Album: Tracy Chapman
Artist: Tracy Chapman
Artist: Tracy Chapman
Born: Cleveland, Ohio
Released: April 1988
Genre: Folk
Influenced: Tori Amos, Lisa Stanfield, KT Tunstall, Kings of Convenience
With soul music in decline during the 80s, many African-Americans struggled to find their voice and it was a younger generation that turned to new (hip hop) and old (folk) musical forms that managed to connect with a wider public. Comparing the approach of Tracy Chapman with Public Enemy shows there's more than one way to write politically conscious songs, and the heartfelt and starkly emotional approach that Chapman adopted was no less effective. Her warm, richly textured vocals are at odds with the stark social realities in her songs, and though she may sound a little too earnest at times, it's important to remember she was only 24 at the time of the album's release. In my mind, it's impossible not to associate Chapman with Joan Armatrading, who must have been an influence on her and many other female singer-songwriters at this time, such as Suzanne Vega. In an age of superficial male-dominated rock brands like Guns N' Roses, Chapman's sincerity and lack of ego was a breath of fresh air. She was the anti-"material girl" and was discovered in 1987 by fellow Tufts University student Brian Koppelman, whose father owned an independent music company with connections to major label, Elektra. One of the songs on the demo tape that won her a recording contract was Talkin' Bout A Revolution, a passionate protest piece sung more in hope than expectation ("poor people gonna rise up and get their share"). Chapman performed the song at Nelson Mandela's 70th birthday concert at Wembley Arena, and won over a new audience with her soulful voice and integrity.
The album was recorded over eight weeks at a studio in Hollywood and, though Chapman had a wide array of session musicians at her disposal, she often chose to keep the arrangements simple. For example, Behind the Wall was recorded a cappella and Mountains o' Things was essentially (before overdubs) the sound of just Chapman singing along with a percussionist. Opener Talkin' Bout a Revolution immediately gives listeners a sense of what Chapman's about, and had been a song in her repertoire since the late 70s. Then comes the song she's best known for, Fast Car, which taps into that powerful symbolism that surrounds the car in the American imagination, as a means to escape and find freedom and renewal on the open road. Springsteen explored similar territory. The song is also an antidote to this romanticism, especially the final verses, as Chapman sings about a man not willing to face up to his responsibilities ("you gotta make a decision / leave tonight or live and die this way"). Despite the light arrangements, some of the lyrical themes are very heavy, with Behind The Wall (just like Suzanne Vega's Luka, released in 1987) about domestic violence. For My Lover is another brilliant song that belies its upbeat tone, as Chapman sings from the perspective of someone trapped in an unhealthy relationship. Revolution and Freedom Now are more overtly political with their open call to resistance, while Across The Lines specifically addresses racism, as expressed through violence or the legal system. There are also very personal love songs, like Baby Can I Hold You (though it's hard for me to hear it now without thinking of that sickly sweet Boyzone cover) and For You, that give the album a well-rounded feel. Its huge success, selling over 20mn copies worldwide, opened up doors for female singer-songwriters in the 90s, but was a feat that Chapman herself could not replicate.
With soul music in decline during the 80s, many African-Americans struggled to find their voice and it was a younger generation that turned to new (hip hop) and old (folk) musical forms that managed to connect with a wider public. Comparing the approach of Tracy Chapman with Public Enemy shows there's more than one way to write politically conscious songs, and the heartfelt and starkly emotional approach that Chapman adopted was no less effective. Her warm, richly textured vocals are at odds with the stark social realities in her songs, and though she may sound a little too earnest at times, it's important to remember she was only 24 at the time of the album's release. In my mind, it's impossible not to associate Chapman with Joan Armatrading, who must have been an influence on her and many other female singer-songwriters at this time, such as Suzanne Vega. In an age of superficial male-dominated rock brands like Guns N' Roses, Chapman's sincerity and lack of ego was a breath of fresh air. She was the anti-"material girl" and was discovered in 1987 by fellow Tufts University student Brian Koppelman, whose father owned an independent music company with connections to major label, Elektra. One of the songs on the demo tape that won her a recording contract was Talkin' Bout A Revolution, a passionate protest piece sung more in hope than expectation ("poor people gonna rise up and get their share"). Chapman performed the song at Nelson Mandela's 70th birthday concert at Wembley Arena, and won over a new audience with her soulful voice and integrity.
The album was recorded over eight weeks at a studio in Hollywood and, though Chapman had a wide array of session musicians at her disposal, she often chose to keep the arrangements simple. For example, Behind the Wall was recorded a cappella and Mountains o' Things was essentially (before overdubs) the sound of just Chapman singing along with a percussionist. Opener Talkin' Bout a Revolution immediately gives listeners a sense of what Chapman's about, and had been a song in her repertoire since the late 70s. Then comes the song she's best known for, Fast Car, which taps into that powerful symbolism that surrounds the car in the American imagination, as a means to escape and find freedom and renewal on the open road. Springsteen explored similar territory. The song is also an antidote to this romanticism, especially the final verses, as Chapman sings about a man not willing to face up to his responsibilities ("you gotta make a decision / leave tonight or live and die this way"). Despite the light arrangements, some of the lyrical themes are very heavy, with Behind The Wall (just like Suzanne Vega's Luka, released in 1987) about domestic violence. For My Lover is another brilliant song that belies its upbeat tone, as Chapman sings from the perspective of someone trapped in an unhealthy relationship. Revolution and Freedom Now are more overtly political with their open call to resistance, while Across The Lines specifically addresses racism, as expressed through violence or the legal system. There are also very personal love songs, like Baby Can I Hold You (though it's hard for me to hear it now without thinking of that sickly sweet Boyzone cover) and For You, that give the album a well-rounded feel. Its huge success, selling over 20mn copies worldwide, opened up doors for female singer-songwriters in the 90s, but was a feat that Chapman herself could not replicate.
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