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Thalia Zedek, "You're a Big Girl Now"
The plan was to record an EP of cover songs. The coolest singer in rock music wanted to pay tribute to some of her influences, including Nina Simone, Patti Smith's epochal Radio Ethiopia album and Neutral Milk Hotel's "Comely." Then she changed her mind and instead recorded three new songs, an old Uzi number that never made it onto the classic Sleep Asylum and a couple of covers. The fans lucked out, as her songs are drastically superior to the ones she did eventually cover.
 
Lou Reed and Bob Dylan should shit blood to be songwriters even half as gifted as Thalia Zedek. Are you reading this Reed? You wasted an hour of my life with that turgid wankfest you call Ecstasy, and I'm not happy about it. Yeah, yeah, the pope in a silver castle my ass and don't you ever make the colored girls go do de do like that again, motherfucker! But enough of that ol' hasbeen, he was still pretty gritty when he knew what "Candy Says" with the Velvet Underground and later resurrected it in Berlin, but nevertheless it's the weakest cut here.
Thalia Zedek packs an emotional punch into every song as if the weight of the world is crushing her and singing is the only way to lift it off her back. There's this lone drum beat in the relatively upbeat opener "Everything Unkind" that reels like total emotional desolation. The opening lyric, "I got tired of waiting," is something any Lou Reed fan hoping for another album even half as rockin' as 'New York' can surely relate to. But enough of that ol' hasbeen, there's another one just round the corner and he has a nasal voice and a legion of rabid bootleggers under his thumb. The Dylan cover that gives the six song CD its title bears some similarities to "Temporary Guest" off Thalia's last album, except nowhere near as finely captivating. More equal to that stupendous album no doubt overlooked by idiots racing for the next big little thing are the two No songs. "No Fire" gets right under the skin of a slowly souring relationship then tears it right off. Meanwhile "No Substitutions" is the one that'll make old Come fans happy, with Mel Lederman's piano taking the place of bass. It seems Thalia has also stepped up the contribution of viola player David Michael Curry, and the only other old Come hand on board is drummer Daniel Coughlin.
Perhaps the most magical moment happens when Thalia covers her younger self. "JJ85" paints a dream portrait of youthful longing and unravelling, with a simple uplifting strummed riff that seems like the dark reflection after Blondie's "Dreaming" took a tumle through the tunnels underground in search of the doctor that the hopes were pinned on before a change of heart.
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