Tuesday, 5 March 2013

2 and 3 March 2013 (Days 61 & 62) – The Weekend From Hell

I’ve just experienced a horrific weekend full of music related disasters and no listening.   My scapegoat is the absolutely bizarre situation that exists in Australia with respect to the sale of digital music.

It all began on Friday night when I decided to take advantage of the Australian dollar to download digital versions of albums that are impossible to get here in any physical form.  It was then that I discovered that you cannot purchase digital music from overseas iTunes or Amazon sites.  It seems that the reason is to protect local providers.
If this is truly the case, it is one of the more idiotic rationalisations I’ve ever heard.  iTunes prices in Australia appear to be about 50% higher than overseas.  This is for DIGITIAL music.  Just where are the overheads to justify the mark up?  It can’t be due to transport costs, warehousing costs or a rise in shop leases and I’m pretty sure iTunes isn’t one of the companies that attract the carbon levy.  As for Amazon, what is there to protect?  Amazon.aus is yet to be launched here and so denying Australians access to its downloads appears indefensible. As if to compensate for this, Amazon.UK did provide free delivery of books, CDs and DVDs to Australia for almost a full year but has since stopped this practice. (I suspect that if Amazon has a motive in denying downloading from overseas to Australia it is because they are planning to sell their downloads at the higher iTunes rate when Amazon.aus is eventually launched.)  No wonder the Government has launched an investigation into the sale of digital media in this country.  Even then I’d doubt that anything could be achieved.  After all, a free trade agreement is in force between Australia and the U.S and that doesn’t seem to have led to an appreciable difference here.

I’ve read somewhere recently that overseas companies deliberately charge Australians a premium charge in the supply of a great many goods with the justification being a belief that Australians are prepared to pay higher prices.  I do not know whether that is the reason with iTunes but I suspect the reason other industries get away with it is probably due to the way bricks and mortar retailers have not embraced the internet as a means to sell goods.  Last year’s push by some retailers to add a 10% tax to goods bought over the net was laughed at by the majority of Australian consumers and with good reason.  As so many letter writers pointed out, even with the 10% tax added, the goods would still be cheaper than those purchased in a store. Some of the stores involved in this campaign did relent and established internet sites but their sense of innovation over the net has been to do nothing more than provide a means for consumers to buy their stock for the same price as in their stores.
And this I suspect is the problem.  Overseas businesses know that established Australian businesses are largely unwilling to go the whole hog in using the internet.  As a result they can either set their prices in a manner that provides Australian consumers with the knowledge they’re obtaining goods at a cheaper rate that the bricks and mortar retailers that is sufficient to change their purchase patterns and nothing more.  Matters aren’t helped by the way Australian music retailers have approached the issue.  From what I can see for example, JB HiFi doesn’t even sell mp3s, preferring to flog its streaming service.  For a business that was initially sustained by customers who wanted to buy music in a physical form, this is a particuarly odd stance.

All of this provides a context, rationale, call-it-what-you-will for someone to actually want to download digital music for free.  I decided that, not only did I not have had a problem in doing this, I had practically been forced into it.   My justification was as follows: all I’m seeking to do is to replace vinyls and pre-recorded cassettes with a digital version I could burn to CD as the CD versions either do not exist or are not sold in this country.  Therefore a free download is justifiable given I’ve already purchased the music in question, was only seeking to update it into another format and did not have the means to do so at a reasonable price, if at all,  in this country.
This led to my second disaster as a result of downloading one such program.  Big mistake.  After doing this, I found that the service didn’t even come close to finding any of the albums that I wanted to download and so decided to delete it.  Finding the uninstall program was difficult enough and a few hours later had succeeded in deleted only part of it.  Unfortunately, the program had hijacked my browser and I needed to find a solution to that.  After a couple more fruitless hours on the net, it suddenly dawned on me that I had a software protection package.  Feeling completely idiotic, I ran it and my problem was solved.  Exit stage right free digital downloads.

Sunday did not begin well as I absorbed news about the previous night’s Nick Cave and the Bad Seeds gig at the Myer Music Bowl.  In view of the major shows I’ll be attending later this month, I decided to give this a miss.  After all I’ve seen every Cave tour bar one over the last 15 years or so plus Grinderman. Surely I could afford to miss this gig?  Then I discovered that the support act was Mark Lanegan and that the Melbourne Symphony Orchestra was also involved.  Did I miss news of these contributors or were these well-kept State secrets?  I decide not to answer this question all that self critically and go on to enjoy my Sunday, even making a few purchases.
Come Sunday night, I decide to add my purchases onto my iPod so I can listen to them on Monday.  Now I don’t know what exactly happened next but in a matter of minutes I had wiped all of the 34,000 songs off it!  I know that reimporting will be a time consuming hell.

Hence, this rant.

Sunday, 3 March 2013

1 March 2013 (Day 60) – iPod Death Matches 4 & 5

I knew that it was going to be a long day behind my terminal ands so I figure it’s time to decide the fate on yet more albums on my iPod during the day.

iPod Space Death Match #4 – The Arcade Fire
I’ve kept all three Arcade Fire albums on my iPod as they’ve been released.  The main reason for this is that I can never make my mind up about them. But this is the first time I’ve played all three of the albums after one another.

(156) The Arcade Fire – Funeral
Like many debut albums, this album is an ambitious mash up of styles as the band relishes the first (and possibly at the back of their minds, thinking only) time in the studio.  An enthusiastic and pleasing listen, the band wisely back loaded the album with its three best tracks, Haiti, Rebellion Lies and In The Backseat, the latter two hinting at a capacity of producing epic numbers.

(157) The Arcade Fire – Neon Bible
Oh dear, why hadn’t I removed this one earlier?  The opening number Black Mirror basically picks up at where Funeral ended.  After that promising opening the band overplays its hand seemingly aiming to produce an album full of epic tracks each laden with lyrics straining for significance.   I’m prepared to chalk everything down to the time honoured second album blues until the final two tracks.  No Cars Go and the wildly overblown My Baby Is A Cave condemn the album to a likely very long period in the wilderness before I’ll consider playing it again.

(158) The Arcade Fire – The Suburbs
Musically this adopts a lighter tone which is welcome but ultimately grates against much of the lyrical content.  A sort of conceptual piece about life in the, presumably Canadian, suburbs, I would have thought that there wouldn’t have been much of a market for it.  But this sold reasonably well and won a couple of Grammys including album of the year; I suspect most of the purchasers may have been punters who caught the band live where I’m reasonably informed they’re a totally different proposition. 

Verdict: I’m keeping Funeral and consigning the others to the library.
iPod Space Death Match #5 – African Dub All-Mighty Chapters 1 and 2

Chapters 3 and 4 will remain on my iPod forever.  The question is whether Chapters 1 & 2 will stay with them.
(159) Joe Gibbs And The Professionals - African Dub All-Mighty Chapter 1
(160) Joe Gibbs And The Professionals - African Dub All-Mighty Chapter 2

There are more differences between both of these Chapters compared to Chapters 3 & 4 than there are between them.  There are none of the crazy sound effects which distinguished Chapters 3 & 4 and a reduced emphasis on the horns.  The guitars appeared to be emphasised on Chapter 1 to great effect.  Chapter 2 starts well but is fairly undistinguished by its end.
Verdict: I’m keeping Chapter 1 for the time being.

Saturday, 2 March 2013

28 February 2013 (Day 59) – The Shuffle Sessions # 2

As I pondered what I was going to play today, I noticed my desk calendar.  The last day of the month and no shuffle session!  Disgusted I knew what I had to do, but as fate would have it I wasn’t really prepared. 

My day commenced with an absolute classic, the iPod selecting:
1.       Roy Orbison – Only The Lonely (from The Essential Roy Orbison)
2.       Luna – 23 Days In Brussels (from Penthouse)
3.       Bill Evans – Tenderly (from Everybody Digs Bill Evans)
4.       Robert Johnson – Come On In My Kitchen [vers 1] (from The Complete Recordings)
5.       Tool – Intension (from 10,000 Days)
6.       Bo Diddley 0 The Clock Strikes Twelve (from The Chess Box)

It was here that my lack of preparation caught up and I ran out of battery power.  It was such a pity because, after the opener, the session had developed into a nice morning groove with the Tool track in particular fitting in well.  After the recharge, a new shuffle produced another classic to open proceedings:
1.       Dusty Springfield – Wishin’ And Hopin’ (from Dusty. The Original Pop Diva)
2.       Major Harris – Love Won’t Let Me Wait (from Atlantic Rhythm & Blues 1947 – 1974. Vol. 8 (1970 – 1974)  My goodness, the squeals of female pleasure sound authentic – thank heavens I have the headphones on!)
3.       Rammstein – Wollt ihr das Bett in Flammen sehen? (from Live Aus Berlin)
4.       The Untouchables – Nic Fit (from American Hardcore. The History Of American Punk Rock 1980–1986: the 59 second original of a track subsequently covered by Sonic Youth)
5.       Gossip – Men In Love (from Music For Men: this should have followed the Major Harris track!)
6.       John Cooper Clarke – The It Man (from The Very Best Of John Cooper Clarke)
7.       Stevie Ray Vaughan & Double Trouble – Texas Flood [live] (from Cold Shot. Vol.2 Live In The USA 1987; the album is a bootleg released in Australia by a label called Apple House which exploited a hole in the country’s copyright laws.  Refer to Clinton Heylin’s book on bootlegs for more information.)
8.       Los Lobos – The Giving Tree (from The Neighbourhood)
9.       U2 – In A Little While (from All That You Can’t Leave Behind)
10.   Mastodon – Hand Of Stone (from Blood Mountain)
11.   James Chance And The Contortions – Don’t Stop Til You Get Enough [live] (from Live Aux Bains Douches 1980; yes, a cover of the Michael Jackson tune)
12.   Ramones – Animal Boy (from Ramones Mania)
13.   The Bats – Trouble In This Town (from Compiletely Bats)
14.   Simple Minds – The Kick Inside Of Me (from Sparkle In The Rain)
15.   Roy Buchanan – C.C. Ryder [live] (from Sweet Dreams. The Anthology)
16.   Elastica – See That Animal (from Elastica)
17.   M.I.A. - $20 (from Kala)
18.   American Music Club – I’ve Been A Mess (from Mercury)
19.   Luna – Pup Tent (from Pup Tent)
20.   Violent Femmes – Good Feeling [live] (from Viva Wisconsin)
21.   Bruce Springsteen – None But The Brave (from The Essential Bruce Springsteen – bonus disc)
22.   Lo Borges – Equatorial (from Brazil Classics 1: Beleza Tropical)
23.   The Kinks – This Strange Effect (from Picture Book)
24.   Wanda Jackson – Honey Don’t (from The Ultimate Collection)
25.   Dire Straits – Solid Rock (from Making Movies)
26.   Cream – I’m So Glad (from Gold)
27.   Monster Magnet – Theme From “Afterburner” (from Dopes To Infinity)
28.   Paul Kelly – Happy Slave (from Under The Sun)
29.   Daft Punk – One More Time (from Discovery)
30.   Ripe – Love Your Guts (from The Plastic Hassle)
31.   Prince – NPG Operator [2] (from the Gold Experience: one of a number of linking concept pieces between tracks on this incredibly underrated album)
32.   Tommy McCook – Revenge (from Yabby You – Jesus Dread 1972 – 1977)
33.   Bruce Springsteen With The Sessions Band – Pay Me My Money Down (from Live In Dublin)
34.   Big Bill Broonzy – South Bound Train (from Let Me Tell You About The Blues – Chicago)
35.   John Lee Hooker – Some People (from Alone)
36.   The Mess Hall – Keep Walking (from Devil’s Elbow)
37.   Jello Biafra With D.O.A. – We Gotta Get Out Of This Place (from Last Scream Of The Missing Neighbours)
38.   Morphine – Sheila (from Cure For Pain)
39.   The Small Faces – Rollin’ Over (from The Definitive Collection)
40.   Horace Andy – Kunta Kinte (from Mad Professor – Method To The Madness)
41.   Primal Scream & MC5 – Skull X [live] (from “Black To Comm”)
42.   Bob Dylan – The Ballad Of Frankie Lee And Judas Priest (from John Wesley Harding)
43.   The Soft Machine – Chloe And The Pirates (from Out-Bloody-Rageous)
44.   The Polyphonic Spree – Bizarre Prayer (from Live From Austin Tx.)
45.   Squeeze – Mumbo Jumbo (from East Side Story)
46.   Bobby Marchan – Funny Style (from The Fame Studios Story)
47.   The Butthole Surfers – Lonesome Bulldog (from Piouhgd)

At this point it was time to go home. Probably the most interesting thin g about this session was the number of tracks that came of single artist compilations.  Other than that, it was a nicely diverse selection of numbers, most of which would not have been selected in one by myself.

27 February 2013 (Day 58) – Twofers

No great science sits behind the task of writing my posts.  Most of my themes hit me either at the start or during the day.  If I don’t have one, I’ll start by writing about the specific albums I’ve listened to during the day.  Inexplicably an idea will then emerge, a kind of Kevin Costner/Field Of Dreams variation; “If you write it, it will come”.  I thought that this is what was going to happen today only for this to be usurped by the literal realisation that the theme was before my eyes. 

For once my use of the word literal is absolutely appropriate because the answer was written out before me.   I maintain a journal in which I record what I’ve listened, any thoughts that might hit me at the time and, of course, my theme.  When I reread today’s entry, I saw the word and the theme staring at me from the page in the indecipherable scrawl that passes for my handwriting – twofer.
 A twofer is a wonderful tool used all too infrequently by record companies for the benefit of the consumer where you get two albums for the price of one.  In many cases this is the application of common sense.  In the vinyl era, most albums were no longer than 40 minutes each, or rather 20 minutes per side.  This was basically all that vinyl albums could hold without suffering a loss of sound quality.  The maximum length of most CDs is 80 minutes although I’m unsure why that is the case.  Ergo, two vinyl albums can fit on the one CD.

(A digression: my cynical thought for the day.  I’ve always wondered why record companies were willing to let artists release 60 – 70 minute albums in the CD era.  Could it be by ensuring albums were this length they could have a reason not to justify the future rerelease of back catalogue as twofers?)
There are some wonderful twofers out there.  My version of the first two Big Star albums is in the form of a twofer as are most of the Fela Kuti albums in my collection.  Billy Bragg’s first two releases, Life’s A Riot With Spy Vs Spy and Brewing up, were combined in a twofer called Back To Basics.  Gang Of Four’s first two albums each has 4 track EPs attached to them and Australian psychedelic surf rockers Taman Shud had their first two of the albums released on a disc titled 1968 – 1972.

But my definition of twofers also includes 2 disc sets each containing a separate album.  There are loads of great, value for money ones out there.  These are especially good if one is a high profile album and the other is something that you might not have purchases. This was especially the cases with a Heaven 17 set I managed to snag.  I purchased it because I wanted their Penthouse And Pavement album on CD but the package also held The Luxury Gap.  Both albums came with a generous helping of bonus tracks which, in the case of the latter album, lifted it to be on a par with the other. 
I’ll also include certain types of Collector’s/Anniversary/Deluxe/Legacy albums as a twofer as well.  In some instances the package will consist of the original album on one disc and either themed rarities, a live show or a demo package on the other.  Some great examples of this include all of the R.E.M. 2 disc anniversary edition of all their albums up to Document; every released album in The Cure’s catalogue which comes with a set of rarities, B-Sides or live material put together by Robert Smith and the versions of Who’s Next, Raw Power, the first two Elvis Costello albums and most of the Tuff Gong releases of the key Bob Marley albums which come complete with a live album from the era.

And here are some others:
(154) Ike & Tina Turner – The Ike & Tina Turner Show Live!
(155) Ike & Tina Turner – The Ike & Tina Turner Show Live! Vol. 2

This is a single disc containing two shows originally recorded in Texas in 1964 (Vol. 1) and 1965 (Vol. 2). These are the two albums to get of this era as they convey the excitement of their live show on which their reputation was founded and which eventually drew them to the attention of The Rolling Stones and Phil Spector.  It means that it contains none of the latter day hits such as Proud Mary, Nutbush City Limits and River Deep, Mountain High that most people associate with them.  To those people familiar with the lush, mature sounding Tina Turner of her latter day post Ike solo years, the sound of her voice – essentially that as a flat out screamer -  will come as quite as quite a shock.  Ike’s razor like guitar work is to the fore on these albums which contain a number of rock and soul standards including Twist And Shout, I Can’t Stop Loving You, Let The Good Times Roll (all on Vol. 1), Shake A Tail Feather, Ooh Ooh Pah Doo and You’re No Good (all on Vol. 2).
(142.2) The Byrds – (unissued)

This was the second, unreleased disc that was released as a Legacy Edition of the (untitled) album.  The official title of the package appears to be (untitled)/(unissued).  Like the first disc, it contains a mixture of unreleased studio and live recordings.  Most of the best material of the studio material was also released on The Byrds Box Set including All The Things, the sensational Lover Of The Bayou and a version of Willin’ released before Little Feat’s.  The live material isn’t as great as that on the other apart from a wonderful You Ain’t Goin’ Nowhere.  This might explain why most of the live material are covers including Leadbelly’s Take A Whiff On Me and three Dylan numbers – It’s Alright Ma (I’m Only Bleeding), My Back Pages and This Wheel’s On Fire.

Wednesday, 27 February 2013

26 February 2013 (Day 57) – Solo Albums

I can just hear Troy McClure now - “The solo album: is there any phrase more thrilling to the human soul?” 
 
I’m not entirely sure where I stand on my adaption of Troy’s statement about TV spin off series.  I’m not sure whether to take it on face value as a legitimate statement or as an ironic comment as the writers of The Simpsons clearly intended.  After all the solo album does have a checked history with numerous examples of musicians, confined by their sidemen status within a band dominated by others, or forced to fend for themselves after a break up, seeking to stretch out and prove they can write songs.  In some cases they also try to prove they can sing.
 
This doesn’t include acts whose solo careers effectively continued the agenda set by the bands they originally dominated.  But when you think about it, there hasn’t been that many who have been able to sustain a lengthy solo career apart from John Lennon, Paul McCartney, Neil Young, Lou Reed, Iggy Pop, Sting, Eric Clapton, Paul Simon, and a small number of others.  (And even then, all of these acts have recorded more than the odd below par effort.) Whilst some lower profile acts have established completely satisfying solo careers – Richard Thompson, Mark Lanegan, Robert Plant, David Byrne, Ed Kuepper, Bob Mould, Peter Gabriel, Paul Weller, Brian Eno among them – almost all suffer the same terrible fate accorded to those who generally haven’t succeeded such as Chris Cornell, David Gilmour, Roger Waters, Jimmy Page and many others by having fans who secretly wish that they all return to their original bands.  A lot of this wishing is in vain for those like Gilmour and Waters from bands that appear to be irretrievably broken but it doesn’t stop them trading on their former glories.  Ultimately there are a tremendous number of others such as Cornell, Perry Farrell, Mick Jagger and Shane MacGowan who have reactivated or returned to their bands.  There are even those who now have it their way by having a solo career and version 2.0 of the band such as Bryan Ferry (& Roxy Music), Donald Fagen (& Steely Dan), John Lydon via Public Image Limited (& The Sex Pistols), Frank Black/Francis (& the Pixies) and many others.  Just about the only act I can think of whose fans don’t want to see re-established in their former band is Bjork and even The Sugarcubes reformed for a gig last year.

The emphasis here is on the phrase “sideman status” and the strike rate here is not great.  Sure, there’s George Harrison’s spectacular initial success with All Things Must Pass and Dave Grohl’s first Foo Fighters record (essentially a solo album until morphing into a legitimate band with subsequent releases). There have also been some unexpected delights; Izzy Stradlin’s first couple of post Guns n’ Roses albums are fine rockin’ affairs, the first Tom Tom Club album from the Talking Heads rhythm section, some of the albums by former members of The Replacements who aren’t Paul Westerberg and Ringo Starr’s Ringo but there aren’t many others that hit me off the top of my head.    All I can recall are acts that didn’t work – Keith Moon (I have his Two Sides Of The Moon and I’m still too scared to play it), most of the remaining albums issued by the former members of Talking Heads or Guns n’ Roses, a number of the solo Pearl Jam albums, Dave Navarro’s album, some from members of the Wu-Tang Clan collective and a great many more that fortunately haven’t made their way into my collection.
 
What seems to have bound today’s limited listening was that the albums concerned are from artists who have made their name within a much broader context;
 
(152) Steve Cropper – Dedicated. A Tribute To The 5 Royales

Cropper has made his name and immense reputation by being part of the in house team that providing a lot of the musical backing for many of the hits that emerged from the Stax soul label in Memphis in the 1960s.  On many of those hits he played with Donald “Duck” Dunn with whom he also played in the legendary instrumental combo Booker T And The MGs as well as in The Blues Brothers Band.  This is one of a small number of albums released under his name and the most recent.  It is a wonderful tribute to the 5 Royales, one of the very first “soul” groups in the 1950s.  For the album Cropper was assisted by 5 star talent on most tracks, usually through the provision of vocals.  Highlights include Thirty Second Lover (with magnificent support from Steve Winwood), Dedicated To The One I love (with Winwood and Lucinda Williams – what a combination!) and Come On And Save Me (with Dylan LeBlanc and Sharon Jones).  Other guests include Bettye LaVette, B.B.King, Buddy Miller, Dan Penn and Brian May.  Cropper’s guitar playing is as sharp and incisive as ever and is best heard on his instrumental version of Think.
 
(153) The Nightwatchman – One Man Revolution
 
The Nightwatchman is Tom Morello, guitarist with Rage Against The Machine, Audioslave and so to be temporary member of Bruce Springsteen’s E Street Band.  This was his first album under this guise and it is a largely acoustic collection of socially and politically aware tunes.  Song titles such as Let Freedom Ring, Battle Hymns and No One Left are highly reminiscent of “Little” Steve Van Zandt’s solo albums and are married to a musical attack not to dissimilar to Springsteen’s solo albums.  On Flesh Shapes The Day, Morello lets out howls that are straight off the Nebraska album.  (Little wonder that he’ll be Van Zandt’s temporary stand in during the next couple of months.) The Road I Must Travel sounds like a homage to Billy Bragg.  None of this is to imply that Morello is simply ripping off these influences.  See it more as a comment on the relative scarcity of socially aware acoustic based sing songwriters in today’s scene.

Monday, 25 February 2013

25 February 2013 (Day 56) – Movie Music


It’s Academy Awards Day and the organisers must have discovered my blog.  How else to explain their Music In The Movies theme for this year’s telecast? 

Seriously, I’m in two minds about the use of music in today’s movies.  At its best, a great soundtrack is totally subservient to the demands of the movie and is barely noticed.  In other words it is one of a number of elements used by a director in setting the mood of a particular scene along with camera placement and movement, shot selection, editing, the script, sound (and visual) effects and the skills of the actors.  Sometimes the music can be so thoroughly integrated into the movie that you’ll barely notice it.  I think it was only on my third viewing of the French Connection, for example, when it dawned on me that it even had one.  In other instances, it can become something else entirely.  In the celebrated opening sequence of Jaws, Steven Spielberg effectively turned John Williams’ theme into a character, using it to represent the otherwise invisible shark that stalks, attacks and kills the skinny dipper.

But what can really irk me with some movies today are instances when the equivalent of a music video appears during a film.  Think of all those montage scenes where filmmakers seek to explain away something that is occurring, like arriving in Australia, set against a song containing the most obvious lyrical content imaginable (say for the purposes of this example, Men At Work’s Down Under).  When I see scenes like that I wonder whether a) the screenwriter was unable to write any meaningful dialogue for the scene, b) the studio had a tie in deal with a record company (probably from the same multi-national) to push either a soundtrack album or the artist or c) the director came from a music video background and is trying something with which they’re most comfortable. No doubt there are other reasons but the effect is the same with either the competence of the film maker or the studio’s motives called into question.

I’ve excluded the music played during the opening and end credit sequences because this is where it might pay to be obvious.  Some work absolutely brilliantly.  The action film xXx with Vin Diesel thoroughly integrated Rammstein’s Fire Frei! into its opening scene even to the extent of letting the song commence with the studio’s logo through to the band’s performance of the track in the scene.  In this respect, band and movie – both over the top and containing healthy lashes of knowing humour – made for a perfect fit.  Ditto David Fincher’s use of Bowie’s superb The Heart’s Filthy Lesson during the closing credits of se7en, ensuring that the unsettling, paranoid nature of the film carried through to its very end.  There are also examples where a track is commissioned for one purpose but persuades the film maker into another use.  I read somewhere recently that Jonathan Demme commissioned Bruce Springsteen to write an aids song to be placed during the closing credits of Philadelphia.  When Springsteen delivered The Streets Of Philadelphia, Demme realised this perfectly fitted the way he envisaged it to commence. 

And so today’s listening is an attempt to fit some notable Oscar listening into my busy day:

(149) Prince and the Revolution – Music From Purple Rain

The winner of the Oscar for the Best Original Song Score in 1985, these songs have become so imprinted in the world’s consciousness that it is almost critic proof.  This is not to say that the album is without flaws; there are some now fairly undesirable 80s production sounds on it and The Beautiful Ones and Computer Blue are just so-so.  But the rest, notably When Doves Cry (as unlikely a #1 as there’s ever been) and the epic title track, has stood the test of time as a classic.

(150) Rodriquez – Cold Fact

Waiting For Sugar Man today won the Oscar for Best Documentary Feature.  To just about anyone in the world, it is the story of how a couple of South Africans set out to find the hitherto unknown singer songwriter Rodriquez after he became a megastar in their country.  What the documentary, apparently (I’ve yet to see it), doesn’t mention was that Rodriquez’s two albums (especially this, his debut) were hits in Australia to the extent that he toured here during the70s before he slipping into obscurity.  Cold Fact explains the reasons for both scenarios.  He has a vocal style not unlike Dylan’s and wrote tracks synonymous with the realities of urban life in the late 60s/early 70s.   The songs, Sugar Man, Only Good For Conversations and Crucify Your Mind in particular, are tremendous and would have appealed to 70s audiences, however, it is a style of music has such a time bound feel to it that it is understandable why it’s since been overlooked which makes his rediscovery all the more remarkable.  

(151) Randy Newman – Trouble In Paradise

Randy Newman is one of the few popular music icons to have carved out a successful career in Hollywood.  Actually successful is a bit of an understatement here given his record of 20 nominations and 2 wins (incorporating a record first 16 nominations without a single win).  This is one of his regular albums recorded in the early 80s after his brush with fame following the release of the Short People hit had well and truly died off.  This is about as close to a mainstream commercial album that he’s ever likely to record with slow ballads such as Same Girl and Real Emotional Girl, a send up of Paul Simon called The Blues (in which he gets Simon to sing) and some heavy handed attempts at pointed social comment with Christmas In Cape Town and Song For The Dead.  It also contains the  hilarious My Life Is Good in which a big shot attempts to impress someone by claiming to have met Springsteen who tells him “You know Rand I’m tired/How would like to be The Boss for a while?”, followed by the cry “Blow Big Man Blow” and a Clarence Clemons type sax solo.  But the major reason for playing this is its opening cut – I Love L.A. – a song I loved on its initial release but a prime example of a song that’s been misused in a number of non Newman scored films. 

Sunday, 24 February 2013

23 & 24 February 2013 (Days 54 & 55) – My definition of music

It has been a very full weekend with no time set aside for any serious listening.

“Serious listening”, now there’s a phrase.  This is when I’m able to devote all of my energy to the act of listening.  Elements - a comfortable position and either headphones or the stereo very loud.  During such sessions I can pick out lyrics (and occasionally understand them) and hear details I might not necessarily catch.  My body relaxes , tension subsides and I feel as though I’ve dissolved into the atmosphere along with the music.  At this point, I’m usually oblivious to everything around me; if “M” needs me for anything, she knows she’ll have to come to wherever I’m located and disturb my state.
It’s one of the strange aspects of my own existence.  Unlike many people in the world, I need noise to relax.  Silence is a state to be avoided at all costs; to me it means death and I know I’m going to dead for a long time.  Noise provides evidence of human existence, especially at night.  Music, is a form of harmonious, rhythmic or expressive noise and is for me the most desired evidence of human existence.  If the music is really good, I find myself wanting to join in and add to it; this is why I think I tap, stomp, clap or singing along to favourite pieces of music.

But there is an incredibly fine line between noise and music.  We don’t all regard the same harmonies, rhythms or expressions as music.  What I might consider music, you might think of as noise and vice versa.  Personally, I find it extremely difficult to listen to arias and most falsetto singing; it doesn’t appeal to me and as such I regard it as noise.  I’d rather hear a combination of sounds that has come from man made instruments that can be manipulated in innumerable ways and which a musician has personalised through combinations of their own playing style, lyrics, the sound of their actual voice and any other naturally occurring sounds.  This is probably why I’d rather not hear arias and falsettos; they’re striving to produce a homogeneous sound, a form of aural commodity.  Yes, there are tenors, sopranos, etc, but they’re all instructed to sing the same songs in exactly the same manner, the only real difference being the sound of their voice.  But individuality is generally not prized here, it is the expectation that the musicians involved faithfully reproduces something that has been set out almost like following a dress pattern.   This is where the commodity analogy comes in.  Take your humble cardboard box as an example.  They come in different  shapes, sizes, materials, patterns, lids, colours, etc but ultimately my opinion about any one box will be shaped by whether it is able to do what it is supposed to do and not whether it has a distinctive personality.   In other words, music is a man made noise that, in my view, requires the individual who created it to put a distinctive stamp on it that appeals to me. 
I have no idea from where the preceding paragraphs emanated.  They just flowed off the keyboard as I wrote.  The weekend’s listening focused on some Australian acts that have never really hit any form of mass popularity.

(146) Magic Dirt – Snow White
This was the last Magic Dirt album to have been released on an Australian major label.  The sound is a little more scuffled up that its predecessor Tough Love and is all the better for it.   They’ve since stayed true to this vision but have dropped from the scene following the death of their bassist Dean Turner.  Adalita’s solo success will probably ensure that it will be a while longer before they return, if at all.

(147) The Mess Hall – For The Birds
It’s amazing how sometimes bands from different parts of the world can arrive at the same point simultaneously.  The Mess Hall are a Sydney based two piece drum and guitar combo who formed in 2001, the same year as The Black Keys.  (Of course bands were probably inspired by The White Stripes.)  This is about their 5th or 6th  and most recent album and it sees them consolidating their sound.

(148 ) Died Pretty – Free Dirt (extended version)
Easily one of the finest bands to emerge from Sydney during the 1980’s, Died Pretty became a firm favourite with Melbourne punters.  With their sense of melody marrying the epic guitar heroics of Brett Myers, a deep keyboard sound and the distinctive vocals from the charismatic Ron Peno, it wasn’t all that difficult to see why.  Free Dirt was their first album and has been expanded by Aztec records to include period singles and EPs some demos and 6 live tracks.  The only problem I’ve had with the album is its track listing.  The original vinyl Side 1 comprised 4 epic numbers only one of which is less than 5 and a half minutes.  It includes some of the highlights of the live set from their gigs during this time especially Just Skin and Next To Night.  (An example of the former is included in the live tracks.)  Side 2 comprises shorter, more commercial type numbers which can be heard as a letdown.  I always played the vinyl in reverse order and imported the tracks the same way onto my iPod.  Among the highlights of the bonus material, are the Stoneage Cinderella single, a demo version of Dylan’s From A Buick 6 and a live version of their classic single Everybody Moves.