Be Close
Maureen Brown
Independent/Pug Productions
1997
11 tracks
Ian Thomas should be ashamed of himself. As producer of Maureen Brown’s CD release Be Close, Thomas must take responsibility for its many very obvious deficiencies.
It is true that much of the poor sound quality and inconsistency may derive from the fact that it was recorded over a period of seven years at four studios by five separate engineers, including Thomas. And it’s true that some of the worst sound may result from inadequate equipment or poor engineering.
And it may be true that certain production decisions may have been dictated by Brown for economic or other reasons.
And it is certainly true that four of the better sounding tracks on this CD were engineered by Thomas himself.
However, the producer is responsible for the overall sound. The label on Be Close states clearly that Ian Thomas produced all the songs. This is neither an accomplishment nor something for which Thomas should take pride.
It is a grave disappointment to listen to a product of this low quality produced by a man who is highly respected — if not legend — in the Canadian music industry. Even more so, from what one can hear emerging from the inadequate recording on this release, Maureen Brown may be a talent to be reckonned with and certainly deserves a much more professional showcase than she has been given.
"Big Hand" may have been placed at the beginning and end of this CD because it consists mostly of drum and percussion work. A good idea, but the quality is muddy at best and sounds like the recording was made on a "boom-box" in somebody’s basement. As well, although the song is billed as Parts 1 and 2 (Part 2 first for some reason), perhaps taking off on "Topsy" and other songs of that era, it is clear that the two "parts"are simply two recordings of the same piece with slightly different personnel. Sandy Nelson or Preston Epps this ain’t.
"Big Hand" is also perhaps the best example of the inconsistent recording/ reproduction quality in this CD. This is by far the worst quality recording on Be Close, yet another piece by the same engineer at the same studio (Jamie Sulek, Axon Studios) is one of the cleanest, best sounding recordings. "Temple of Love" is a rocking blues number that shows Brown’s voice at its best -- equal to the sounds of other Canadian blues singers such as Georgette Fry or Molly Brown. If one did not read it in the credits, one would never suspect that this wonderful recording was also engineered by Jamie Sulek at Axon Studios.
There also seems to be an over-use of technology — especially reverb/echo and tape overdubbing — for what is essentially a roots oriented music. A lot of the music’s clarity is muddied by having too much "stuff" overlaid on the voice and instrumentation.
As well as the recording, the quality of the songs selected for Be Close was inconsistent and sometimes troubling. While some pieces were strong in both their musical composition and their lyrics (for example: "Temple of Love"), many were weak in one or the other area. One clear contrast is between two songs co-written by Brown and Thomas.
"Something Intelligent" is anything but. It has a schlock ska/blues melody supported by instrumentation that makes it sound like a sample tune from an electronic keyboard. The bridge is obfuscated by some bad Mungo Jerry scat that sounds every bit like someone choking after too many cigarettes. All this is overlaid with lyrics that are at best sophomoric and at worst just plain amateur.
On the other hand, "Down the Road" features a sexy, rolling melody enhanced by a balanced arrangement of instrumentation that sets off Brown’s sensual voice. The lyrics are intelligent and sensitive, telling their story in a concise style without ever sounding cheap or maudlin.
Maureen Brown is billed as a fine drummer and singer. It is a disappointment that, while she sings on every cut, Brown’s talents as a drummer are not really showcased on this release. On many cuts, drumming and percussion are shared with two guest performers — Richie Hayward and Rick Gratton — so that her own talents are not the centre of the performance. The only piece resembling a drum solo is the muddily recorded "Big Hand" discussed earlier. For a fan of the work of Krupa, Rich, Nelson, Epps and others, to not hear the drummer on her own recording is discouraging.
For her next release, Maureen Brown would be well advised to record all new material rather than use old tapes and to find herself a new producer who has a better feel for her work.
But then this is just one reviewer’s opinion. For those who want to test the waters with Maureen Brown, Be Close is available for $22.00 including shipping and handling (and we assume taxes) from Pug Productions, 67-2001 Bonnymede Drive, Mississauga, Ontario LJ5 4H8. The e-mail address is puddin@interlog.com for Pug Productions and Maureen Brown.
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