Sooj

I Wear the Red- Redux Red

Since Facebook is standing up for Marriage Equality today by passing around this image, courtesy of the Human Rights Campaign…

Human Rights Campaign, Marriage Equality

I thought I’d put on my red hood again, and start asking around the forest whether anyone’s seen any wolves lately.

 

One of the cool things about being a creative person is meeting and collaborating with other creative people.

 

A couple of years ago, my high school buddy Sean-Michael Argo clawed his way back into my sphere of awareness, like the Creature from the Black Lagoon that he is- Sean makes movies.  Bloody, gross, low-budget movies.   I hadn’t seen him in thirteen years, and we agreed that it was time to do some catching up.  (This was long before Ember Days & the album that followed, of course.)

 

One day, we took ourselves up to Mount Rainier with an expensive camera, a borrowed rapier, and some of our favorite people, to film a trailer for a movie we still haven’t gotten to make together- a retelling of Red Riding Hood.

 

It’s been done.  We know that.  It’s been done with Red as a strong female protagonist with revenge on her mind.  We know that.  It’s been done with a little bit of Steampunk.  We know that.

 

But we’re still hoping that, one day, whether or not it actually becomes a movie (a photo series, a novel, and a concept album are also strong possibilities), we can tell this story the rest of the way.

 

So here’s me, running around on a volcano with a sword, wearin’ the red.  Sharing with you today in honor of Human Rights and Marriage Equality.  Music and VO by me, rapier graciously lent by Torrey Stenmark, camera assist by Rhake Winter, editing badassery by K’ Wiley, gripped by Rainbow Rex, directed by Mr. Argo.

 

 

You can read Sean’s version of the story at his blog.

 

I still have that coat. (smile)

 

 

Album Reviews

“The first five songs on Wonders start out with Sooj’s signature style; whimsical, playful, and with the air of a wandering circus about them. She is an accomplished singer, and one of the most distinctive things about her work is her multi-layered harmonies…The music switches gears by the sixth song, “Glashtyn Shanty.” Dark, haunting, and powerful, this one was my favorite. An otherworldly sea shanty, the song shows you the murky mist-shrouded waters, no doubt under some curse, as the blackened barge ferries you across to some uncertain fate. “Little Skylark (the Worsted Wood)” is an ethereal lullaby with lyrics written by Cat Valente, wherein a young girl attempts to lull her own death to sleep. “September Morning Bell” is a spoken piece that reads like a spell amidst cellos, guitar, and synth glockenspiel. This is followed up by “The Great Velocipede Migration”, an instrumental, medieval sounding romp. This one reminded me a great deal of Frenchy and the Punk, a touring duo we both have shared the stage with several times. “Not the Villian” is very evocative of Tori Amos. Spoken from the point of view of the nemesis, it features Sooj’s signature whimsy, but takes a turn for the melancholic and introspective. Staying with the melancholy feel, the penultimate song, “For Iago” reminds us that “even double agents and cats of dubious alignment have someone who loves them very much. The last song on the album, “Little Skylark (safe at home)” is another lullaby for September now that she has returned safely home form Fairyland.  Wonders is an enchanting journey through fairytale and adventure, delivered with all the charm and wit and lilting harmony that captures S. J. Tucker fans’ hearts album after album.”

-Sharon Knight, Coreopsis Journal, San Francisco, CA

 

“The new album is called Wonders and is everything that you would expect from S. J. Tucker and the musicians that help her create an eclectic and whimsical sound.  In many ways Wonders leaves us all wondering a bit and really looking at the world a little differently…Everyone from the first time listener to children, elderly, long time fans and everyone in between will find enjoyment in S. J.’s lyrics and music from start to finish.”

-Heather Marseillan, The Tacoma ExaminerTacoma, WA

 

“SJ Tucker, the archetypal Celtic myth-punk, conquers a lot of new territory on the Ember Days soundtrack, and takes no prisoners. From ferocious “Earthling”-era David Bowie drum’n’bass sounds to the hallucinatory otherworldliness of didgeridoo and overtone flutes, this is both an unexpected departure from her previous body of work and a bold and exciting new direction. I can’t wait to hear what comes next!”

Ben Deschamps, Amphis Music, Toronto

 

“On March 5th singer-songwriter S.J. Tucker released the soundtrack she composed, produced, and performed for the micro-budget fantasy epic Ember Days. Known largely for her folk-based material, Tucker uses the project as a way to experiment and grow as a composer, dipping into neo-tribal, electronic, and industrial sounds. The results are refreshing. The listener is opened to depths only hinted at in previous albums; a darker sonic tapestry that Tucker obviously enjoys playing in. Tucker, an artist who usually exudes joy and a fey sense of fun, drops the smiles here to excellent effect on tracks like “We Were Angels Once (Wake The Fallen)” and “We Are Shangri – La (Emerald City Mix).” In addition, we are reminded through the many instrumental tracks that Tucker can write compelling arrangements without having to rely on her able and road-tested voice.

-Jason Pitzl-Waters, Wildhunt.org: S. J. Tucker, Ember Days, and Pushing the Boundaries of Pagan Music

 

“SJ Tucker’s original music for Ember Days is deep, dark, and soul evocative. There is an eerie quality to all of the songs and a heart wrenching emotional pull from the driving beat that grows teeth and claws. This is a blending of different genres and a definite branching out from her previous work. SJ’s fans will find much to love in the soundtrack both as accompaniment to the movie and as a stand-alone album.”
-Sherry Kirk, Producer, Ember Days

 

“Singer/songwriters take note, this is what you should be doing and how you should sound.”

J-Sin, review of Tangles

Smother.net Editor’s Pick

 

“She’s got Dar [Williams]’s sardonic sincerity coupled with Janis Ian’s vocal chops and the deft guitar hands of Emily Saliers. Her lyrics swell up from the underworld, where so many artists venture but which few truly understand.”

Phil Brucato

NewWitch magazine, review of Haphazard

 

Usually I would worry (I took 4 years to put out my first CD because everything had to be radio ready and perfect) when someone said they were LACKING in PRODUCTION, but THIS is LACKING of NOTHING! Her voice, her stories, her incredible guitar playing, and fun just blew me away. I felt like I was in a live concert at Living room or a coffee house.

singer-songwriter Kama Linden

FemMuse.Com, review of Haphazard

 

“First off, she can honestly sing like Joni Mitchell, no lie. With a swirl of acoustic strumming to back her, Tucker lets her most important instrument shine, that rich, sophisticated soprano voice of hers, one that would have landed such impressive originals as ‘Face-down’ and ‘Heart Beat’ on Blue back in 1971.”

Bill Ellis, Memphis

Commercial Appeal, review of Haphazard

Accolades from Authors

“Tucker is not only fantastic; she’s like a character out of a fantasy novel. She weaves myth and magic into her lyrics as easily as a strain of cello, a lick of something electric, the chuffing of a train engine…Tucker has a knack – no, a genius – for weaving old ways with new.”

C. S. E. Cooney, blackgate.com

 

“I am impressed by Tucker’s artistry, by her musical abilities and inspiration. But I am amazed by the power of her presentation. Her performance puts me in mind of a leopard, small but exotic, and of the play of her muscles — hidden, but evident in the flow of sinew beneath her coat.”

Andrea Jones, author of  Hook & Jill

Crash Course for Creatives: How to Process Bad Reviews

A word or two about bad reviews and how to process them, specifically geared towards other creative people, whether we’ve met or not.

Take it or leave it: this is advice I’m trying to give to myself right now, first and foremost.
I am sensitive, and I get upset easily: SO not a bodhisattva.
But it’s all good.
It really is.

Here we go. Starting with a few facts.

The number of happy reviews I’ve seen in ten years of recording and touring and performing full time: countless hundreds.
The number of unhappy reviews I’ve seen: three.

You can guess which ones I’m trying to let go of. (wink)

We all do this. We all get bogged down in the things that make us sad or angry or disappointed. Especially when we see them in print. Especially when they are delivered in response to something we’re proud of.

I should take comfort in the fact that I have so many more good reviews than bad ones, right? But so often the internal susurrus kicks in and starts saying things like, “well, what if that’s because only two people had the balls to tell you what they thought when they didn’t like it? What then?”

In the wise words of Ben Deschamps, f*ck ’em.You cannot please everyone all the time. That’s not why we write songs or poems or plays or stories. We get creative because we *have* to, because it beats and burns inside us all the time, and it’s better for everyone if we let the Muse out to have her way.

You can’t please everybody.
You have to please yourself, especially where your own art and your own creative pursuits are concerned. I know how selfish that sounds, but it’s true.
It’s your choice whether you send your art-babies out into the world and let other people have a chance at reacting to them. It takes guts.

There’s a limit to letting your creativity run rampant. I recognize that. But it’s not like people on my level can afford to go into work- be that art studio, writing desk, or recording studio in this case, take every drug they can find, and spend tons of time and money just messing around for days to capture whatever comes out (see producer Bryan “Chas” Chandler’s opinion of the sessions for Jimi Hendrix’s Electric Ladyland). We really do make an effort to craft our words and our work, to make sure that it’s going to go out into the world and be palatable to someone besides ourselves. I know I do.

There’s a limit to everything.

Seriously though, if someone just hates your stuff and s/he’s honest enough to tell you so, that’s a blessing, especially if you consider that person a friend. It means s/he trusts you not to stop speaking to him/her/per when s/he speaks his/her mind.
But don’t let it ruin your day, certainly not your life.
No one, friend or foe, has that much power over you. Don’t give it to them.

I give myself this piece of advice right now, as well. I’m no Jedi Master where letting things go is concerned, quite the contrary.

I have had a reviewer, who was also a friend of mine, worry that I would stop speaking to him when he published a review that wasn’t glowing and effusive.
I straightened him out about that as soon as he told me so.

His review was full of constructive criticism, and he still gave me pretty high marks, even though he wasn’t in love with the work in question. I was thrilled. Besides, it wasn’t like he was calling me names, or saying that my work was an insult to the entire world of music. Far from it.

I will always be grateful for the honesty of those around me, where my work is concerned.
Even when it stings.
The trick is to take what’s useful from the stinging bits, and then, let the rest go.

Right now.

Just flush it down and forget about it, like so much poop.

It gets easier. Just like potty training.
Maybe the reason I’m not good at this yet is because I haven’t had to practice much.
Maybe the balance is about to shift because more people are hearing my music now than ever before.
Maybe a couple of people love everything I’ve done, except for one song.
So be it.

Some people will tell you that any press is good press.
This is true.
But you don’t have to let someone else’s reaction influence you, not if it isn’t useful intel.

Take the bad reviews and turn them around- see the blessings in disguise if you can. If so, nourish yourself with them, and move on to the next big thing as soon as possible.
If not, if it’s just a bunch of name-calling, and it’s clear that the reviewer was predisposed not to dig what you’re doing, delete that sh!t, and move on to the next big thing as soon as possible.

You have my permission. I’ve got your back.

We’re all mad here, and it’s okay.

Keep doing your thing. It’s all right.

Never, never give up.

Love you.

 

Hi there!

New website, new blog thingy, figuring stuff out, don’t mind me. 🙂

 

 

Studio Praise

“As humble and self-effacing as they come, S. J. Tucker laid down [four] hypnotically melodic songs in Studio B for a demo release. Backed by the multi-layered rhythm section of local favorites, Stout, S. J. offers to us a variety of sonic emotion not often captured on tape.”
Memphis Records
In the Studio
“I can’t say enough good things about the little woman with the big voice. She sings from the heart and to the soul. Her lyrics are powerful, and her music, ethereal.”
Memphis Records
In the Studio