecessor; two decades on, it’s remembered as one of the albums that gave birth to the alt-country genre. Fier’s assemblage this time featured Matthew Sweet, Jack Bruce, T-Bone Burnett, Don Dixon, Chris Stamey and many others. Again, however, it was Straw who provided the most resonant contributions, including “Angels” (which she co-wrote with Fier and Peter Blegvad) and a terrific cover of Lowell George’s “I’ve Been the One.” Straw toured extensively with the Palominos during this period, enhancing her reputation as both a lead vocalist and band member, and endearing her to a vast array of alt-rock insiders who would provide her with work and comradeship for decades to come. (more…)
