During
the course of her turbulent career in music singer and songwriter
Caroline Kennedy has evolved her own "pop" language. She didn't
plan things to be turbulent of course. After an album with The Plums,
Caroline found herself fronting Deadstar, teaming her with Hunters
And Collectors Barry Harvey and journeyman drummer Peter Jones.
They never meant to perform, never meant to make a career of it,
but that's what happened. In the end there were three Deadstar albums,
each better and more focussed than the last, culminating in the
"hit" single 'Deeper Water'. But almost every step of the way they
fell victim to Mushroom Records' absorption into Festival. Enough
history. Frustrating as it must have been that journey has allowed
Caroline Kennedy to grow and blossom as a songwriter. Today it's
the Tulips, Caroline in the spotlight, with husband/guitarist Peter
McCracken. On stage Caroline sits on a stool. Almost. She wriggles,
never quite comfortable, never quite still. That's how her songs
are, restless, provocative, intelligent, at once strong and fragile.
It's not hard to believe that Caroline is letting us inter her life,
exposing her loves and fears. One song 'Johnny Ray' suggests that
it's all a fabulous fiction. Johnny Ray is a story song, like Bobbie
Gentry's 'Ode To Billy Joe'. For once it's hard to imagine Caroline
as the central character. After Deadstar the Tulips are minimal.
No blazing electric guitar solos. Just that plaintive voice, with
subtle accompaniment. 'Hard To Love' evolves into sweet harmonizing.
The Tulips album shows the breadth of Caroline's powers, from the
Deadstar-like pop of 'Rock And Roll's Mine' and 'Blackhearted Valentine'
to the surprising blues of the Bessie Smith-like 'Old Apple Tree'
to the folk/rock of 'Feels Like Love'. It's music with a brooding
power. It leaves me with the feelings I used to get from listening
to Jesus And Mary Chain's best moments. (Belmore Records)
During
the course of her turbulent career in music singer and songwriter
Caroline Kennedy has evolved her own "pop" language. She didn't
plan things to be turbulent of course. After an album with The Plums,
Caroline found herself fronting Deadstar, teaming her with Hunters
And Collectors Barry Harvey and journeyman drummer Peter Jones.
They never meant to perform, never meant to make a career of it,
but that's what happened. In the end there were three Deadstar albums,
each better and more focussed than the last, culminating in the
"hit" single 'Deeper Water'. But almost every step of the way they
fell victim to Mushroom Records' absorption into Festival. Enough
history. Frustrating as it must have been that journey has allowed
Caroline Kennedy to grow and blossom as a songwriter. Today it's
the Tulips, Caroline in the spotlight, with husband/guitarist Peter
McCracken. On stage Caroline sits on a stool. Almost. She wriggles,
never quite comfortable, never quite still. That's how her songs
are, restless, provocative, intelligent, at once strong and fragile.
It's not hard to believe that Caroline is letting us inter her life,
exposing her loves and fears. One song 'Johnny Ray' suggests that
it's all a fabulous fiction. Johnny Ray is a story song, like Bobbie
Gentry's 'Ode To Billy Joe'. For once it's hard to imagine Caroline
as the central character. After Deadstar the Tulips are minimal.
No blazing electric guitar solos. Just that plaintive voice, with
subtle accompaniment. 'Hard To Love' evolves into sweet harmonizing.
The Tulips album shows the breadth of Caroline's powers, from the
Deadstar-like pop of 'Rock And Roll's Mine' and 'Blackhearted Valentine'
to the surprising blues of the Bessie Smith-like 'Old Apple Tree'
to the folk/rock of 'Feels Like Love'. It's music with a brooding
power. It leaves me with the feelings I used to get from listening
to Jesus And Mary Chain's best moments. (Belmore Records)