20 & 21 May 2013 (Days 140 & 141) – Music For Nursing “M”

I spent Monday and Tuesday looking after “M” as she recovered from her surgery, also fitting in a day’s worth of work from home.  Thanks to our laptop, kitchen table and internet connection I was able to work whilst "M" slept during the day. Undertaking work tasks were the only times I was able to focus my mind on something over than “M”s condition and on each occasion I would emerge mentally refreshed from the stint. 

At the moment music isn’t in the forefront of my mind nor, for that matter, has this blog.  (The current disparity in dates between the actual days being recorded and the date of posting is testament to this.)   Suffice to say, these are tense days as we await the results of the surgery.   

I didn't play much music over these days, not being entirely certain about the power of music to soothe my soul.  It is something I use often as a means of relaxation but this involves loud or discordant music (and frequently both) played at maximum volume with or without headphones.  My technique involves letting the sound envelope me and then concentrating on just one element (e.g. guitar, feedback, basically anything of interest I find in a given track) and concentrating on that.  But this is not a technique I can use in this instance.  The loud music will annoy “M” and, in any case, I’ll miss her calls to me should require something from me.

And so, these are the albums I played over the two days, starting with an act whose early albums have proved to be a great relaxant in the past;

(# 369) Dinosaur Jr. – I Bet On The Sky (2012)

This is another solid album (the third) from the reformed original trio of J. Mascis, Lou Barlow and Murph albeit a lot smoother than its predecessor Farm.  The opener, Don’t Pretend, is classic Dinosaur Jr at full throttle complete with some inspired soloing by Mascis.  But the best material comes towards the end of the disc; Pierce the Morning Rain is a great rocker, closing track See It Your Side is another manifestation of Mascis’ seeming love of Crazy Horse and Recognition displays a clear appreciation of Queens Of The Stone Age.

(#370) Grizzly Bear – Shields (2012)

It has been a long time since I heard this band’s previous album Veckatimest.  If my recollections of that hold, this new album involves the same type of delicate melodies as found on it but has given a much greater emphasis to the guitars and drums.  As a result the album sounds a lot louder especially on tracks such as Speak In Rounds, A Simple Answer and Yet Again. This is a logical step forward and their next album could be the one that breaks them into the big time.

(#371) John Grant – Pale Green Ghosts (2013)

John Grant has a voice that, for some reason, reminds me of Stan Ridgway.  On most of the tracks on this album, his voice is accompanied by sparse electronic/keyboard backing and little else.  This is exactly the sort of music required for a set of songs that can make for unsettling listening particularly on Vietnam, Ernest Borgnine (a song about his positive HIV diagnosis) and Glacier.

(#372) Justin Townes Earle – Nothing’s Going To Change The Way You Feel About Me Now  (2012)

The opening line of the opening track of this album, Am I That Lonely Tonight, contains the first reference Justin makes about his illustrious father Steve that I’ve managed to pick out.  It doesn’t actually reveal anything (the reference itself is nothing more than stage setting) but on Baby’s Got A Bad Idea Justin sounds so much like his father that its spooky.  Ironically, the rest of this album sees him taking his boldest steps yet away from the sound of his father, employing sparse horns on many tracks.  It is a strong album of modern country from an artist whose best work is still to come.

19 May 2013 (Day 139) – The Eurovision Song Contest Final

I spent today like yesterday, tending to “M” needs as she recovers from her surgery.  Given her propensity for large amounts of sleep I was able to squeeze in some music related viewing, starting with;

(AV 12) Bob Dylan – The Other Side Of The Mirror. Live At The Newport Folk Festival 1963-1965 (released 2007)

This is a narration free documentary which brings together footage of Bob shot at three consecutive appearances at the Festival.  Almost everything is presented in chronological order which, by itself, is sufficient to tell the story.   In 1963, its Dylan the wunderkind.  The initial tracks, shot during daylight, show the intense interest in him from both audience and, even more revealingly, other musicians and festival organisers on the stage.  Despite this Bob betrays no nervousness.  1964 shows Dylan as the folkie superstar complete with rapturous applause and an audience unwilling to give him a moment’s peace.  Best of all is the tension evinced in 1965. You can sense it in the air during the initial acoustic numbers which gives way to outright hostility when the two brilliant electric tracks (Maggies Farm and Like A Rolling Stone) here are met mostly by boos.  The audience respond with renewed enthusiasm for the final two acoustic numbers (Mr. Tambourine Man and, fittingly, It’s All Over Now, Baby Blues) almost as a last ditch plea for him to forsake his new direction. For anyone even remotely interested in this phase of Dylan’s career, this is essential viewing.

(AV13) Richard Thompson Band – Live At Celtic Connections (2011)

I hope that every future live DVD is shot like this with a handful of cameras and in high definition.  Of course, when you’ve got someone of the skill of Richard Thompson, it’s easy to just keep one camera on his hands.  This electric show is dominated by tracks from his Dream Attic album with a selection of lesser known tracks from across his career.  An epic Can’t Win is the highlight of this set.

But, as good as these DVDs are, they could only be regarded as mere entrees to the day’s main event;

(AV14) The 2013 Eurovision Song Contest Final, Malmo, Sweden

Let’s face it.  There are only so many reasons why anyone would want to read something about the competition.  So, what I’ll do is summarise each act (once again go to their website for act and song names) as part of my unique scoring  system.

How does my system work? Basically it goes something like this, like the contest itself, my voting system is comprised of two elements.  Whilst both parts of the Eurovision system are subjective votes (a percentage from national juries and a percentage from the votes of the public of the competing countries), my system involves an objective/subjective  mix.  It goes something like this:

- my objective score rewards acts for meeting what I consider to be compulsory Eurovision elements  such as costumes , use of wind machine, etc.  I award one point per element and these will be listed per act.  Each back up dancer or musical instrument is awarded a vote.

- my subjective score relates to the song using the 12, 10, 8, 6, 5, 4, 3, 2, 1 scheme used in both parts of the official Eurovision score.

And so the contest panned out like this, with countries listed in the order they appeared:

COUNTRY	S1	SCORE1 ELEMENTS	SCORE2	TOTAL (+ MY COMMENT)
FRANCE	5	Sung in French; frilly dress; 3 back up singers	6	11 [=11th] French histrionics to great effect.
LITHUANIA	4	4 back up singers and nothing else.	0	4 [=2nd last] ….and I mean nothing else
MOLDOVA	10	Sung in Romanian; a Cameron Diaz “There’s Something About Mary” “hair gell” hairdo; an elevating dress; use of dress for back projection;  1 instrument; 3 dancers; use of choreography involving singer;  use of fog machine.	0	10 [= 14TH] Great gimmick in search of a song.
FINLAND	13	A short frilly dress; 5 dancers; use of choreography involving singer;  body lift of singer; use of flowing cape/sheet; use of explosion; use of glitter bomb; use of explosion; use of firework shower; girl on girl kiss finish.	2	15 [= third] Just needed the song to be half decent to have won.
SPAIN	12	Sung in Spanish; barefoot singer; singer uses walkway; 6 instruments on stage including bagpipes;  use of light prop; use of fog machine; use of explosion	0	12 [= ninth]
BELGIUM	7	2 dancers; use of choreography involving singer; 3 back up singers; use of light prop	4	11 [=11th]   Welcome Belgian weirdness
ESTONIA	9	Sung in native language; use of walkway; use of Celine Dion sustained note; black & white start to performance; 3 back up singers; use of wind machine; use of fog machine	0	9  [=16th] One Celine is more than enough
BELARUS	15	Use of glitter ball; entry of singer from glitterball; singer a blatant Shakira clone;  use of Shakira style dress;  2 dancers; use of choreography involving singer;  body lift of singer; 2 instruments;  3 back up singers; use of flash pot; use of fire	0	15 [= third] If only they spent as much time on developing the song…..
MALTA	9	4 instruments; 2 back up singers; use of back projection as integral part of performance; use of walkway; use of park bench	0	9 [=16th] Now we know how our own Frente! Would have coped if they entered Eurovision.
RUSSIA	7	4 back up singers; use of light prop; use of big balls; BIG FINISH to song	5	12 [= ninth] 5th place in the real competition. A tasteful Russian ballad – thanks Vlad!

GERMANY	7	2 back up singers; use of stairs; use of walk way; use of fog machine; use of fireworks; use of flash pot; use of firework shower	0	7 [=20th]
ARMENIA	9	4 instruments;  speaker stack on stage; band members wearing denim; use of fog machine; use of wind machine; use of fire	0	9 [=16th] “We’re from Armenia, you must be Malmo, wooo”
NETHERLANDS	5	3 back ups; use of walk way; use of fake fog	0	5 [3rd last]
ROMANIA	12	A Dracula outfit; sequens on outfit; 3 dancers; operatic falsetto; use of cape/sheet; rising singer; use of explosions; use of glitter bomb; use of fog machine; use of light props	1	13 [seventh] Inaugural winner of my “Spirit Of Eurovision” award
UK	7	Use of Bonnie Tyler; 5 instruments; use of walk way	0	7 [=20th] Well at least it wasn’t Engelbert
SWEDEN	10	Use of bizarre mound; 5 dancers; use of choreography involving singer; use of fog machine;  use of firework shower; use of flash pots	0	10 [= 14TH]
HUNGARY	4	Sing in Hungarian; 1 instrument; signficicant use of back protection; 1 dancer	0	4 [=2nd last]
DENMARK	10	1 recorder; 2 drums; really big drums; 3 back up singers; barefoot singer; use of confetti; use of fireworks shower	10	20 [winner] My winner and the Eurovision winner.  THE SYSTEM WORKS!
ICELAND	6	Starting with back to audience; sung in Icelandic; 4 back ups	8	14 [fifth]
AZERBIJAN	7	Use of box; singer on box; man in box; 1 dancer; use of choreography involving singer and man in box;use of sheet/cape; use of walkway; use of fog machine	0	7 [=20th] 2nd place in the real competition. Such a fascinating performance, I forgot to listen to the song.
GREECE	11	6 instruments; glow in dark instruments; sung partially in Greek; ; use of choreography involving singers;  men in dresses and long socks; use of walk way;	0	11 [=11th] Unlucky to miss out on votes
UKRAINE	12	Use of native language; 4 back up singers; use of 8 foot man; 8 ft man body lifting singer; use of rock for 8 ft man to place singer; use of fireworks; use of fog machine;  use of thunder; use of butterfly ring	3	15 [= third] 2nd place in the real competition. Best of the non English songs
ITALY	2	Sung in Italian; use of walk way	0	2 [LAST] Man in suit sings song in Italian.  This is not the San Remo Song Festival.
NORWAY	6	Singing with back to audience; 3 back up singers; drums; use of light props	12	18 [2nd] 4th place in the real competition. My runner up overall but the best song.  An absolutely thumping dance song that should be a massive hit.
GEORGIA	9	A duet; 3 back up singers; use of fog machine; use of wind machine; use of fireworks; use of smoke jets; use of firework waterfall	0	9 [=16th]
IRELAND	11	2 dancers; 4 drums; 2 big drums; 2 back up singers; use of choreography involving singers;  men in dresses and long socks; use of flash pots; liberal use of tattoos	0	11 [=11th]

17 & 18 May 2013 (Days 137 & 138) – The Eurovision Semi Finals

I woke on Friday and my mind immediately springs to “M”.  Unsurprisingly she’s already out of bed attending to breakfast and otherwise trying to keep her mind busy.  We have breakfast at 6.30 as she is not permitted to eat or drink after 7am.

The next few hours speed by and then we’re off to the hospital.  “M” checks in for her procedure and realises she has lost her phone.  I dash back to the car and don’t find it.  By the time I return, she has been called in, taking my stuff with her.  (Not that retrieving my stuff was the main issue here; I hadn’t the opportunity to say goodbye.)  Fortunately, hospital staff understands and I’m allowed to stay with her for a couple of minutes.

After a quick lunch, I settle down in the waiting area not exactly knowing what to expect.  I try some reading and writing without success.  Attempting to think up my own objective method for judging the Eurovision final fails too.  So I settle for my iPod and watching the TV as I listen to the Icelandic  band that paved the way for Sigur Ros;

(#367)  The Sugarcubes – Life’s Too Good (1988)

Their debut album and, more or less, the one which introduced Björk Guðmundsdóttir  (or just plain old Bjork) to the world.  Whether you truly noticed her vocals or not, and indeed how you view the album, depends upon how you take to the vocal work of Einar Örn Benediktsson (or just plain old Einar) who  takes the phrase “acquired taste” to strange and interesting places.  The opening track Traitor, is the first test although his voice oddly sits well with the fractured music on offer. The far more conventional sounding, but still quirky, Motorcrash is next and the Bjork show is off and running .  This is followed by the sublime ballad Birthday, highlighted by her breathy vocals and screams and Delicious Demon in which her vocals are by the end so off the wall joyous that you’ve actually forgotten this is a duet with Einar.  Mama, a mid-tempo number, is even better.  The rest of the album is solid – Sick For Toys is probably the pick of these – but that’s probably more a reflection about the brilliant standard set by the opening five numbers than anything else.

By the end of this, I’m getting nervous as “M’s” operation should have concluded.  Stiffling some rising tension or anger with the lack of information, I seek solace in my iPod in the form of some soothing sounds from Germany;

(#368) Einstürzende Neubauten – Tabula Rasa (1993)

This is the band led by former Nick Cave & The Bad Seeds guitarist Blixa Bargeld, fabled for their use of non musical instruments such as metallic objects and pneumatic drills. Given that the English translation of their name is “collapsing new buildings”, that’s fair enough.   However, their reputation, approach or even Bargeld’s very Germanic vocals seems to put off the great bulk of punters which is a pity.  If you want to hear their material and don’t have the money to shell out on their four Strategies Against Architecture compilations, this is as good a place to start as any.  Opening track, Die Interimsliebenden sounds very much like a track from one of Peter Gabriel’s untitled early solo albums (especially the third one).  Blume is what can only be described as a ballad with former Cave associate Anita Lane on vocals. But it’s the impressive two track epic Headcleaner that dominates here, seemingly constructed or dominated by the noise of the found objects to powerful effect.

Even before this ended I received a fright.  I finally found a nurse who was willing to say something and she repeated her understanding that “M”s operation was still going on 2 hours after it had commenced.  This was not good news as it was envisaged to last no more than an hour.  About half an hour later she returned to advise that it was complete in the predicted time frame and that she was now sleeping through the anesthetic.   Highly relived, I sought out comfort food and then settled down in an empty waiting room with only the TV for company.  My boredom was temporarily relieved when someone I knew popped up in Millionaire Hot Seat, but it was long wait until about 6.30 when I was reunited with “M”.  She relayed her specialist’s initial highly promising diagnosis and a weight was lifted from my shoulders.  Now my concerns was to get her home, tuck her into bed and not miss the Eurovision Broadcast.

(AV 10) 2013 Eurovision Song Contest – Semi Final 1

There are only 26 spots available in the Eurovision final.  Six spots are automatically reserved for “The Big 6” being the UK, Spain, Germany, France and Italy which provide most of the funds for the broadcast, and Sweden as last year’s winner.  The remaining 33 countries that entered this year, including European heavyweights such as Azerbaijan, Israel and Armenia, are split into 2 semi finals of which the top ten of which will make the final.

Now I don’t plan to write in detail about either semi final as this would entail a great deal of repetition.  So, here are my comments about the 6 unfortunate countries that missed the cut.  As I’m a lazy sod, I’m not going to record artist or song titles. Go to the Eurovision site if you want that detail.

- AUSTRIA: a mid tempo ballad called “Shine” (Gee, haven’t heard too many songs with THAT title before) simply bursting with cliché.
- SLOVENIA:  an attempt to invoke the spirit of Daft Punk, via 3 gymnasts on stage with welder masks that look like they’d been purchased from a $2 shop, fails miserably.
- CROATIA:  another version of the tenor group Il Divo, albeit with rather nice matching robes.  Just what the world has been demanding….not.
- MONTENEGRO: Balkan rappers dressed in spacesuits plus a girl with what appeared to be a jet pack on her back.  Their failure to perform in English obviously denied them a well-deserved place in the Final.
- CYPRUS:  a lovely unadorned ballad set on an otherwise vacant stage, very much like the country at the moment.
- SERBIA: a dancy number with 3 girls but otherwise unremarkable.

By the end of the broadcast “M” had fallen asleep.  I’m not that far behind.  We spend most of Saturday catching up on sleep.  Whilst awake, I tend to her needs, aided by the fact the Doggies are playing on the Gold Coast.  They lose by 32 points and I start to harbour my first doubts about this season.  But, by the time the match has ended its time for:

(AV 11) 2013 Eurovision Song Contest – Semi Final 2

And here is my comments about the unfortunates that missed out.  Better luck next year guys and girls!

- LATVIA: a boy band.  That’s – by Eurovision standards – so 2010.  Don’t they realise the current fad is for the reformations of boy bands?
- SAN MARINO:  somehow they managed to find an act that was able to channel Delta Goodrem. Not a good idea if you’re trying to win over Europe.
- MACEDONIA: a singing troupe comprising individuals seemingly designed to appeal to different target demographics but pleasing no one.
- BULGARIA: rhythmic overkill with vertical drums (a neat idea) but seemingly forgetting about the need to write an actual song.
- ISRAEL: Adele + Nana Mouskouri .  A short sighted idea that’s left a country rolling in the deep. [OK, you do better!]
- ALBANIA: an over the top rock anthem complete with guitar that shoots out fireworks.  Deserved to be in the final.
- SWITZERLAND: a 6 piece acoustic band formed by members of the Salvation Army who were promptly disallowed to wear their uniforms.  The upright bass player at 95 years of age is the oldest person ever to compete.  I have too much respect for the Salvos to say anything other than they should have made the Final.