Suzanne Vega reveals her six favourite albums
American singer and master songwriter Suzanne Vega explores her six favourite albums, and they don't disappoint.
(Credits: Alamy)
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Mon 27 January 2025 4:00, UK
In many ways, we take music for granted. We listen to someoneâs heart and soul distilled into a three-minute edit, so seamlessly woven into the fabric of daily life that we can become disillusioned. We forget that while an album might take an hour to consume, its tracks may have been meticulously crafted over the years, with every lyric and sonic detail fine-tuned to perfection. The artistic element of music, it seems, has slipped from the forefront of the listenerâs conscienceâuntil, that is, Suzanne Vega steps into the frame.
Vega is a true creative force known for her distinctive musical persona and lyrical depth. With acclaimed hits throughout the 1980s, such as âMarlene on the Wallâ and âLukaâ, she became a standout figure in lyricism, tackling harrowing subjects like abuse with profound sensitivity. In the production process, Vega prioritises words and melody over intricate musical arrangements, often collaborating with other musicians to shape her albums while focusing on her first loveâwriting. This, of course, comes as no surprise; having started writing poetry as a child and later studying English, Vega brings a literary lens to both the music she creates and the work she admires. Her favourite albums are no exception.
Speaking to the Express in 2016, itâs clear that many of Vegaâs picks are unsurprisingly based on lyrical artistry. She began with the magnum opus that âopened up a world of songwritingâ, Leonard Cohenâs eponymous album, Songs of Leonard Cohen. Evidently a worshipper of the Canadian poet musician, she enthused: âHis voice is so intimate, though, there was nothing easy listening about it. Itâs very intense. Who else sings about being sick in bed? I tried to drink in everything I could learn from it, and I still do.â
With her songwriting masterclass in check, Vega moves on to another wordsmith who no discussion about lyrics would be complete without. âBob Dylanâs been an inspiration since I was nine when my teacher played him,â she said, particularly making reference to his 1963 album The Freewheelinâ Bob Dylan. âHeâll sing you an image and not explain it, which appealed to me because it retains mystery. When he does lecture you itâs astonishing as in âMasters Of Warâ, which makes you want to curl up and die.â
Well, you see what she means, but itâs probably not the right time to tap out since thereâs so much more mastery to get through. Next, Vega chooses the seminal Outlandos DâAmour by The Police, explaining her memory: âI remember being amazed that this sound was made by just three guys, and I loved Stingâs charisma and delivery. They were fooling around with reggae and punk, and thereâs a lot of energy with the drumming driving everything.â
Despite her penchant for lyrics, Vega still clearly appreciates the power of musicianship because, from The Policeâs drums, she moves on to Laura Nyroâs incomparable voice. She singles out the iconic 1968 record Eli and the Thirteenth Confession, recalling, âSome people left this album after a party my parents had so I put it on. It really annoyed my mother who thought she screeched. But why shouldnât she? I grew up in New York City and she sang about the world I knew, then transformed it with the way she sang in weird phrases.â
Interestingly, she tends to pick works close to home in some way because her next choice may be a little biased. Itâs Woodface by Crowded House, made special because âI married the producer of this album, Mitchell Froom, after he produced my 99.9F album, though I fell in love with this before I met him. Neil Finnâs melodies are beautifulâ. Clearly, Froom had some sort of enthralling power over the rest of Vegaâs life, as she said: âFor years after we split up, I kept hearing âDonât Dream Itâs Overâ with Mitchellâs organ solo floating out from some random place Iâd stopped to get lunch.â
Well, whether she liked that song Chasing Her or not, her final pick was an Escape â specifically to Berlin, by one Lou Reed. Vega said that Reed was âA big influence on my life and career. I first saw him in 1979 on a date. The concert was abrasive and violent, but I loved his songwriting, and he was fearless in his subject matterâ.
But their songwriting kinship went even further because she went as far as to say: ââCaroline Saysâ was an influence on my song âLukaâ because thereâs domestic violence in that too. I was listening to it the day I wrote it.â
It is a bit crazy to realise how these things work â of course, particular albums and songs influence artists everywhere, but without giants like Lou Reed in the game, we may never have seen the fresh breath of talent in Suzanne Vega.
Suzanne Vegaâs six favourite albums:
Related Topics
Leonard CohenLou Reed
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