By LARRY MYERS **** What could be termed “futuristic country western vampire” sound is embodied by talented Glen Meadmore. He appeared at the celebration of the Playwrights Sanctuary Hollywood at the Hollywood Historic Hotel. Also in attendance were cabaret artist Kevin Kelly (who just appeared in TV’s “Feud,” Tim DeZarn (a fo
rmer Cincinnati student who is now TV’s third most employed actor).
He was in the cast of my production of A Streetcar Named Desire when I directed it years ago—and that is how I met Tennessee Williams, who interviewed me for a directing job and I ended up as much more. Glen’s sound is bleak rural picnic ballads mixed with a David Lynch sensibility. I first saw him at San Francisco’s Elbo room. His original songs seem to be conjured in Dr. Frankenstein’s lab.
On his Squaw Bread album is a ditty wherein he warns, ” I’ll teach you to steer clear of my man.” This is perfect background music to r
ead Brad Gooch’s Gay Boyfriend guidebook Meadmore is Poe meets Parton (Edgar Allan and Dolly). “Too Queer” and “Read Your Beads” on the album Boned exemplify his wry, witty, sometimes quasi-porn compositions. His “Cowboy Sings for Little Hustlers” seems like Dennis Cooper novellas set to music. “Tan My Hide” is like Jean Genet musicalized. His Hot ,Horny & Born Again CD is a putdown of traditional Christianity. In totality, the aforementioned recordings are the perfect incidental music for the John Waters Sleepaway Camp just written up in The New York Times.
The Chicken & Biscuits CD includes “Girlene” and “Evil Fairies.” Glen is Depeche Mode crossed with Mussorgsky–also Tennessee Ted Vicious and a Kentucky Lou Reed. But mostly, he is an oddball original.
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