Jamming, Dancing, and Rockin' with Distinctly Disco Scissor Sisters
Written: Jan 19 '05
Product Rating:
Pros: Nine outstanding, hip, swaggering, and high-energy disco-pop-rock-R&B tracks.
Cons: Two "blah" songs. If you never liked disco way down deep, you're not gonna now.
The Bottom Line: Miss the Bee Gees? Crazy the Crocodile Rock of Elton John? Wonder what Pink Floyd made disco would sound like? Boy do the Scissor Sisters have an album for you!
lambchops's Full Review: Scissor Sisters [PA] by Scissor Sisters
If somebody had told me a year ago that a disco-pop band from New York could successfully cover Pink Floyd's classic Comfortably Numb, I would have hysterically laughed. Pink Floyd is one of those bands that I have never heard properly covered. Comfortably Numb is quite possibly one of the band's most epic and well recognized tracks. Who in the hell was Scissor Sisters to think they could adapt it to the dance floor? For shame, I tell you!
Well, turns out the shadow of shame should be cast on me. Scissor Sisters is one of the most rousing, creative, and energetic acts to come from America in recent years. Bending genders is only the half of it--they are a slick, enigmatic, theatrical and energetic act that boasts a fine talent for both making and performing oddly kitschy retro yet modern music. Comfortably Numb is indeed an impressive and unique cover that acts as the bait to draw listeners in. The band's material of their eponymous debut is the real meat and potatoes. The Scissor Sisters ooze an uncommonly refreshing level of liveliness.
The stylish five-person group is fronted by a pair of vocalists (Jake Shears and Ana Matronic) and rounded out by bassist Babydaddy, drummer Paddy Boom, and guitarist Del Marquis. Bound in tinsel and dripping with costume jewelry and glitter, the Scissor Sisters are a gaudy-yet-stylish new force on the scene. It's hard not to love a band this bawdy--of course I would have an issue if they didn't have a talent to back up their swagger. Their debut, which hit shelves in America in late July 2004, is one of the best examples of retro done right as of late. If you haven't heard anything outside of Comfortably Numb or one of their other singles yet your attention is looooong overdue.
Singles chosen from the Scissor Sisters are arbitrary. Any song chosen could be a hit. As it stands Take Your Mama is the only one to make a splash stateside and Laura, Comfortably Numb, Filthy Gorgeous and most recently Mary have been released in the UK. Truth be told, they are all wonderful. The song and the album all pass by in an instant. Each is fabulous, each is rich, each is entertaining, and each is worth hearing. Don't buy Scissor Sisters for one song--buy it for the whole package and appreciate it from start to finish. The band's influence ranging from Elton John (on Take Your Mama it's shocking how well they emulate the band) to Stevie Wonder and back again.
Album opener Laura is only the tip of the iceberg. With heavy keys, an atonal squawking sax, and a mid-tempo swagger that elicit feelings of mid-70's R&B meshed with disco hedonism. The whole thing is a peculiar but entirely enjoyable package simultaneous awash in sunshine, streetlights, and a dancehall disco ball. Turning away from R&B and to Elton John for inspiration Take Your Mama is an exuberant and surprisingly musically rewarding track. The keys work brilliantly along side the electric guitar and Jake Shears (who by the way boasts one of the best pop voices I've heard in a long time).
It is on the up-tempo, dancehall re-interpreted Comfortably Numb that the Scissor Sisters most surprise me. It's much, much easier to completely alter one's style to for at least a moment attempt (usually in vain) to become another band for the sake of "properly" interpreting a song. It is much more difficult to kick up the pace, use entirely different instrumentation, sing directly through one's noise, add unabashed disco sparkle, and do the whole "ah ah ah" Bee Gees thing within the confines of a mere four and a half minutes. Comfortably Numb could have been a major failure. Instead the Scissor Sisters manage to (in the words of Randy Jackson) "make it their own." It all works surprising well and Comfortably Numb is one of the most immediately attractive songs of this debut.
Fortunately the party continues throughout the whole of this eleven-song effort. Mary changes the pace with lovely piano work, calm vocals, and a truly lovely arrangement. It is clear that these Sisters have more than one card up their collective sleeve and that their talent extends past hip arrangements to charming and attentive songwriting like what's found on this song:
I love the tone that's in your laugh
Gasping for an extra breath
Waiting for the time to pass
Lovers in the Backseat is fun and cool with great harmonies ala (oddly enough) George Michael. Indeed it seems that he is once again cool--at least as channeled by the Scissor Sisters. This is dance-pop done right. Tits on the Radio features Ana Matronic in the spotlight along side a hip, chunky disco groove complete with more Bee Gees style wailing. Ana Matronic's delivery is album robotic, but that is the intent and it works wonderfully in the context of the song. It's impossible to deny the appeal of the track which specifically references the band's roots in the underground gay scene.
Continuing with the disco vibe, Filthy Gorgeous weaves amazing synths, vocal distortions, and breathy sexuality into an up-tempo modern disco gem. The fact that the Scissor Sisters can so perfectly weave together elements considered to be rather uncool into a fashionable package is a testament to their talent and appeal. It's hard not to get a major kick out of the band and their music. Music Is the Victim returns to the Elton John keyboard pop influenced formula. Adding electric guitar wails and bass guitar make it something totally modern. This is one of the keenest and most entertaining songs of the entire disc.
Better Luck is a kicky, melodic little tune that sounds very much like something from Robbie Williams. Though, instead of pure keys and melody and pop it infuses an additional swagger and synth feel that works wonderfully in the context of this album and for that matter as it drifts across my eardrums. If I can fault the band for anything it is their last two songs--It Can't Come Quickly Enough and Return to Oz. The former just lacks an interesting delivery and melody. It's not a bad song, really, but the fact remains that those earlier songs set the bar rather right and It Can't Come Quickly Enough is merely mediocre. It represents everything that is generic about disco. Return to Oz suffers a similar fate, although the pace is much slower and the song tells a story. Methinks they were attempting to be profound (or is it tongue-in-cheek profound). In any case, Return to Oz does nothing for me. The whole thing speaks of the title book and references the patchwork girl, emerald city, golden yellow brick road, and the wind up (aka tick-tock) man. Love the references, I'm just unimpressed by the song.
The Scissor Sisters prove themselves nicely on this mostly excellent and almost entirely wonderful album. Save for those last two misstepped offerings I am entirely impressed and entertained by the band of New Yorkers. This is a band that has corralled many influenced, reworked many melodies, and elicits and smile and a dance step at ever turn. Scissor Sisters is just one of those bands you must adore but also must question whether or not they should attempt to do it again or whether quitting while ahead is the best bet.
Rating: 4.5/5 stars
Track Listing:
01. Laura
02. Take Your Mama
03. Comfortably Numb
04. Mary
05. Lovers in the Backseat
06. Tits on the Radio
07. Filthy Gorgeous
08. Music Is the Victim
09. Better Luck
10. It Can't Come Quickly Enough
11. Return to Oz
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