March 31, 2010
Crane’s Tavern, Hollywood
I remember seeing The White Stripes at The Troubadour a few times a year, in the very early 2000′s. We also used to go see these singer-songwriters named Katy Perry, Sara Bareilles, and Brett Dennen, play at The Hotel Cafe all the time. I was one of 8 people who stumbled into The Mint and saw Jack Johnson play in 1999 or early 2000, well before the masses knew who he was. The Strokes, Metric, Snow Patrol, Keane, Scissor Sisters, Ben Harper, The Airborne Toxic Event, Amos Lee, Ray LaMontagne, The Black Eyed Peas (way, way, way back), Ryan Adams, Bright Eyes, Muse, Arcade Fire, Queens of The Stone Age, Portugal The Man (you’ll see what I mean about that one soon). . . the list of “new bands” that I’ve seen perform in tiny venues, before most people knew who they were, is endless.
What does this have to do with Jamie Drake? Well, if you want to get in early on this one, now’s the time. I was introduced to Jamie via a contest she won. Jamie was hand-selected by A&R veteran Michael Rosenblatt (Madonna, Depeche Mode, New Radicals, etc.) to receive his guidance and to record an EP with a respected producer. “Listen to this! Listen to THIS!” Rosenblatt would command, while bouncing out of his seat, with a huge smile on his face, referencing Drake’s early demos. Then, 2 minutes later, “did you listen to it??” By the third minute he was playing Jamie Drake’s music for me from his computer. At that time, I had worked with Rosenblatt for nearly one year and had never seen him that excited about anybody.
On first listen, Drake’s songs are unmistakably good. Upon subsequent listens, they’re brilliant. The art of the album is dying – people are buying (or not) singles and EPs. The coming generation isn’t familiar with the concept of the album as a holistic piece of work, as a story and art of its own. People are consuming songs, legally or illegally, at a rapid pace and churning through them as quickly as they find them. Yet to endure, the songs need to be better. As a listener, you need to feel something every time you hear a song, not just a catchy little tune that will soon annoy you, as it becomes overplayed. You deserve something that moves you, something you can revisit several years from now and still connect with, songs that are themselves a holistic piece of art. Jamie Drake gives you that.
The better an album is, the longer it takes me to get though the first listen. I geek out on songs, listen to them on repeat, hear all the parts, identify where the emotional hooks are, understand the impact of the intersection of the sound of various instruments at a specific moment, inflections in the singer’s voice. . . It took me two weeks to get to the final track of Drake’s album – which also happens to be the title track, and my favorite – “When I Was Yours.”
I listened to tracks one through eight, over and over, on repeat until I understood, down to the second, where and how each song made me feel a specific range of emotions. Eventually, I made my way to track nine, “When I Was Yours.” That song is still on repeat. Minutes 2:12 – 3:02 will break your heart even if your heart has never been broken before. But it’s minutes 0:01 to 2:11 that get you there. Drake’s songs are not simply “good,” they get inside you and fuck you up. The songs stand alone, but they also, conceptually, take you through the journey of the album as a whole. And just like we want to relive the best parts of our lives, I’ve repeated my way, song by song, through the album numerous times now.
I’ve seen Drake perform live a handful of times. The more she plays, the better she gets. Even if she never gets any better than this, she’ll still blow you away. Drake is currently playing Crane’s Tavern in Hollywood on Wednesdays and has an album release show at The Hotel Cafe on May 13th.
For more info: Jamie Drake on Facebook