CD Review
Morag McLaren - I Never Do Anything Twice
1.
Don't Tell Mama 2. Every Day A Little Death 3. The Portrait 4. The Physician5. Be Italian 6. South America Take It Away7. I Never Do Anything Twice
8. My Own Space 9. That's Him10. Surabaya Johnny 11. Loud
12. Cry Me A River13. Medley- Ac-cent-chu-ate the Positive / Get Happy
14. Irish Ballad 15. Vodka 16. Hangover Blues 17. Make The Most Of Your Music
Engineered and Mixed by Andrew Lynwood Dress Circle MM777
Having opened with a fast-paced, conspiratorial ‘Don’t Tell Mama’, the singer immediately offers a contrast in style with touching renditions of ‘Every Day a Little Death’ and Amanda McBroom’s ‘The Portrait’. The former is enhanced by McLaren’s precise diction and a delicate piano accompaniment by Bruce O’Neil that makes the listener hold their breath till the final note; the latter, apparently an intensely personal song, is given a new dimension by McLaren opting for the portrayal of a sense of confusion and bewilderment rather than the more desperately tragic feel of its originator’s treatment.
The mood lifts again with ‘The Physician’ in which McLaren gets the opportunity to exhibit the full range of her vocal gifts, listen out for a particularly sensuous "molto bello". Believing that one has heard the best of Morag McLaren, one immediately has to acknowledge that she surpasses her own high standards in the demanding ‘Be Italian’, a brilliant showcase for her vocal range, comedic flair and astonishing versatility.
The album continues in similar vein, alternating styles and mood in a way that leaves one almost exhausted by the end. McLaren’s ability to develop a character is brought to the fore in ‘Surabaya Johnny’; her ear for language and genius for mimicry are prominent in ‘Vodka’; her ability to sing quietly and with intensity is hauntingly evident in ‘My Own Space’. McLaren then has enormous fun with her ‘Irish Ballad’, a rasping Scottish accent feigning horror at the grisly tale that unfolds. It’s practically worth buying this album just to hear her "it was horrible" aside.
Of particular interest is McLaren’s recording of the album’s title track. The singer effortlessly fuses a quasi-Viennese operetta style and an altogether more American approach. It’s as if Franz Lehar met Cole Porter and Morag McLaren was on hand to sing the result! Of course, a little-known composer named Stephen Sondheim actually wrote it. Cue for a thesis?
In addition to Bruce O’Neil on piano, McLaren is joined by Stephen Pierce on saxophone and clarinet and has created a joyous album, full of surprises and delights that will entertain you and your guests for a long, long time.