Laurie Anderson’s “Bright Red”
I was 12 years old when Laurie Anderson released her album, Bright Red. I remember being scared of the third track, which is called The Puppet Motel. The song featured a darker and weirder Laurie Anderson than what I'd heard as a child. This Laurie sounded like she had spent a little too much time with the avant-garde, performance art band, the Residents. It was the first time I'd ever heard bitcrushed drum tracks on top of layers of ghostly sounds with a very distinctive tritonal guitar part. It probably wasn't good for my childhood and still kind of rubs me the wrong way, in all honesty.
I grew up with the radio-friendly Strange Angels album and the concert film, Home of the Brave, which features lots of happy music and Adrian Belew’s famous rubber-neck guitar. Sure, her albums Big Science and Mister Heartbreak also had some strange tracks, but they weren’t particularly dark or creepy. Bright Red was dark and creepy.
Hearing Bright Red the first time was like hearing Radiohead’s Kid A after getting to know them through their very commercial-friendly rock album OK Computer. I bought Kid A the day it was released when I was in college, brought it to my dorm room, played the first song, and was certain I’d received the wrong product or there was some sort of CD manufacturing error. It was so strange and unlike what I expected and wanted it to be: more of what was familiar to me. I hadn't quite learned yet that real artists evolve over time.
Like Strange Angels, Bright Red is a very musical album, but like Kid A, it’s a very dark turn away from what I expected after many listens to older albums. First off, Bright Red was produced by Brian Eno, which may explain some things. There are several classic spoken songs performed only as Laurie can, with references to Annie Dillard, the Bible, and working through significant loss. She performs a somber hocket with Arto Lindsay, sings with her late husband Lou Reed, and plays with guys like Adrian Belew and Marc Ribot. Speaking of Arto Lindsay, check out this clip of him sharing his guitar tuning on national television:
Musically, I think Bright Red is timeless with very few signs that it was recorded almost 30 years ago. Some of the synthesizer sounds are a little dated, but otherwise, the instruments sound great, it’s well-mixed, and the material holds up today. The drums, in particular, stand out on this record because they are so unconventional and artistic. They’re performed by Joey Baron, who has done a lot of work with David Bowie, Bill Frisell, Fred Frith, and John Zorn. Really, Baron's drumming is such an enjoyable highlight.
Because it was the early 1990s, Laurie also released a CD-ROM to accompany the album, which now lives on in YouTube videos and, surprisingly, on the Internet Archive website where it appears you can download and experience the original release for free. It’s reminiscent of the old mystery game, The 7th Guest. And the Residents CD-ROM, Freak Show.
The album opens with a solo drum performance and Laurie’s signature storytelling. There' marching snare and some light cymbal and hi-hat work. It’s a song called “Speechless,” which sets the tone for the rest of the album. The second song, Bright Red, is the one with Arto Lindsay. I love this piece. Completely unique, electronic, and mysterious. There’s really nothing like it.
I wish I could pretend to understand the lyrics, but I can definitely feel them. And I think that’s something so unique about this album. The music is so supportive of the darkness and depth of the lyrics. I’m not someone who typically listens to lyrics, but some lines just penetrate the ears, like on the track Speak My Language: “Daddy daddy, it was just like you said… Now that the living outnumber the dead.” Or her duet with Lou Reed, “In Our Sleep.” The vocals are the album’s focal point and authentically delivered such that they can’t possibly blend into the background.
Nearly everything Laurie Anderson has done is authentic art, but this album stands out to me. I recently re-watched her concert film, Home of the Brave, on the big screen here in the studio and it was such a treat. I was nearly in tears at the childlike freedom and creativity on display. If you haven’t watched it, you can find the whole thing on YouTube. It’s amazing work.
So why is this album a jaw-dropper? It’s kind of a spectre in my life. During times of silence or sadness, I’ll find this album haunting me somewhere in my subconscious. I don’t know if it’s left some sort of dark indelible mark on me, but it’s there and it’s undeniable. And I’ll never forget the first time I heard the processed drums opening “The Puppet Motel” with Laurie’s eerie vocal delivery. It just sounds like an album that came from the future to fester in my mind. It’s hard to describe.
Let me know in the comments if you’re a fan of this record and what you think about Laurie’s music. She’s definitely an acquired taste, but Strange Angels is a great way to get your feet wet. And if you’re looking for an excellent commentary on today’s political landscape in America, be sure to check out her song, Only an Expert.
