Harrowing Levels of Meaning in Rose Thomas Bannister’s Psychedelic Art-Rock Masterpiece
The best album of 2018 is also one of the shortest. Singer/multi-instrumentalist Rose Thomas Bannister’s third full-length release, Ambition – streaming at Bandcamp – has enormous relevance in an era of narcisssism run amok. She has never sung more subtly or written with more acerbic, sometimes venomous levels of meaning than she does here. Strings and horns in places add both orchestral lushness and smoky jazz flavor to the five constantly shapeshifting, psychedelic tracks. They rank with the A-side of any great lyrical rock record ever made: Elvis Costello’s Armed Forces, Richard & Linda Thompson’s Shoot Out the Lights, Hannah vs. the Many’s Ghost Stories…and for sheer musical ambition and imaginative orchestration, ELO’s Eldorado.
This is a high-concept album, commissioned for a dance production of Macbeth. Reduced to simplest terms – a dangerous thing to do with Bannister’s work – it’s about violence and understanding its motivations, and its perpetrators. She quotes liberally from Shakespeare, but neither the songs nor the suite as a whole follow the narrative of the play. Betrayal is an ever-present, seething undercurrent.
The title track opens as ominous waltz, with a creepy flurry of guitars – Bob Bannister’s distantly wary Strat along with the bandleader’s steady acoustic:
Don’t look at my desires
Don’t look at my hands
See not the wound it makes
Until i get what’s mine
As the song shifts into a slow, hypnotic 5/4 groove, Greg Talenfeld’s grimacing, contorted lead guitar moves to the forefront, in contrast to the vitriolic elegance of the vocals.
Gary Foster’s drums and Matthew Stein’s bass shift from a wary stroll to tensely circling triplets as Banquo’s Book picks up steam. Susan Alcorn’s pedal steel adds big-sky ambience to this metaphorically loaded saga of birdwatching and then escape:
The moon is getting burnt out
It looks like rain
I stated my opinion
I was never afraid
What time is it my son
Why don’t you hang onto this gun
I don’t believe in fate
But if you can get away I’ll guard the gate
William for the Witches is the album’s most overtly Shakespearean and psychedelic track, opening with sinister theatricality and closing with a surreal exchange of voices, echoing X as much as Arthur Lee:
It’s so easy to make them go crazy
So fun to watch them go to town
So much fun to watch them mow each other down
The jaunty As Birds Do is not about what you might imagine, this being inspired by the Bard and his dirty mind Alcorn’s steel adds surreal Tex-Mex flavor, Erik Lawrence’s gruff sax paired against Steven Levi’s bright cornet for extra sarcasm:
All is the fear, nothing is the love
Little is the wisdom when he fires away
Go back to school yourself
Tell me what is noble, tell me what’s judicious
In these faceless days
The coda, and key to the story is Lady M. which begins broodingly and then rises to another faux-mariachi interlude. The symbolism is murderous:
Have you eaten of the root?
That takes reason prisoner
Have you swallowed
The bitter pages?
You spurred them on
When Bob Bannister’s sotto-voce vocals loom in low on the next line, “Your children will be kings,” the vengeful sarcasm reaches new levels. Don’t ever, ever mess with a songwriter. You can brutalize them, fight them in court, even steal their children, but they always get even in the end. Rose Thomas Bannister’s next gig is January 19 at 8 PM on a a twinbill at the Jalopy with Americana songstress Erin Durant and Philly Goat