Purist Tunesmithing and a Slipper Room Show from Tamara Hey
Tamara Hey is New York to the core. She’s got an edgy sense of humor, a laser sense for a catchy classic pop hook and one of the most unselfconsciously ravishing voices in any style of music. Her album Miserably Happy (streaming at Spotify) is aptly titled: there’s a bittersweet dichotomy in her songs, biting lyrics with indelible New York City imagery set to a warmly tuneful blend of acoustic and electric folk-pop and powerpop. She’s playing the Slipper Room (Orchard and Stanton, upstairs over the big tourist restaurant) on May 8 at 7 PM; cover is $10.
The opening track, You Wear Me Out sets the stage: a deceptively sugary pop narrative about an exasperating guy who won’t give his girlfriend any breathing room. One minute he’s in the West Village with her, hell-bent on showing the world he’s not gay; the next he’s getting his mom on his side since the girl just happens to be the right religion for the holidays. The second track, Round Peg puts an only slightly lighthearted spin on the grim issue of female body issues: the narrator wishes she could relax and eat up like her full-figured friend rather than being “bitter in the center and no fun to be around.”
Umbrella, a delicate, vivid rainy-day tableau is a showcase for Hey’s clear, cool, crystalline maple sugar voice. Hey follows that with the backbeat powerpop gem Somebody’s Girl, a cleverly quirky number that wouldn’t be out of place in the Patti Rothberg catalog. Then Hey gets quiet and reflective again with Isabelle, which could be about schadenfreude, or the exasperation that comes with watching a dear friend screw up for the umpteenth time – or both.
Drive will resonate with any oldschool New Yorker. It starts with a 9/11 reference:
Any bright sunny day
With a low-flying plane
New York City, I lose feeling in my fingers
When there’s no subsequent crash
The blood returns and I go back
To doing what I do
But it still lingers
Then it hits a powerpop pulse with staccato strings and a biting Art Hays guitar solo, Hey hell-bent on just a momentary respite from crowded trains and random urban hassles. Likewise, the lushly arranged nocturne Long Dog Day vividly evokes post-dayjob exhaustion and the challenge of pulling yourself together for the rest of the evening.
The album’s funniest song, David #3 sardonically looks at how women get caught up with guys they really ought to stay away from – she hates his Red Sox hat, and when he’s in jail, since she can’t bail him out, she’s going to miss him! With Hey’s elegant tenor guitar intro, the album’s title track reimagines the Blondie hit Dreaming with more of an Americana edge. The final cut, October Sun, a gentle, pretty waltz, examines the price you pay for living intensely: “I unravel, not unwind,” Hey scowls, her lead guitarist channeling George Harrison during his solo. The whole album is one of the unsung purist pop releases of recent years.
Hey is also offering a very inexpensive series of Tuesday night workshops in music theory and writing lead sheets and charts beginning April 29 and continuing for five weeks through May 27.. As you might expect from her lyrics, Hey has a sardonic wit, and a disarmingly direct, commonsensical approach to music, qualities well suited to teaching. Classes run from 6:30 to 8:30 in the Astor Place neighborhood, close to the 6, N and R trains. If you can’t make the classes, Hey will also have courses available online starting in May, email for information or register online.