Great post Marc. And Stuart, that's a nice shirt, it brings out the colour in your nipples.
It's true that there's a little bit of spoiled childness lurking behind the lamentation that an artist can't consistently produce stellar work. Okay, you won the Nobel Prize for literature, went into hiding to avoid death threats that were a reaction to your art, and continued to write moving fiction that seamlessly melds Eastern and Western storytelling traditions with humour and candor but...what have you done for me lately, Mr. Rushdie?
You asked, “What gives us the right to expect intellectual immortality of them when we so often dream of not having to work so hard at what it is we do? “ and you’re right, it is unfair. But I guess because I find what a musician, visual artist, or writer does is far more interesting than what I do, I expect a little more. There's also a precedent that the artist sets with his baby.
I have to back up Stuart's critique of your claim that art was never about wealth. Were it not for the patronage of some very wealthy people, there would be precious few paintings hanging in the great galleries of the world. Agree that any worthwhile artistic effort is not going to be motivated by commercial concerns but the impact of money, and the realization by some that compromising one's standards may lead to an increase in sales (hello Treble Charger, Liz Phair) is a very real phenomenom. What I find most frustrating is the lack of commercial success of really great bands relative to the success of the countless braying jackasses (Simpson sisters, minute 14 just ticked by) whom I am subjected to every time I open a paper, turn on a radio, or turn on a television.
All this talk of JS gets me thinking not about Johann Sebastian but Jeremy Sandell...how come he never posts? Gotta send him another invite.
Thanks for the jazz lists, Brian and Derek. I had that Mobley disc in my hand a few weeks ago and decided not to buy it, for no reason in particular. Clearly, that was an idiotic decision that should be rectified in the near future.
Hope to see you all very soon, white teeth stained pink by multiple glasses of Spanish red.
Friday, January 28, 2005
I think you are right Stu, when you say that you can't point to any one condition that will produce great art...if you could then we would probably loose much of the mystique and wonderment that surrounds it; maybe we would all be creating it if one would identify that magic touch.
...and you are right about the socio eco comment, there are countless examples when you start to think about it.
Interesting, when you start to think the pressures of producing "the next great piece of art" and relating that to the pressures of producing art when you are the progeny of a great artist...Jacob Dylan, Sofia Copola, any one of a given Bach's etc. ...just try and be true to yourself!!! ...yeah right.
...and you are right about the socio eco comment, there are countless examples when you start to think about it.
Interesting, when you start to think the pressures of producing "the next great piece of art" and relating that to the pressures of producing art when you are the progeny of a great artist...Jacob Dylan, Sofia Copola, any one of a given Bach's etc. ...just try and be true to yourself!!! ...yeah right.
Phew, lots of great points marc, I dont know how you guys can put such effort into blogging, I seem to find it hard to focus on just reading these lengthy dissertations. ( since no one has replied to marc yet I think I am not alone???)That said, a few things filtered through my addled brain, reading this marc, ...there is a new controversial book out about the history of western music, ( I may have mentioned this to some of you so forgive my repetition), and in it, ( having only read the book review and forgetting the authors name),it purports to draw a strong link between the artist and their socio economic context. For example , contrary to a point of marcs', some famous artists like Chopin, were wealthy and catered to from birth and lived in what we would consider stardom from inception, yet he still produced this great body of work. Just goes to show that there are holes in all our theries and that you cant pin down artistic impulses to any one set of rules. I do believe hartily with marc that we expect far too much from our artists and I think that was the thrust of my first reaction to Brians original comment, ( marc expressed it much more eloquently)...
s
s
Wednesday, January 26, 2005
Once again, long overdue…
Three billion monkeys stroking away at their keyboards… is it any wonder that some of them are going to come up with a few great ideas now and then?
I have been thinking long and hard on this topic, and the more I reflect upon it, the more closely I relate it to our society as a whole. How different is the plight of the artist from the struggles of the banker, the politician, the scientist or the schoolteacher. We all have moments of relative greatness and moments we would rather have wiped from our hard drives. Why is it we have come to expect so much from artists?…so much from people?…so much more than we might be willing to give of ourselves. What gives us the right to expect intellectual immortality of them when we so often dream of not having to work so hard at what it is we do?
The late 20th century has brought us an unprecedented access to and inundation of media and entertainment that has warped (or simply changed) our perspective on pop culture and art… and where do we draw the line between art and pop culture. One must be careful not to confuse one for the other. They are neither mutually exclusive nor one in the same and sometimes when we refer to artists I think we should be referring to pop culturists. The line draw between the two is grey, fuzzy and fraught with interpretation.
Never before has society had access to and consumed so much media…of all sorts. We gobble it up. We consume so much of it that some of us have to leave it unwrapped on our shelves for a time when we have room to digest more!!! Would you like to supersize that sir? Through all the belly aching of the record companies and the entertainment industry, unit sales for cd’s have risen once again to outstrip the growth rate of our GDP. More music than ever with ever less to be said…so it would seem. One of the more ironic tales I have heard, is of how The Wallflowers firs Album grossed more to Jacob Dylan than all of Bob’s albums had combined to that point in time. Hard to comprehend.
It is interesting when one compares art and artists of the time before the advent of mass media with those of the 20th century. I think that many of what we deem to be great artists, were, ahead of their time, unnoticed in their time, excommunicated by the church, starving, prone to cutting of their ears, and none were as rich as the richest have become today! Art was never about wealth. It was something that had to be done in spite of its financial shortcomings and lack of recognition. A hardship that had to be endured and that informed the work. Something that came from the heart. The ability to create art is a luxury and a self indulgence and yet people have come to complain about how hard it is to make a living as an artist. Supply and demand baby! If you can’t make a living at it, you ain’t no good at it! Give it up and get a real job!…sorry I don’t really believe that, but there are far too many people who feel that it is within their right to make a living as an artist. Truly great art is seems to bear little relation to its value.
Art is a tapestry…a time and place cross with a mind that expresses a new and significant idea…the threads are woven together to form a fabric that is a critical reflection of society. Time and place make ideas significant, without them, provocative concepts become meaningless. The fabric of the tapestry is delicate and forever in flux. Work created yesterday can be relevant and brilliant but meaningless and insignificant if created tomorrow. The interesting thing is that great works of art usually remain great maintain their significance over time.
Someone mentioned Louis Armstrong, and he was without a doubt, one of the key figures in defining modern jazz. You work a theme through for a few decades and that becomes who you are…what you play…it is part of your core value…the way you play your music….what did you want him to do next? invent jazz-fusion?
The problem is that we are all a product of a time and a place …a great artist makes a statement about the world in which they live… the world changes, in part due to the contribution that the artist made and the statement becomes valuable and viewed for its value in changing society. An artist can only explore an avenue so far. At a certain point the artist needs to redefine himself. The better the artist, the more readily the artist can redefine themselves. In our day and age, change seems to be occurring on a logarithmic curve . Through sexual revolutions , cultural revolutions and technological revolutions, an artists world changes but the artists core values can no longer change the world since the world has changed around them. Compounding this problem, the lives we live are becoming longer and longer and it becomes more difficult to live out a lifetime of creativity when so much change occurs though our lives. People are still alive who saw the birth of the automobile, flight, the radio and the telephone, the world at war (twice) space travel and the computer…what changes did J.S. Bach see in his 65 years on earth…probably seemed like a lot to him…what changes will your children see in the years to come? And speaking of J.S….there is a very good example of someone whose artistic contribution was largely written off for about a century…how did that happen…who has been overlooked within our generation?
As we grow older our bodies and souls change and our core value change. Things that were important to us when we young (like getting laid in the back of Dodge) seem to be replaced with more meaningful pursuits (like getting laid in the back of our X5 or Land Cruiser). You need to grow and change as an artist as the values in your life change but it might well be that you are not able to successfully translate your matured values into art. Maybe the matured you does not care at all about anything…you are numbed by the existence of your success. It is an impossibility to isolate yourself from the reactions to your art, be they monetary or critical.
Geniuses are hard to come by but we have come to look for them all around us…the next big thing. Through the escalating changes in the world we seem to reject and accept icons of pop culture and art and discard them with ever increasing rapidity.
Art is never something we do in isolation. We draw from those around us whether they be lovers, family, friends, partners or collaborators. Would U2 be what they are without Lylywhite, Eno or Lanois? The dynamics of these relationships are always in flux and that will invariably affect the quality and content of our work. I think that we can never underestimate the contribution that others make in the support of the artist; after all, if the there ain’t no audience there just ain’t no show!
The flow of an artistic career has much to do with the discipline in question and the way it changes in society. Musical pop stars seem to reach their pinnacle shortly after puberty these days while the saying still goes that you are not an Architect until you are 40! (and yes I believe that good architects are artist, as few and far between as they may be)…..(but in this I have experience…I might hazard to say, that an architect is only as good as their client)….hmmm, if the there ain’t no audience there just ain’t no show! Language and the stories that are told in print seem to change at a much slower pace than film or music that seem to be much more affected by progresses in technologies and are so much more quickly digested by pop culture and run quickly through change. This might have a lot to do with the way that the product it consumed. Good books tend to be consumed slowly, sit on shelves and are borrowed from libraries and are around for a lifetime while movies are publicized to death, are run for a few weeks and then go to dvd where they are once again publicized to death, consumed and put in the delete bin. It is no wonder that the career of a writer can be so much more enduring than that of a musical pop star (artist) or film maker?…or can it?
What are you going to do to change the world?
Three billion monkeys stroking away at their keyboards… is it any wonder that some of them are going to come up with a few great ideas now and then?
I have been thinking long and hard on this topic, and the more I reflect upon it, the more closely I relate it to our society as a whole. How different is the plight of the artist from the struggles of the banker, the politician, the scientist or the schoolteacher. We all have moments of relative greatness and moments we would rather have wiped from our hard drives. Why is it we have come to expect so much from artists?…so much from people?…so much more than we might be willing to give of ourselves. What gives us the right to expect intellectual immortality of them when we so often dream of not having to work so hard at what it is we do?
The late 20th century has brought us an unprecedented access to and inundation of media and entertainment that has warped (or simply changed) our perspective on pop culture and art… and where do we draw the line between art and pop culture. One must be careful not to confuse one for the other. They are neither mutually exclusive nor one in the same and sometimes when we refer to artists I think we should be referring to pop culturists. The line draw between the two is grey, fuzzy and fraught with interpretation.
Never before has society had access to and consumed so much media…of all sorts. We gobble it up. We consume so much of it that some of us have to leave it unwrapped on our shelves for a time when we have room to digest more!!! Would you like to supersize that sir? Through all the belly aching of the record companies and the entertainment industry, unit sales for cd’s have risen once again to outstrip the growth rate of our GDP. More music than ever with ever less to be said…so it would seem. One of the more ironic tales I have heard, is of how The Wallflowers firs Album grossed more to Jacob Dylan than all of Bob’s albums had combined to that point in time. Hard to comprehend.
It is interesting when one compares art and artists of the time before the advent of mass media with those of the 20th century. I think that many of what we deem to be great artists, were, ahead of their time, unnoticed in their time, excommunicated by the church, starving, prone to cutting of their ears, and none were as rich as the richest have become today! Art was never about wealth. It was something that had to be done in spite of its financial shortcomings and lack of recognition. A hardship that had to be endured and that informed the work. Something that came from the heart. The ability to create art is a luxury and a self indulgence and yet people have come to complain about how hard it is to make a living as an artist. Supply and demand baby! If you can’t make a living at it, you ain’t no good at it! Give it up and get a real job!…sorry I don’t really believe that, but there are far too many people who feel that it is within their right to make a living as an artist. Truly great art is seems to bear little relation to its value.
Art is a tapestry…a time and place cross with a mind that expresses a new and significant idea…the threads are woven together to form a fabric that is a critical reflection of society. Time and place make ideas significant, without them, provocative concepts become meaningless. The fabric of the tapestry is delicate and forever in flux. Work created yesterday can be relevant and brilliant but meaningless and insignificant if created tomorrow. The interesting thing is that great works of art usually remain great maintain their significance over time.
Someone mentioned Louis Armstrong, and he was without a doubt, one of the key figures in defining modern jazz. You work a theme through for a few decades and that becomes who you are…what you play…it is part of your core value…the way you play your music….what did you want him to do next? invent jazz-fusion?
The problem is that we are all a product of a time and a place …a great artist makes a statement about the world in which they live… the world changes, in part due to the contribution that the artist made and the statement becomes valuable and viewed for its value in changing society. An artist can only explore an avenue so far. At a certain point the artist needs to redefine himself. The better the artist, the more readily the artist can redefine themselves. In our day and age, change seems to be occurring on a logarithmic curve . Through sexual revolutions , cultural revolutions and technological revolutions, an artists world changes but the artists core values can no longer change the world since the world has changed around them. Compounding this problem, the lives we live are becoming longer and longer and it becomes more difficult to live out a lifetime of creativity when so much change occurs though our lives. People are still alive who saw the birth of the automobile, flight, the radio and the telephone, the world at war (twice) space travel and the computer…what changes did J.S. Bach see in his 65 years on earth…probably seemed like a lot to him…what changes will your children see in the years to come? And speaking of J.S….there is a very good example of someone whose artistic contribution was largely written off for about a century…how did that happen…who has been overlooked within our generation?
As we grow older our bodies and souls change and our core value change. Things that were important to us when we young (like getting laid in the back of Dodge) seem to be replaced with more meaningful pursuits (like getting laid in the back of our X5 or Land Cruiser). You need to grow and change as an artist as the values in your life change but it might well be that you are not able to successfully translate your matured values into art. Maybe the matured you does not care at all about anything…you are numbed by the existence of your success. It is an impossibility to isolate yourself from the reactions to your art, be they monetary or critical.
Geniuses are hard to come by but we have come to look for them all around us…the next big thing. Through the escalating changes in the world we seem to reject and accept icons of pop culture and art and discard them with ever increasing rapidity.
Art is never something we do in isolation. We draw from those around us whether they be lovers, family, friends, partners or collaborators. Would U2 be what they are without Lylywhite, Eno or Lanois? The dynamics of these relationships are always in flux and that will invariably affect the quality and content of our work. I think that we can never underestimate the contribution that others make in the support of the artist; after all, if the there ain’t no audience there just ain’t no show!
The flow of an artistic career has much to do with the discipline in question and the way it changes in society. Musical pop stars seem to reach their pinnacle shortly after puberty these days while the saying still goes that you are not an Architect until you are 40! (and yes I believe that good architects are artist, as few and far between as they may be)…..(but in this I have experience…I might hazard to say, that an architect is only as good as their client)….hmmm, if the there ain’t no audience there just ain’t no show! Language and the stories that are told in print seem to change at a much slower pace than film or music that seem to be much more affected by progresses in technologies and are so much more quickly digested by pop culture and run quickly through change. This might have a lot to do with the way that the product it consumed. Good books tend to be consumed slowly, sit on shelves and are borrowed from libraries and are around for a lifetime while movies are publicized to death, are run for a few weeks and then go to dvd where they are once again publicized to death, consumed and put in the delete bin. It is no wonder that the career of a writer can be so much more enduring than that of a musical pop star (artist) or film maker?…or can it?
What are you going to do to change the world?
Tuesday, January 25, 2005
I was kinda wonderin' what happened to Wayne. I would put most of the discs I own by him up on anyone's top jazz albums list. Besides "Speak no Evil" I would throw in "JuJu", "Night Dreamer" and "Adam's Apple".
Some of my other faves:
Ben Webster - Soulmates (Webster on sax is smooth as silk and his classic rendition of "Chelsea Bridge", unfortunately not on this disc, is one of my favourite all time jazz numbers)
Sonny Rollins - Tenor Madness - this disc features the two sax giants of the era, Rollins and Coltrane in 1956, on the first track. Along with Coltrane the other 3 players on this disc make up Miles Davis' quintet of that era which leads me to my next choice(s),
Miles Davis - with Red Garland on piano, Paul Chambers on bass, Philly Joe Jones on the skins and Coltrane and Davis any one of the 4 albums, from 1956 "Cookin", "Relaxin", "Steamin" or "Workin" make for extremely listenable and pure pleasure jazz.
J.J. Johnson - Proof Positive - if you're going to have one "trombone" jazz disc in your collection and everyone should have at least one, you can't go wrong with this beauty featuring the highly underrated Harold Mabern on piano.
Stan Getz - Focus - a jazz album from 1961 featuring violins, viola and cello along with the cool sound of Getz on sax. Unlike some of the more saccharine classical string-jazz efforts this one has a definite edge and is great meditative music.
Joe Henderson - Inner Urge - as Brian mentioned one of several that you could pick from his large body of work
Eric Dolphy - Out to Lunch - certainly far more "out" than pretty much anything else on this list but while it might send your granny running for the earplugs its a good start in to the more adventurous side of jazz. The combination of sweet and sour on the first track "Hat and Beard" is pretty much how I picture the jazz scence of the early 60's. One of those album openers that never tires.
Freddie Hubbard - The Body & the Soul - hate to go on about album openers but "Body and Soul" with Dolphy on flute and Hubbard on trumpet is a killer smooth jazz track as is "Dedicated to You". The ladies will be sure to love them. If you dig Freddie on this album seek out some Clifford Brown.
John Coltrane - "Giant Steps" but again there are very few of his that wouldn't make the list.
And I suppose if picking an album featuring piano any of three by McCoy Tyner - Inception, The Real McCoy or Supertrios.
Some of my other faves:
Ben Webster - Soulmates (Webster on sax is smooth as silk and his classic rendition of "Chelsea Bridge", unfortunately not on this disc, is one of my favourite all time jazz numbers)
Sonny Rollins - Tenor Madness - this disc features the two sax giants of the era, Rollins and Coltrane in 1956, on the first track. Along with Coltrane the other 3 players on this disc make up Miles Davis' quintet of that era which leads me to my next choice(s),
Miles Davis - with Red Garland on piano, Paul Chambers on bass, Philly Joe Jones on the skins and Coltrane and Davis any one of the 4 albums, from 1956 "Cookin", "Relaxin", "Steamin" or "Workin" make for extremely listenable and pure pleasure jazz.
J.J. Johnson - Proof Positive - if you're going to have one "trombone" jazz disc in your collection and everyone should have at least one, you can't go wrong with this beauty featuring the highly underrated Harold Mabern on piano.
Stan Getz - Focus - a jazz album from 1961 featuring violins, viola and cello along with the cool sound of Getz on sax. Unlike some of the more saccharine classical string-jazz efforts this one has a definite edge and is great meditative music.
Joe Henderson - Inner Urge - as Brian mentioned one of several that you could pick from his large body of work
Eric Dolphy - Out to Lunch - certainly far more "out" than pretty much anything else on this list but while it might send your granny running for the earplugs its a good start in to the more adventurous side of jazz. The combination of sweet and sour on the first track "Hat and Beard" is pretty much how I picture the jazz scence of the early 60's. One of those album openers that never tires.
Freddie Hubbard - The Body & the Soul - hate to go on about album openers but "Body and Soul" with Dolphy on flute and Hubbard on trumpet is a killer smooth jazz track as is "Dedicated to You". The ladies will be sure to love them. If you dig Freddie on this album seek out some Clifford Brown.
John Coltrane - "Giant Steps" but again there are very few of his that wouldn't make the list.
And I suppose if picking an album featuring piano any of three by McCoy Tyner - Inception, The Real McCoy or Supertrios.
Monday, January 24, 2005
I'll start with a list of my most listened to jazz music. This isn't the best, most significant yadds yadda list, but jazz being as musically "out" as it sometimes is, some of the the really important stuff can be harder on the ears, and doesn't get the late-night spins. And some of the below-noted is the best of the best. It's worth mentioning that I prefer the jazz era from about 1952 to 1966 - a great period for sure, but many think jazz was already dying by then, along with the original be-boppers like Parker, Powell, etc. Me, I think it's the best combination of groovy beats, true musical expression outside the first wave of bop (which at times has a sort of "look at me I'm playing a flat fifth and sharp ninth back-to-back" bravado quality to it), and some incredible experimentation and re-thinking of form. Though, as I say, none of the stuff I'll list is could be described as hard listenining (so, no Shepp, Coleman, Bley e.g.).
I poked around my collection and came up with ten. OK, fourteen. In no order they are:
vocal
Sarah Vaughan - with Clifford Brown (1954) (this one is a must have)
Anita O'Day - Anita Sings the Most (1956)
Helen Merrill - Dream of You (1956)
instrumental
Miles Davis - Kind of Blue (1959)
Bill Evans - Interplay (1962) ....this was a tough choice. He is my favourite jazz man of all, but this record is unusual in that he's playing with a guitar player (Jim Hall) and trumpeter (Freddie Hubbard), whereas he typically led a trio. His trio stuff is gorgeous and equally (probably more) essential, particularly Portrait in Jazz, Explorations, and Live at the Village Vanguard, thought it all has some quality to it, but this was the first Evans disk I fell in love with, and I think for a newcomer to jazz the extra instrumentation adds melody and life.
Hank Mobley - No Room for Squares (1963). I'm a huge fan of this guy's catchy hard bop (blues-based jazz), though he's considered a bit of a non-innovator. He has about five records that are all mighty fine.
Charlie Parker - Bird's Best Bop on Verve (1951 - 53)
Charles Mingus - Ah Um (1959) - so much soul, guts, and energy, and beautiful composition.
Bud Powell - The Best of Bud Powell on Verve (1950 - 55). My second favourite pianist after Evans, though utterly different....flamboyant, bold be-bop.
Lee Morgan - Search for the New Land (1964)
Chet Baker - The Best of Chet Sings (1952-53) - no better choice if you're trying to get a girl to...oh right, we're all married. Despite the cliche, this is some of my favourite music.
Joe Lovan0 - From the Soul (1991) - my favourite "modern" jazz tenor man...though even Joe's gotta be in his mid-fifties by now.
David Murray Quartet - Body and Soul (1993) - my other contemp fave, this album is the hardest thing on the list, though it's really not that tough - angst, energy, and creativity combined into amazing soundscape.
Joe Henderson - In and Out (1964) Could have chosen any of his from this period...he was teaming with trumpeter Kenny Dorham.
Coltrane - Africa Brass Sessions (1961) . Same story, pick a Coltrane record and you're likely fine, though careful with anything from 1965 onwards (unless you want to clear Sarah out of the house). I love the huge passionate cacophany of this record, played with a horn section arranged by Eric Dolphy, consisting of, among other things, nine French horns.
That'll do for now. Top 50 would have been easier....lots of gaps which I'll let the other guys fill if they're so inclined.
And as for writing on other subjects, that'll have to wait for another night.
Maybe "Best Canadian records" isn't hat inspiring after all. (No, goddamn it, I will blog on this tomorrow).
Stu, Feb 27 at the El Mo sounds cool. And I'm going to be at The Shoe this coming Monday (31st) to see a neighbour's nephew's band play a little showcase if anyone's looking for an excuse for a beer.
I poked around my collection and came up with ten. OK, fourteen. In no order they are:
vocal
Sarah Vaughan - with Clifford Brown (1954) (this one is a must have)
Anita O'Day - Anita Sings the Most (1956)
Helen Merrill - Dream of You (1956)
instrumental
Miles Davis - Kind of Blue (1959)
Bill Evans - Interplay (1962) ....this was a tough choice. He is my favourite jazz man of all, but this record is unusual in that he's playing with a guitar player (Jim Hall) and trumpeter (Freddie Hubbard), whereas he typically led a trio. His trio stuff is gorgeous and equally (probably more) essential, particularly Portrait in Jazz, Explorations, and Live at the Village Vanguard, thought it all has some quality to it, but this was the first Evans disk I fell in love with, and I think for a newcomer to jazz the extra instrumentation adds melody and life.
Hank Mobley - No Room for Squares (1963). I'm a huge fan of this guy's catchy hard bop (blues-based jazz), though he's considered a bit of a non-innovator. He has about five records that are all mighty fine.
Charlie Parker - Bird's Best Bop on Verve (1951 - 53)
Charles Mingus - Ah Um (1959) - so much soul, guts, and energy, and beautiful composition.
Bud Powell - The Best of Bud Powell on Verve (1950 - 55). My second favourite pianist after Evans, though utterly different....flamboyant, bold be-bop.
Lee Morgan - Search for the New Land (1964)
Chet Baker - The Best of Chet Sings (1952-53) - no better choice if you're trying to get a girl to...oh right, we're all married. Despite the cliche, this is some of my favourite music.
Joe Lovan0 - From the Soul (1991) - my favourite "modern" jazz tenor man...though even Joe's gotta be in his mid-fifties by now.
David Murray Quartet - Body and Soul (1993) - my other contemp fave, this album is the hardest thing on the list, though it's really not that tough - angst, energy, and creativity combined into amazing soundscape.
Joe Henderson - In and Out (1964) Could have chosen any of his from this period...he was teaming with trumpeter Kenny Dorham.
Coltrane - Africa Brass Sessions (1961) . Same story, pick a Coltrane record and you're likely fine, though careful with anything from 1965 onwards (unless you want to clear Sarah out of the house). I love the huge passionate cacophany of this record, played with a horn section arranged by Eric Dolphy, consisting of, among other things, nine French horns.
That'll do for now. Top 50 would have been easier....lots of gaps which I'll let the other guys fill if they're so inclined.
And as for writing on other subjects, that'll have to wait for another night.
Maybe "Best Canadian records" isn't hat inspiring after all. (No, goddamn it, I will blog on this tomorrow).
Stu, Feb 27 at the El Mo sounds cool. And I'm going to be at The Shoe this coming Monday (31st) to see a neighbour's nephew's band play a little showcase if anyone's looking for an excuse for a beer.
Excellent points, Kyle
My comment on Jaggers , was meant to say that he is an exception for producing great work ( along w Richards, Jones , Taylor etc) for a long 15 to 20 years. The last 5 from the early eighties are not great but still good. This is an exception to the 3 albums and your out rule. I think all this discussion warrents drinks and I know M. Ward is playing the elmo on the 27th of February, any takers????
My comment on Jaggers , was meant to say that he is an exception for producing great work ( along w Richards, Jones , Taylor etc) for a long 15 to 20 years. The last 5 from the early eighties are not great but still good. This is an exception to the 3 albums and your out rule. I think all this discussion warrents drinks and I know M. Ward is playing the elmo on the 27th of February, any takers????
Kylie, a most excellent answer, and I agree that the temptation is to make some bland generalization about the nature of art and artists irrespective of media. Which of course, is what I was trying to do....and in fact, I am still planning to do so when I write on this later tonight.
Also, have been giving some thought to your jazz CD question, and to my roundly ignored best Canadian album question (I wonder, what if I'd said best English...), and will post on them tonight too. Most happy to hear that you are contemplating entering the murky, annoyingly pedantic and yet damned rewarding world of jazz appreciation. Between me, Derek, Stuart, and Marc we should be able to get you started.
Also, have been giving some thought to your jazz CD question, and to my roundly ignored best Canadian album question (I wonder, what if I'd said best English...), and will post on them tonight too. Most happy to hear that you are contemplating entering the murky, annoyingly pedantic and yet damned rewarding world of jazz appreciation. Between me, Derek, Stuart, and Marc we should be able to get you started.
Friday, January 21, 2005
Clearly I haven't kept my resolution pertaining to the close editing of blog posts. I'll complete my response to Derek here:
As much as I grumble about the ubiquity of such appalling untalented and bland celebrities like Ashlee Simpson, or the lack of any decent radio station in this city, at least I have access to resources like the internet and live in a city that offers a variety of cultural options. With very little ease or expense, I can usually find interesting music, books or films. I'm not sure if this was possible even 10 years ago.
As much as I grumble about the ubiquity of such appalling untalented and bland celebrities like Ashlee Simpson, or the lack of any decent radio station in this city, at least I have access to resources like the internet and live in a city that offers a variety of cultural options. With very little ease or expense, I can usually find interesting music, books or films. I'm not sure if this was possible even 10 years ago.
Thursday, January 20, 2005
Sorry for the delay in responding but it's been a pretty hectic week and hey, you've bitten off quite a bit here with your questions, Brian. I'll attempt to do them justice.
Several times this past week I've found myself typing a response, definitively answering one question only to find myself coming up with a stream of examples that immediately contradict my own claims. For example, to your first question,
"Why (or whether you agree) there appears to be a tendency in the "modern" world towards unfinished artistic careers?"
I've come around to the view that it's difficult to come up with an answer that covers all the different forms of media you referenced.
When it comes to popular music, I agree that there is definitely a tendency towards an 'unfinished career'. I think this is because pop musicians 1) really only have a handful of really good releases in them at best (the '3 albums and you're out rule') and 2) are at their creative peak when they are young, fairly ignorant of past trends and influences (and therefore more risk-taking and less contrived), and can honestly articulate the frustration, anger, and impatience with the world that is inherent in youth. That's not to say that someone over the age of 40 can't release a good pop album, it's just they probably would have released a better one in their youth.
I won't comment on classical or jazz musicians because I just don't know enough about either genre to make any intelligent contribution. [And to those who would suggest that I am equally out of my depth when it comes to pop music, my advice is that you attempt the anatomically impossible and let me define my own parameters of self-deprecation].
With literature, I think some authors actually produce work that gets better with age, or at the very least go through a middle-years slump that is overshadowed by later, more impressive work. Philip Roth may be best known for 'Portnoy's Complaint' but some of his recent work is excellent and I think John LeCarre's last two novels are better than anything he wrote in the past. While I'm the first to bemoan the recent efforts of perennial favourites like DeLillo and Rushdie, I still think they will surprise with better efforts in the future. Again, there may be a finite number of artistic points/statements about the state of humanity/reflections on socio-political-cultural phenomena that each writer can make before he or she runs out of steam. But age can bring perspective and there are probably countless other modern examples of writers whose crowning glory was achieved in their later years; okay, this is a bit of a copout for not providing examples here but I'm pressing on cause there's still a lot of ground to cover.
When it comes to filmmakers...well, let me answer here by referring to one of your other questions, namely,
Is it the necessary balance between money and art?
Here I think is a medium most affected by the demands of commerce and where money plays the biggest role in determining or denying artistic legacy.
Some very actors and directors consistently make great choices but along the way, all seem to make some really big stinkers (ie. recent Coen Brothers, Julianne Moore, Ben Kingsley) in the name of the almighty buck. Other directors attempt to keep making great films but no longer have anything relevant to say anymore, perhaps because the've said all they really wanted to say in the first place (ie. Oliver Stone, Hal Hartley, Whit Stillman, David Mamet). Others may have reached their apex years ago, still strike out occassionally but still hit a home run every once in awhile (ie. Spike Lee, Robert Altman, Woody Allen...okay maybe he should be in the Oliver Stone category...). And still others consistently churn out thought-provoking, intelligent work (ie. Mike Leigh, Michael Winterbottom, Pedro Almodovar).
What separates this latter group from the former groups mentioned? Is it a singular artistic vision or the inner strength required to resist materialistic overtures from Hollywood?
I remember a Q&A at the Festival a few year's back where Gary Oldman was answering questions about his very personal and difficult film "Nil By Mouth". He stated bluntly that he takes on roles in such unspectacular fare as 'Air Force One' and 'Lost in Space' so that he can raise enough cash to work on projects that he truly cares about. I'm sure he's not the only one cashing in from time to time, for noble reasons or not, but his revelation speaks to the reality that 1) putting together a film requires a hell of a lot more money and collaboration that most other artistic endeavours, certainly more than recording an album or writing a book, and 2) the temptation for to abandon their quest to push the boundaries of the medium in order to make more sellable fare is so great that only a select few artists are willing or able to resist.
So to summarize my answers:
Pop Music=small time window in which to express a limited amount of artistic energy
Fiction/Literature=disagree, art may improve with age
Jazz/Classical=i am a moron, requiring the purchase of a 'dummies' book or enrollment in a proper finishing school
Film=$$$$
To your question,
Are we too close to these events to see how history will judge them?
Pop Music=No.
Fiction/Literature=Yes
Jazz/Classical=i am a moron, requiring the purchase of a 'dummies' book or enrollment in a proper finishing school
Film=Let's discuss the next time we all have a pint in our hands
Derek, you asked,
"At a time when we have available to us more forms of entertainment than could ever have been imagined 100 years ago are we suffering because of this surfeit?"
I'm not sure that we are suffering any worse than anyone would have 100 or even 10 years ago. I think there's always been a tendency towards mediocrity in the mainstream. As much as I grumble about the ubiquity of such appalling untalented and bland celebrities like Ashlee Simpson, or the lack of any decent radio station in this city, at least I have access
I don't know if that was always the case.
Stuart, while I applaud your concession that Tony Bennett, while possessing the charisma and the pipes to do that one trick really well, isn’t still producing great work, I question your assertion that Mick Jagger is still producing great work. I think the Stones are one of the best examples of a group that 1) hasn’t produced a decent record in almost 25 years (1981’s Tattoo You was probably the last to qualify) and 2) should channel any artistic impulses into what they still do well, namely banging hot young women. And with the exceptions of a couple of non-terrible singles, the bulk of Mick’s solo/duo projects are egregiously pathetic ('Dancing in the Streets' w/ David Bowie and 'State of Shock' with Michael Jackson are two cringe-worthy examples). If you think Mick’s Golden Globe win this week bolsters your case, I’d say you only have to look at the list of recent winners (schmaltzy dreck from Sting, Elton, and Celine) to see what a non-achievement this really is.
Marc, every time I take the subway, I have to fight the urge to belt out 'I'm waiting on a subway line/I'm waiting for a train to arrive' from the Walkmen's 'Thinking of a Dream I Had'. I love the sort of rambling intensity in his voice and the swirling guitars. Very suited to standing on a platform in these frigid days.
Okay, enough rambling of my own for now.
What top 5 or 10 jazz albums should I rush out and buy immediately?
Several times this past week I've found myself typing a response, definitively answering one question only to find myself coming up with a stream of examples that immediately contradict my own claims. For example, to your first question,
"Why (or whether you agree) there appears to be a tendency in the "modern" world towards unfinished artistic careers?"
I've come around to the view that it's difficult to come up with an answer that covers all the different forms of media you referenced.
When it comes to popular music, I agree that there is definitely a tendency towards an 'unfinished career'. I think this is because pop musicians 1) really only have a handful of really good releases in them at best (the '3 albums and you're out rule') and 2) are at their creative peak when they are young, fairly ignorant of past trends and influences (and therefore more risk-taking and less contrived), and can honestly articulate the frustration, anger, and impatience with the world that is inherent in youth. That's not to say that someone over the age of 40 can't release a good pop album, it's just they probably would have released a better one in their youth.
I won't comment on classical or jazz musicians because I just don't know enough about either genre to make any intelligent contribution. [And to those who would suggest that I am equally out of my depth when it comes to pop music, my advice is that you attempt the anatomically impossible and let me define my own parameters of self-deprecation].
With literature, I think some authors actually produce work that gets better with age, or at the very least go through a middle-years slump that is overshadowed by later, more impressive work. Philip Roth may be best known for 'Portnoy's Complaint' but some of his recent work is excellent and I think John LeCarre's last two novels are better than anything he wrote in the past. While I'm the first to bemoan the recent efforts of perennial favourites like DeLillo and Rushdie, I still think they will surprise with better efforts in the future. Again, there may be a finite number of artistic points/statements about the state of humanity/reflections on socio-political-cultural phenomena that each writer can make before he or she runs out of steam. But age can bring perspective and there are probably countless other modern examples of writers whose crowning glory was achieved in their later years; okay, this is a bit of a copout for not providing examples here but I'm pressing on cause there's still a lot of ground to cover.
When it comes to filmmakers...well, let me answer here by referring to one of your other questions, namely,
Is it the necessary balance between money and art?
Here I think is a medium most affected by the demands of commerce and where money plays the biggest role in determining or denying artistic legacy.
Some very actors and directors consistently make great choices but along the way, all seem to make some really big stinkers (ie. recent Coen Brothers, Julianne Moore, Ben Kingsley) in the name of the almighty buck. Other directors attempt to keep making great films but no longer have anything relevant to say anymore, perhaps because the've said all they really wanted to say in the first place (ie. Oliver Stone, Hal Hartley, Whit Stillman, David Mamet). Others may have reached their apex years ago, still strike out occassionally but still hit a home run every once in awhile (ie. Spike Lee, Robert Altman, Woody Allen...okay maybe he should be in the Oliver Stone category...). And still others consistently churn out thought-provoking, intelligent work (ie. Mike Leigh, Michael Winterbottom, Pedro Almodovar).
What separates this latter group from the former groups mentioned? Is it a singular artistic vision or the inner strength required to resist materialistic overtures from Hollywood?
I remember a Q&A at the Festival a few year's back where Gary Oldman was answering questions about his very personal and difficult film "Nil By Mouth". He stated bluntly that he takes on roles in such unspectacular fare as 'Air Force One' and 'Lost in Space' so that he can raise enough cash to work on projects that he truly cares about. I'm sure he's not the only one cashing in from time to time, for noble reasons or not, but his revelation speaks to the reality that 1) putting together a film requires a hell of a lot more money and collaboration that most other artistic endeavours, certainly more than recording an album or writing a book, and 2) the temptation for to abandon their quest to push the boundaries of the medium in order to make more sellable fare is so great that only a select few artists are willing or able to resist.
So to summarize my answers:
Pop Music=small time window in which to express a limited amount of artistic energy
Fiction/Literature=disagree, art may improve with age
Jazz/Classical=i am a moron, requiring the purchase of a 'dummies' book or enrollment in a proper finishing school
Film=$$$$
To your question,
Are we too close to these events to see how history will judge them?
Pop Music=No.
Fiction/Literature=Yes
Jazz/Classical=i am a moron, requiring the purchase of a 'dummies' book or enrollment in a proper finishing school
Film=Let's discuss the next time we all have a pint in our hands
Derek, you asked,
"At a time when we have available to us more forms of entertainment than could ever have been imagined 100 years ago are we suffering because of this surfeit?"
I'm not sure that we are suffering any worse than anyone would have 100 or even 10 years ago. I think there's always been a tendency towards mediocrity in the mainstream. As much as I grumble about the ubiquity of such appalling untalented and bland celebrities like Ashlee Simpson, or the lack of any decent radio station in this city, at least I have access
I don't know if that was always the case.
Stuart, while I applaud your concession that Tony Bennett, while possessing the charisma and the pipes to do that one trick really well, isn’t still producing great work, I question your assertion that Mick Jagger is still producing great work. I think the Stones are one of the best examples of a group that 1) hasn’t produced a decent record in almost 25 years (1981’s Tattoo You was probably the last to qualify) and 2) should channel any artistic impulses into what they still do well, namely banging hot young women. And with the exceptions of a couple of non-terrible singles, the bulk of Mick’s solo/duo projects are egregiously pathetic ('Dancing in the Streets' w/ David Bowie and 'State of Shock' with Michael Jackson are two cringe-worthy examples). If you think Mick’s Golden Globe win this week bolsters your case, I’d say you only have to look at the list of recent winners (schmaltzy dreck from Sting, Elton, and Celine) to see what a non-achievement this really is.
Marc, every time I take the subway, I have to fight the urge to belt out 'I'm waiting on a subway line/I'm waiting for a train to arrive' from the Walkmen's 'Thinking of a Dream I Had'. I love the sort of rambling intensity in his voice and the swirling guitars. Very suited to standing on a platform in these frigid days.
Okay, enough rambling of my own for now.
What top 5 or 10 jazz albums should I rush out and buy immediately?
Monday, January 17, 2005
Well, I for one am breathing a little more easily. Thanks Marc. And yes, it hadn't escaped my notice how your top five are all rock or kind-of rock records. Interesting evolution on your part.
I will await Kyle's reply to my note of a few days ago (since he promised that one was forthcoming when we bumped into each other at Dora's the other night) before re-jumping in with my somewhat nebulous take on artistic longevity.
(Though I will say that Derek's note had me one step from suicide, or the 2005 equivalent - channel surfing - until, incredibly, I found God, in the form of the SI Swimsuit Model Search. TV, at least, continues to shoot for the stars.)
I will await Kyle's reply to my note of a few days ago (since he promised that one was forthcoming when we bumped into each other at Dora's the other night) before re-jumping in with my somewhat nebulous take on artistic longevity.
(Though I will say that Derek's note had me one step from suicide, or the 2005 equivalent - channel surfing - until, incredibly, I found God, in the form of the SI Swimsuit Model Search. TV, at least, continues to shoot for the stars.)
I know, I know…you have all been waiting with baited breath for the release of my list of top 5 albums of 2005…anxiously wondering what pearls I’ve had squirreled away in the piles of walnut dust in my shop. Well I am sorry to disappoint, but there is nothing new for you boyz on my list but what is a surprise (at least to me), is what I find I have been drawn to most over the past year and can’t get out of the cd player
Top 5 in no particular order…and you’re lucky I managed to actually nail down five!
Arcade Fire – Funeral
Interpol – Antics
Walkmen – Bows and Arrows
Wilco – a ghost is born
Jolie Holland – Escondida
What I find interesting about my top five is that amongst them, there is not a single album that falls into a jazz/afro/electo/latin/dancey slots that got me off in the past number of years. With the exception of Holland, it’s all music in the straight up, pop/rock genre.
The other thing that I find interesting about several of the choices, is that they follow albums that were considered by many, to be stronger. I came to know Interpol, Walkmen and Wilco recently and revisited earlier works only after falling in love with their current releases.
I think that this resonates with the discourse on the blog (which I must admit I find very provocative) in that our perceptions of an artist’s work can’t help but be altered by our understanding or familiarity with their other works. Is it possible for me to hear a ghost is born in the same light as someone who has grown up with Summerteeth or Yankee Foxtrot? (two albums with which I was wholly unfamiliar) Is my perception of Ghost intrinsically different from yours because I was never a fan of theirs before? In any case, The direction that Wilco has gone with Ghost grabs me in a way that Wilco’s work never has before…have I simply entered a new headspace…was Wilco waiting for me to come to them or was I waiting for Wilco to change? I love the album with the exception of all the wanking of the last ten minutes….it’s all been done before and what ever you’re trying to say is either lost on me or empty…and no “you will never hear this song on the radio”!
Interpol’s – Antics? Super strong follow up to their debut…stronger still. The problem with it is that it may be seen by some as “more of the same” after their stellar freshman release. At a session of the cd club a while ago, someone, I think it was Brian, said, and I paraphrase, “if you own one of their albums do you really need to go out and buy another….it’s good music, but is it not just more of the same?…am I really gaining something from this album that was missing in my first experience?” If you ain’t got any Interpol, make it Antics. Antics outshines in its energy, dynamics and production.
Arcade Fire…didn’t see the show at the beginning of the summer so I could not be disappointed by the lack of energy captured on the album as I have heard some were. Again, it’s all about expectations. To my ears the sound is fresh, creative and full of the stuff of life.
The Walkmen?…all I want to know is what’s in it for me?
Jolie…a warm breeze…a swing on the veranda…the scent of magnolia…oh! for an afternoon to do nothing!
…and I gotta say that I’m not hugely disappointed with the year in music…I’ll grant you there was no Nevermind or London Calling
Top 5 in no particular order…and you’re lucky I managed to actually nail down five!
Arcade Fire – Funeral
Interpol – Antics
Walkmen – Bows and Arrows
Wilco – a ghost is born
Jolie Holland – Escondida
What I find interesting about my top five is that amongst them, there is not a single album that falls into a jazz/afro/electo/latin/dancey slots that got me off in the past number of years. With the exception of Holland, it’s all music in the straight up, pop/rock genre.
The other thing that I find interesting about several of the choices, is that they follow albums that were considered by many, to be stronger. I came to know Interpol, Walkmen and Wilco recently and revisited earlier works only after falling in love with their current releases.
I think that this resonates with the discourse on the blog (which I must admit I find very provocative) in that our perceptions of an artist’s work can’t help but be altered by our understanding or familiarity with their other works. Is it possible for me to hear a ghost is born in the same light as someone who has grown up with Summerteeth or Yankee Foxtrot? (two albums with which I was wholly unfamiliar) Is my perception of Ghost intrinsically different from yours because I was never a fan of theirs before? In any case, The direction that Wilco has gone with Ghost grabs me in a way that Wilco’s work never has before…have I simply entered a new headspace…was Wilco waiting for me to come to them or was I waiting for Wilco to change? I love the album with the exception of all the wanking of the last ten minutes….it’s all been done before and what ever you’re trying to say is either lost on me or empty…and no “you will never hear this song on the radio”!
Interpol’s – Antics? Super strong follow up to their debut…stronger still. The problem with it is that it may be seen by some as “more of the same” after their stellar freshman release. At a session of the cd club a while ago, someone, I think it was Brian, said, and I paraphrase, “if you own one of their albums do you really need to go out and buy another….it’s good music, but is it not just more of the same?…am I really gaining something from this album that was missing in my first experience?” If you ain’t got any Interpol, make it Antics. Antics outshines in its energy, dynamics and production.
Arcade Fire…didn’t see the show at the beginning of the summer so I could not be disappointed by the lack of energy captured on the album as I have heard some were. Again, it’s all about expectations. To my ears the sound is fresh, creative and full of the stuff of life.
The Walkmen?…all I want to know is what’s in it for me?
Jolie…a warm breeze…a swing on the veranda…the scent of magnolia…oh! for an afternoon to do nothing!
…and I gotta say that I’m not hugely disappointed with the year in music…I’ll grant you there was no Nevermind or London Calling
Friday, January 14, 2005
Don't mean to be a prat but I have to present these partial lists to back up my little part of tackling the matrix as Stuart so aptly put it.
Best-selling books of 2004 (presumably US)
1. The Da Vinci Code - Dan Brown
2. The South Beach Diet - Arthur Agatston
3. Angels and Demons - Dan Brown
4. The Purpose Driven Life - Rick Warren
5. The Five People You Meet in Heaven - Mitch Albom
6. The South Beach Diet Good Fats Good Carbs Guide - Arthur Agatston
7. My Life - Bill Clinton
8. The Notebook - Nicholas Sparks
9. Deception Point - Dan Brown
10. Digital Fortress - Dan Brown
Of the top 100 perhaps only 10 could be considered actual works of literature (and they sure ain't in the top 10, rather hard when the ubiquitous Mr. Brown had a hall of fame season) and 4 of them only made the list because hey Oprah liked it why shouldn't you.
Top 10 grossing films of 2004
1. Shrek 2
2. Spider Man 2
3. Passion of the Christ
4. The Incredibles
5. Harry Potter and etc
6. Day after Tomorrow
7. The Bourne Supremacy
8. Meet the Fockers
9. Shark Tale
10. Polar Express
Wow, 4 cartoons (don't give me that high falutin "animated feature bs), 5 sequels, and despite having seen nary a one of these films I can safely assume no more than 30 seconds of real life adult dialogue (unless you count Aramaic) or authentic situations. Combined gross in the US alone for these 10 master works: $2.5 billion.
Top 10 selling CDs of 2004:
1. Usher - "Confessions"
2. Norah Jones - "Feels Like Home"
3. Eminem - "Encore"
4. Kenny Chesney - "When the Sun Goes Down"
5. Gretchen Wilson - "Here for the Party"
6. Tim McGraw - "Live Like You Were Dying"
7. Maroon 5 - "Songs about Jane"
8. Evanesence - "Fallen"
9. Ashlee Simpson - "Autobiography"
10. Various - "Now That's What I Call Music 16"
Insert your own version of Charlie Brown's patented scream here.
Where the hell did we go so horribly wrong? I hate to be a cultural snob but these lists speak to me of a species that's lost the plot.
My point. How does an artist, one who cares passionately and intelligently about his craft, reconcile what these lists say to him and the time, energy and the search for next month's rent that is required of him to create something he deems meaningful and hopefully with lasting effect. Radiohead anyone? Is it any surprise that directors, authors, musicians, put out 1, 2 maybe 3 movies, novels or albums never to be heard from again. I think the astounding thing is that there are any at all staying the course. An author like James Kelman, a band like Low, a director like Jim Jarmusch god love them all for at least struggling on despite the complete lack of any mainstream success.
And these are artists I know. There are undoubtedly thousands, (millions?) of others wallowing in complete obscurity. Our "give it to me now and forget about it 30 seconds later " society has no patience to allow an artist to mature and develop an oeuvre that would be remembered for decades to come. At a time when we have available to us more forms of entertainment than could ever have been imagined 100 years ago are we suffering because of this surfeit?
In a world where people never tire of telling us that there's just not enough time to relax and yet where more diligence than ever is required to sift through the crap that passes as art to extricate the real gems I truly believe that we're not likely to see any artistic giants from the current era striding through the landscape of future generations.
Can I go watch Fear Factor now?
Best-selling books of 2004 (presumably US)
1. The Da Vinci Code - Dan Brown
2. The South Beach Diet - Arthur Agatston
3. Angels and Demons - Dan Brown
4. The Purpose Driven Life - Rick Warren
5. The Five People You Meet in Heaven - Mitch Albom
6. The South Beach Diet Good Fats Good Carbs Guide - Arthur Agatston
7. My Life - Bill Clinton
8. The Notebook - Nicholas Sparks
9. Deception Point - Dan Brown
10. Digital Fortress - Dan Brown
Of the top 100 perhaps only 10 could be considered actual works of literature (and they sure ain't in the top 10, rather hard when the ubiquitous Mr. Brown had a hall of fame season) and 4 of them only made the list because hey Oprah liked it why shouldn't you.
Top 10 grossing films of 2004
1. Shrek 2
2. Spider Man 2
3. Passion of the Christ
4. The Incredibles
5. Harry Potter and etc
6. Day after Tomorrow
7. The Bourne Supremacy
8. Meet the Fockers
9. Shark Tale
10. Polar Express
Wow, 4 cartoons (don't give me that high falutin "animated feature bs), 5 sequels, and despite having seen nary a one of these films I can safely assume no more than 30 seconds of real life adult dialogue (unless you count Aramaic) or authentic situations. Combined gross in the US alone for these 10 master works: $2.5 billion.
Top 10 selling CDs of 2004:
1. Usher - "Confessions"
2. Norah Jones - "Feels Like Home"
3. Eminem - "Encore"
4. Kenny Chesney - "When the Sun Goes Down"
5. Gretchen Wilson - "Here for the Party"
6. Tim McGraw - "Live Like You Were Dying"
7. Maroon 5 - "Songs about Jane"
8. Evanesence - "Fallen"
9. Ashlee Simpson - "Autobiography"
10. Various - "Now That's What I Call Music 16"
Insert your own version of Charlie Brown's patented scream here.
Where the hell did we go so horribly wrong? I hate to be a cultural snob but these lists speak to me of a species that's lost the plot.
My point. How does an artist, one who cares passionately and intelligently about his craft, reconcile what these lists say to him and the time, energy and the search for next month's rent that is required of him to create something he deems meaningful and hopefully with lasting effect. Radiohead anyone? Is it any surprise that directors, authors, musicians, put out 1, 2 maybe 3 movies, novels or albums never to be heard from again. I think the astounding thing is that there are any at all staying the course. An author like James Kelman, a band like Low, a director like Jim Jarmusch god love them all for at least struggling on despite the complete lack of any mainstream success.
And these are artists I know. There are undoubtedly thousands, (millions?) of others wallowing in complete obscurity. Our "give it to me now and forget about it 30 seconds later " society has no patience to allow an artist to mature and develop an oeuvre that would be remembered for decades to come. At a time when we have available to us more forms of entertainment than could ever have been imagined 100 years ago are we suffering because of this surfeit?
In a world where people never tire of telling us that there's just not enough time to relax and yet where more diligence than ever is required to sift through the crap that passes as art to extricate the real gems I truly believe that we're not likely to see any artistic giants from the current era striding through the landscape of future generations.
Can I go watch Fear Factor now?
I was attempting to answer your questions in my first ( rather biligerent reply) , unfortunately my long winded ramble is not very clear. If you reread from the part about venereal diseases down, what I was trying to say is that I think the artisitc decline is inevitable but for a few exceptions. One aspect of this decline is I think the fact that the artists who succeed tend to get treated to a lifestyle of fawning and they eventually lose touch with the world that they are attempting to create art in response to. I think you are on to something with media because novelists , who dont get the same publicity (and thus stardom)seem to maintain their impulses longer then most. Also Classical musicians of the past , though treated somewhat like rock stars , they were still not as recognizable as todays stars ie in peoples magazine etc... Classical musicians also tend to be more rigouously prepared for the world with education and practice habits etc.... that they may be better equipped to maintain their creativity, this may be especially so with performers, like Perlman etc..)
So in summing up I think these sociatle issues play a fare roll in the decline....
I hope that is clearer,though it only answers part of the matrix. It was also way less fun to write. ..
s.
s
So in summing up I think these sociatle issues play a fare roll in the decline....
I hope that is clearer,though it only answers part of the matrix. It was also way less fun to write. ..
s.
s
Actually, I believe performers are artists, generally speaking. Like anything creative it's a question of accomplishment, and of significance. Creating can be in the execution as well as the concept as far as I'm concerned. e.g., Louis Armstrong is primarily known as a performer (didn't write all that much), and yet he almost single-handedly created modern jazz in the mid-twenties. Or so the story goes. And while we're talking about Louis, I would place him in category (c) rather than (a), seminal early output, followed by less and less relevant stuff, slow-ish fade to black (pardon the quasi-racist pun) and almost a caricature of himself by the 1960's/70's.
Nobody's actually answered (or attempted to) my questions by the way.
Nobody's actually answered (or attempted to) my questions by the way.
Thursday, January 13, 2005
Can I assume that when we talk about consistent artists that we are strictly talking about people who actually create rather than simply perform. I bring this up after Stuart mentioned Keith Jarrett who I tend to agree is certainly one of the most consistent (if not entirely loveable) performers. But is he a consistent creator of art?
Especially for jazz guys this is an important distinction as Jarrett for one has seen many of his recent releases inlcude many works not written by Jarrett or anyone else in his trio. I understand that that by definition they are giving us their interpretation of the original but that's far from the creative process that I think the original discussion at Betty's had in mind.
And where do people like Maxim Vengerov, Martha Argerich and Hilary Hahn fit in to this discussion? Does someome who performs for much if not all of their adult life like a Perlman not count because once again they are only interpreting someone else's baby? Can we thus discount all classical performers (at least those who only play and not compose) and say that none of them are true artists?
Back to the point about musicians with longevity and quality I think we'd have to include guys like Duke Ellington and Louis Armstrong.
Especially for jazz guys this is an important distinction as Jarrett for one has seen many of his recent releases inlcude many works not written by Jarrett or anyone else in his trio. I understand that that by definition they are giving us their interpretation of the original but that's far from the creative process that I think the original discussion at Betty's had in mind.
And where do people like Maxim Vengerov, Martha Argerich and Hilary Hahn fit in to this discussion? Does someome who performs for much if not all of their adult life like a Perlman not count because once again they are only interpreting someone else's baby? Can we thus discount all classical performers (at least those who only play and not compose) and say that none of them are true artists?
Back to the point about musicians with longevity and quality I think we'd have to include guys like Duke Ellington and Louis Armstrong.
My partner Bills, inlaw has been a member of the small ensemble who tours with Tony,
and apparently Tony is so uber professional and generally a good guy all around , that just impresses the hell out of me for an icon of that magnitude. This inlaw also has some obscure connection to Keith Jarret , who is one who I must say still puts out very edgy stuff for now over a quarter of a century in both jazz and classical. I wonder if he wins the catagory of maintaining quality for the longest time?
s
and apparently Tony is so uber professional and generally a good guy all around , that just impresses the hell out of me for an icon of that magnitude. This inlaw also has some obscure connection to Keith Jarret , who is one who I must say still puts out very edgy stuff for now over a quarter of a century in both jazz and classical. I wonder if he wins the catagory of maintaining quality for the longest time?
s
Wednesday, January 12, 2005
Good point big guy. I guess what I should have said was that the long-term view of the artists in question (rather than the art) will be tarnished by their years of consistent wretchedness. The thought of Stevie Wonder, for example, already provokes serious cringing (and justifiably so) despite the genius of Songs In the Key of Life et al. 'Cause it's been twenty four years of crap. Not every example is pronounced but you get my drift.
Well I agree with your career catagories , roughly, and think it a worthy debate, as most debates that originate at Bettys tend to be, I do take some issue with a few of your points . I would have to say questioning the merit of earlier works simply because there later work is bollocks is , well, simply bollocks. Steve Wonder put out at least 5 great albums in the early seventis and another 4 or so good albums in the sixties over a span of 10 years, Rod put out about 8 very good discs over about 6 years ( including work w Jeff Beck and also Faces, ) MIles Davis , well you did qualify he might be safe from this. I realise your argument was more that these artists did have there quality drop off and I agree there is no doubt about that. Pop music sets the worst example here , think Paul McCartney , The Band, the list goes on and on and the greater the musician the greater the perceived crime. Classical music fares considerable better , but most of them died from venereal diseases ( tut tut) and that moves them into another category, although few doubt Beethovens late years and many more like him.
I think pop music which is born of a non schooled youth , non intellectually rigoris roots has less to fall back on. Thes people are mere babes , who get thrust into the media limelight and treated in a manner which would cause damage to most. It is, I think, the norm- to loose touch with the reality (which early work of pop musicians descibes so beautifully) when you live in such a rarified sterile existent of brown nosing false friends catering to your every whim. Only a massively fucked up person ( Dylan, Coltrane, Neil) or a massively strong person ( Mic Jaggers, Tony Bennet) can servive this and still produce great work. Others rest on the money and laurels and so be it.
I am rambling now , but I think it pointless to dismiss early great work simply because they can no longer pull it out of themselves anymore. As far as the one trick ponys , I think that is simply another category of humanity, and the artists who maintain a group dynamic ( Led Zeppelin, Stones, the who, U2 , have a better chance as they feed of the artistic impulses of others rather then just having producers tell you that the dreck you just recorded is bliss.
s
I think pop music which is born of a non schooled youth , non intellectually rigoris roots has less to fall back on. Thes people are mere babes , who get thrust into the media limelight and treated in a manner which would cause damage to most. It is, I think, the norm- to loose touch with the reality (which early work of pop musicians descibes so beautifully) when you live in such a rarified sterile existent of brown nosing false friends catering to your every whim. Only a massively fucked up person ( Dylan, Coltrane, Neil) or a massively strong person ( Mic Jaggers, Tony Bennet) can servive this and still produce great work. Others rest on the money and laurels and so be it.
I am rambling now , but I think it pointless to dismiss early great work simply because they can no longer pull it out of themselves anymore. As far as the one trick ponys , I think that is simply another category of humanity, and the artists who maintain a group dynamic ( Led Zeppelin, Stones, the who, U2 , have a better chance as they feed of the artistic impulses of others rather then just having producers tell you that the dreck you just recorded is bliss.
s
Rod Stewart - yeah baby! Prime example of a musician/artist who was once cool, who once understood and engaged in the creative process, who slowly, inexorably became spiritually and artistically flabby, ultimately and luridly fascinatingly moving into Monty-Python-Meaning-of-Life-Fat-Guy-Eating-One-Thin-Wafer level of revoltingly obese artistic nothingness. To give him credit, when he said "fuck off" to making good music he did it on a leviathian-like scale. Some Guys Have All the Luck. Impressive.
(prologue to next comment....this next thought is not entirely my own and has been the subject of much discussion at Betty's)....it seems to me the twentieth century is filled with examples on both sides of the ledger of artists working in various media who create meaningful, remarkable art early in their career, and either (a) continue throughout their lives to pull their souls apart and contribute artistic output with passion, spirit, and iconoclasm, e.g., (all lists subject to debate of course) John Coltrane, Leonard Cohen, Dmitri Shostakovich, Philip Roth, Pablo Picasso, Robert Altman; (b) appear unable to "grow", make similar artistic statements time and time again and quickly self-select (in the annals of art history) as one-trick ponies - e.g., Kazuo Ishiguro, John Fowles, Pearl Jam, Jesus and Mary Chain, Hal Hartley.... or (c) make increasingly bland and/or misguided and/or commercial and/or superficial art that, as time passes, will inevitably call into question their initial, strong work (long list here....Rod Stewart, Stevie Wonder, Miles Davis (he may be safe from this), David Murray, Brett Easton Ellis, Oliver Stone, Francis Ford Copolla, and (sadly and reluctantly admitted) the Coen Brothers. Tons of others.
There are (d) and (e) categories that suggest themselves (d) artists who die or stop early thereby preserving and possibly enhancing their reputation for what might have been seen as a limited artistic idiom in the fullness of time (Salinger, Rothko, Modigliani, the Doors, Hendrix, etc), and (e) artists that produce remarkable work for a significant period of time before tailing off (Dylan, Stones, Norman Mailer, Stravinsky....OK Miles Davis probably belongs down here), thereby likely preserving their reputation, but these two catergories don't necessarily fit well into my upcoming question(s), so I'll put them aside for now. Too many categories makes for poor blogging.
Basically, I'd like to hear your opinions on why (or whether you agree) there appears to be a tendency in the "modern" world towards unfinished artistic careers. Is it the necessary balance between money and art? the intervention and influence of mass media? are we too close to these events to see how history will judge them? or is this simply a natural inability in artists (and people generally) to lose your "edge", to rest on your laurels and stop searching (if so, are we all doomed to this)? What does it take to have longevity in your artistic and creative impulses, and why don't more artists appear to have it?
Your thoughts.
Another subject of discussion presents itself to me. WARNING: It concerns lists, and encourages you to think about and/or publish a list.
The below list of top 25 Canadian albums of all time is posted on the Pitchfork site - not sure if any of you have come across it. It was compiled in 2000, and is (to my reading) in turns pretty funny, bang on once or twice, and blatantly idiotic a lot of the time. Any of you interested in posting your favourite or best Canadian albums of all time? I'm going to try to come up with a top five or ten in the next couple of days, with requisite rationale.
http://www.pitchforkmedia.com/columns/no-jacket/00-05-canada/
(prologue to next comment....this next thought is not entirely my own and has been the subject of much discussion at Betty's)....it seems to me the twentieth century is filled with examples on both sides of the ledger of artists working in various media who create meaningful, remarkable art early in their career, and either (a) continue throughout their lives to pull their souls apart and contribute artistic output with passion, spirit, and iconoclasm, e.g., (all lists subject to debate of course) John Coltrane, Leonard Cohen, Dmitri Shostakovich, Philip Roth, Pablo Picasso, Robert Altman; (b) appear unable to "grow", make similar artistic statements time and time again and quickly self-select (in the annals of art history) as one-trick ponies - e.g., Kazuo Ishiguro, John Fowles, Pearl Jam, Jesus and Mary Chain, Hal Hartley.... or (c) make increasingly bland and/or misguided and/or commercial and/or superficial art that, as time passes, will inevitably call into question their initial, strong work (long list here....Rod Stewart, Stevie Wonder, Miles Davis (he may be safe from this), David Murray, Brett Easton Ellis, Oliver Stone, Francis Ford Copolla, and (sadly and reluctantly admitted) the Coen Brothers. Tons of others.
There are (d) and (e) categories that suggest themselves (d) artists who die or stop early thereby preserving and possibly enhancing their reputation for what might have been seen as a limited artistic idiom in the fullness of time (Salinger, Rothko, Modigliani, the Doors, Hendrix, etc), and (e) artists that produce remarkable work for a significant period of time before tailing off (Dylan, Stones, Norman Mailer, Stravinsky....OK Miles Davis probably belongs down here), thereby likely preserving their reputation, but these two catergories don't necessarily fit well into my upcoming question(s), so I'll put them aside for now. Too many categories makes for poor blogging.
Basically, I'd like to hear your opinions on why (or whether you agree) there appears to be a tendency in the "modern" world towards unfinished artistic careers. Is it the necessary balance between money and art? the intervention and influence of mass media? are we too close to these events to see how history will judge them? or is this simply a natural inability in artists (and people generally) to lose your "edge", to rest on your laurels and stop searching (if so, are we all doomed to this)? What does it take to have longevity in your artistic and creative impulses, and why don't more artists appear to have it?
Your thoughts.
Another subject of discussion presents itself to me. WARNING: It concerns lists, and encourages you to think about and/or publish a list.
The below list of top 25 Canadian albums of all time is posted on the Pitchfork site - not sure if any of you have come across it. It was compiled in 2000, and is (to my reading) in turns pretty funny, bang on once or twice, and blatantly idiotic a lot of the time. Any of you interested in posting your favourite or best Canadian albums of all time? I'm going to try to come up with a top five or ten in the next couple of days, with requisite rationale.
http://www.pitchforkmedia.com/columns/no-jacket/00-05-canada/
Tuesday, January 11, 2005
Mea Culpa ,
The second album is Gasoline Alley, ....Every Picture ...is the 3rd album, ( I should have verified on all music guide before I posted) The 2 albums I prefer are The Rod Stewart Album and Every Picture , though Gasoline Alley and the aforementioned A nods as good as a wink ( Faces )are pretty terriffic too.
s
The second album is Gasoline Alley, ....Every Picture ...is the 3rd album, ( I should have verified on all music guide before I posted) The 2 albums I prefer are The Rod Stewart Album and Every Picture , though Gasoline Alley and the aforementioned A nods as good as a wink ( Faces )are pretty terriffic too.
s
I have to confess, Stuart, that the only reason I'm aware of 'Handbags' is its use in the opening sequence of "The Office" and yes, episode 4 is probably one of the best in the series, from the guitar playing to Gareth's response to a question about his ultimate fantasy: "Two sisters. Lesbians. I'm just watching."
Thanks for the suggestions re: Rod. I remember my mother had the singles for 'Tonight's the Night' and 'Maggie May' but the only other one of his I recall with any clarity is 'Do ya think I'm sexy?' which I reckon would not make an appearance on your list. I'll have to check out those earlier albums. Gracias.
Thanks for the suggestions re: Rod. I remember my mother had the singles for 'Tonight's the Night' and 'Maggie May' but the only other one of his I recall with any clarity is 'Do ya think I'm sexy?' which I reckon would not make an appearance on your list. I'll have to check out those earlier albums. Gracias.
Kyle I couldnt agree more with you about the pure Nordic Bliss of the first (for me ) 2 albums of Sigour Rios.On a separate note I have been experiencing recurring Rod Stewart moments as of late... 1st Derek makes an oblique reference on the metabeats site, Then Kyle gives me a mix disc with Handbags and Gladrags on an otherwise recent releases mix, Then Yvette and I start watching "the office" on DVD and Handbags and Gladrags is the theme music. ( by the way the 4th episode of the office wherin our hero serenades his staff on guitar is pretty damn funny , but thats another topic).I thought I would recommend to any who missed Rods early career the first 3 records...The Rod Stewart Album..(with Handbags), Every Picture tells a Storey and Gasoline alley ( and maybe the Faces disc ..A Nods as Good as a Wink.... All of these (in particular the first 2 Rod discs) are still favorites of mine that get regular play and seem timeless in a Stones or Dylan kind of way.
Monday, January 10, 2005
While Marc is mapquesting his way through the birth canal and Stuart is presumably sweating through an upper body workout and Brian is cursing me for insisting that Green Bay would easily beat up on Minnesota and he would be foolish not to pick the Packers in his elimination-style pool (do they allow first week mulligans...no?) and Derek is....Derek is....well, he's either skipping the last hour of work to catch a movie, is on his way home to or from hmv/soundscapes, or returning a rental car, I'm thinking about how great the first Sigur Ros album is and how it's a soothing complement to the month of January.
A couple of other tracks that I've recently downloaded and found are similarly channeling the essence of Janus:
"An Adagio for Tandems Stacked" by 'Teargas & Plateglass', is an ambient, drum-driven track that recalls DJ Shadow, Portishead and Massive Attack. There's a building sense of menace for the first four or five minutes that gives way to quieter, slow paced (the titular adagio?) softer beats. A perfect accompaniment to those cold nights of drunkenly stumbling through Regent Park or Allen Gardens. [Note: After clicking on the link, you'll find this track on the bottom of the page. Right click to download it or choose some of the others if you want to hear more].
"Kjammi" by Stafraenn Hakon [note: if the link doesn't work, try www.shakon.com and then click on the Sounds link on the left], another Icelandic musician who crafts some beautiful instrumentals with some pretty string arrangments, a few cymbals, and bass guitar.
Hopefully you won't think they channel the essence of anus.
A couple of other tracks that I've recently downloaded and found are similarly channeling the essence of Janus:
"An Adagio for Tandems Stacked" by 'Teargas & Plateglass', is an ambient, drum-driven track that recalls DJ Shadow, Portishead and Massive Attack. There's a building sense of menace for the first four or five minutes that gives way to quieter, slow paced (the titular adagio?) softer beats. A perfect accompaniment to those cold nights of drunkenly stumbling through Regent Park or Allen Gardens. [Note: After clicking on the link, you'll find this track on the bottom of the page. Right click to download it or choose some of the others if you want to hear more].
"Kjammi" by Stafraenn Hakon [note: if the link doesn't work, try www.shakon.com and then click on the Sounds link on the left], another Icelandic musician who crafts some beautiful instrumentals with some pretty string arrangments, a few cymbals, and bass guitar.
Hopefully you won't think they channel the essence of anus.
Thursday, January 06, 2005
Wednesday, January 05, 2005
Tuesday, January 04, 2005
That's a pretty eclectic list of Top 10's. When I don't recognize even half of somebody's list I figure they're just making most of it up or these are all bands their friends belong to.
As for Canada being New England I know we have similar weather, topography and good seafood but I've never been much of a Red Sox fan and I know we have much more talented writers than people like Stephen King.
As for the wheelhouse reference all the discs I've mentioned have received heavy rotation (listened to at least once through) chez moi and while good in fits and spurts just don't come together as what I would consider a "great" record. And maybe I'm getting pernickety in my old age but 2004 just didn't see the emergence of too many great records.
Already looking forward to some new releases for 2005 including one that Stuart will be pleased to hear about. M. Ward's new disc "Transistor Radio" comes out in February and Lou Barlow has his first solo record out this month.
And by the way Royal City are local boys which begs the question: with all this great local music (perhaps the strongest scene in years) why the fuck were Glass Tiger the "headliners" at Nathan Phillips on New Year's Eve? Was Casino Rama booked?
As for Canada being New England I know we have similar weather, topography and good seafood but I've never been much of a Red Sox fan and I know we have much more talented writers than people like Stephen King.
As for the wheelhouse reference all the discs I've mentioned have received heavy rotation (listened to at least once through) chez moi and while good in fits and spurts just don't come together as what I would consider a "great" record. And maybe I'm getting pernickety in my old age but 2004 just didn't see the emergence of too many great records.
Already looking forward to some new releases for 2005 including one that Stuart will be pleased to hear about. M. Ward's new disc "Transistor Radio" comes out in February and Lou Barlow has his first solo record out this month.
And by the way Royal City are local boys which begs the question: with all this great local music (perhaps the strongest scene in years) why the fuck were Glass Tiger the "headliners" at Nathan Phillips on New Year's Eve? Was Casino Rama booked?
Happy New Year!!!
My resolutions:
1) To post more often
2) To sharpen my writing and editing skills so that I don't look back at earlier posts and wince
3) To avoid the urge to compile or solicit lists
4) To open up every wrapped cd Derek has in his possession without his knowledge
5) To get a year round movie blog up and running a la the toronto film festival blog
6) To follow thee more nearly, day by day by day by....
It's funny that you should mention the Panada Bear song, Brian. I downloaded it a day or so after our last cd club meeting and then several days later, I was sitting in an airport, listening to it on my walkman, reading the NYTimes art section that I picked up off the seat beside me, and what do I come across but an article on Panda Bear and the Animal Collective.
The track (Track One?) is still in my 'hmmmn' column, along with the Fiery Furnaces disc but at least I no longer fear either.
I'm not sure what 'haven't found my wheelhouse' means, Derek. Do you own the cds but haven't listened to them? Have you listened to them but haven't warmed up to them yet? Or is there a sillier interpretation of this phrase that I could come up with as a third option to make you all groan but would again underscore the need for clarification of said phrase?
The inclusion of Royal City in your final list from 2004 serves of another reminder that there's a lot of really good music coming out of montreal these days.
It also gives me a reason to throw this question out for all to consider:
Is Canada the new England, as an editor from Artforum recently suggested? [Note: this site, like many others, asks that you 'register' in order to read their articles, so I go to a site called Bugmenot, which will give you a password to use so you don't have to keep registering at different sites.]
My resolutions:
1) To post more often
2) To sharpen my writing and editing skills so that I don't look back at earlier posts and wince
3) To avoid the urge to compile or solicit lists
4) To open up every wrapped cd Derek has in his possession without his knowledge
5) To get a year round movie blog up and running a la the toronto film festival blog
6) To follow thee more nearly, day by day by day by....
It's funny that you should mention the Panada Bear song, Brian. I downloaded it a day or so after our last cd club meeting and then several days later, I was sitting in an airport, listening to it on my walkman, reading the NYTimes art section that I picked up off the seat beside me, and what do I come across but an article on Panda Bear and the Animal Collective.
The track (Track One?) is still in my 'hmmmn' column, along with the Fiery Furnaces disc but at least I no longer fear either.
I'm not sure what 'haven't found my wheelhouse' means, Derek. Do you own the cds but haven't listened to them? Have you listened to them but haven't warmed up to them yet? Or is there a sillier interpretation of this phrase that I could come up with as a third option to make you all groan but would again underscore the need for clarification of said phrase?
The inclusion of Royal City in your final list from 2004 serves of another reminder that there's a lot of really good music coming out of montreal these days.
It also gives me a reason to throw this question out for all to consider:
Is Canada the new England, as an editor from Artforum recently suggested? [Note: this site, like many others, asks that you 'register' in order to read their articles, so I go to a site called Bugmenot, which will give you a password to use so you don't have to keep registering at different sites.]
Thursday, December 30, 2004
Time to wrap this baby up. I think I'm not going to reach a top 10 at this point either. I'll leave it at 9 with the previous 6 selections plus these final three picks.
Needless to say the Arcade Fire disc is my top pick for the year. Iwon't bore anyone with the reasons why. If you haven't heard them by now you haven't seen me since June.
Also making the list is another Canadian act that dare we say received slightly less attention than Montreal's finest. Royal City's "Little Heart's Ease" took its own sweet time winning me over and that's primarily because it's not a record that jumps up and down trying to grab your attention. They certainly aren't part of any musical movement of the moment, I assume they're not that cute and there's not even a song as catchy as "Spacy Basement" that their first record had. All reasons for them being completely overlooked perhaps.
Final record selection is from a couple of oldtimers, one of whom is no longer with us. At the time of recording Billy Higgins was 64 and Charles Lloyd 62. Higgins, primarily known for his drumming, died within 6 months of recording the music on this double CD, "Which Way is East". Judging by the elegiac nature of much of the music and the liner notes Higgins must have known that his time was short. The urgency in the music puts the noodling of many younger jazz artists to shame. If this is the legacy that these two class jazzmen are leaving for today's young lions they've set the bar awfully high.
Some other thoughts re this year's music:
Critically acclaimed albums that still haven't found my wheelhouse: Bjork's "Medulla", Madvillain's "Madvillainy", The Sadies' "Favourite Colours" and TV on the Radio's "Desparate Youth, Blood Thirsty Babes".
Albums that I could come to love with a bit more time: Devendra Banhart's "Rejoicing in the Hands", Joanna Newsom's "The Milk-Eyed Mender" and David Murray's "Gwotet".
Best reason not to believe anything a 19 year old NOW scribe has to say: "Red Tape" by Brooks.
(this disc will be first up for bids if we reprise our CD swap)
That's it for the music. Looking forward to listening to some of the discs I picked up at Soundscapes last Monday. Didn't leave much for you Brian but if you were in the Kinks section buddy then there was no fear of us crossing paths.
Thought I would throw in my favourite films of 2004 since we're doing that sort of thing:
Triplets of Belleville
Eternal Sunshine
Dogville
Before Sunset
Hero
Le Cou de la Girafe (film festival pick)
Two to avoid, regardless of what the critics have to say: Million Dollar Baby and Distant.
Happy new year to y'all.
Needless to say the Arcade Fire disc is my top pick for the year. Iwon't bore anyone with the reasons why. If you haven't heard them by now you haven't seen me since June.
Also making the list is another Canadian act that dare we say received slightly less attention than Montreal's finest. Royal City's "Little Heart's Ease" took its own sweet time winning me over and that's primarily because it's not a record that jumps up and down trying to grab your attention. They certainly aren't part of any musical movement of the moment, I assume they're not that cute and there's not even a song as catchy as "Spacy Basement" that their first record had. All reasons for them being completely overlooked perhaps.
Final record selection is from a couple of oldtimers, one of whom is no longer with us. At the time of recording Billy Higgins was 64 and Charles Lloyd 62. Higgins, primarily known for his drumming, died within 6 months of recording the music on this double CD, "Which Way is East". Judging by the elegiac nature of much of the music and the liner notes Higgins must have known that his time was short. The urgency in the music puts the noodling of many younger jazz artists to shame. If this is the legacy that these two class jazzmen are leaving for today's young lions they've set the bar awfully high.
Some other thoughts re this year's music:
Critically acclaimed albums that still haven't found my wheelhouse: Bjork's "Medulla", Madvillain's "Madvillainy", The Sadies' "Favourite Colours" and TV on the Radio's "Desparate Youth, Blood Thirsty Babes".
Albums that I could come to love with a bit more time: Devendra Banhart's "Rejoicing in the Hands", Joanna Newsom's "The Milk-Eyed Mender" and David Murray's "Gwotet".
Best reason not to believe anything a 19 year old NOW scribe has to say: "Red Tape" by Brooks.
(this disc will be first up for bids if we reprise our CD swap)
That's it for the music. Looking forward to listening to some of the discs I picked up at Soundscapes last Monday. Didn't leave much for you Brian but if you were in the Kinks section buddy then there was no fear of us crossing paths.
Thought I would throw in my favourite films of 2004 since we're doing that sort of thing:
Triplets of Belleville
Eternal Sunshine
Dogville
Before Sunset
Hero
Le Cou de la Girafe (film festival pick)
Two to avoid, regardless of what the critics have to say: Million Dollar Baby and Distant.
Happy new year to y'all.
OK, my top ten list has slowed to a crawl. Truth is, I think I've only really liked about seven records released in 2004. But I've probably only bought 15 or so, so percentage-wise it doesn't suck. Nevertheless, a very mediocre (at best) year, I think.
My number one favourite at this point is definitely the final (?) Elliott Smith record. See my earlier outpouring for details on why.
The Panda Bear record continues to grow on me and gets honourable mention, as does the Sonic Youth (but I'm a total sucker for them). And GBV's Earthquake Glue (2003) is magnificent (whereas this years' s "Half Smiles" is much less so) but I've decided to take the high ground and stop breaking the non-rules re choosing previous year's stuff.
A few songs that I liked and haven't mentioned:
The Black Keys - 10 a.m. automatic. Great retro sixties sounds on this tune, but the album sounds too much like coherent Jon Spencer (blues riffs...yippeee) meets White Stripes. Solid enough but ultimately unoriginal.
Death Cab for Cutie - A Lack of Colour. I know Derek likes Passenger Seat from this record, which is a goody (in the same vein), but for me Colour's clean bittersweet melody and simple folky arrangement caught my ear first. Unfortunately the album is spotty - often these guys are embarrasingly commercial sounding (in an eighties/early nineties indy rock way, sounding like Guadalcanal Diary meets The Odds), sometimes the songs are good enough to work in spite of that.
Camper Van Beethoven - The Gum You Like is Back in Style. Great to hear one of my fave late eighties' bands playing again, and this song is vintage sarcastic, intelligent, rhythmic CVB. Their new record has four or five equally memorable tracks/perfomances, but overall was disappointing. Since when did CVB play minute-and-a-half prog-rock guitar solos - I thought I'd bought a King Crimson reunion record after the first couple of tunes.
I scooped up a bunch of records at Soundscapes sale the other day (the ones Derek rejected, presumably); ended up with a lot of re-issues - the Kinks "Village Green", the Pretty Things "Emotions" and The United States of America eponymous and only record, all from '68, being the highlights. The fact that I spent a lot of the year looking back in history for pop gems (and finding some.....hmmm, can I mention Nico again) is a good indication that this wasn't a stellar year for me and pop music.
Happy New Year y'all.
My number one favourite at this point is definitely the final (?) Elliott Smith record. See my earlier outpouring for details on why.
The Panda Bear record continues to grow on me and gets honourable mention, as does the Sonic Youth (but I'm a total sucker for them). And GBV's Earthquake Glue (2003) is magnificent (whereas this years' s "Half Smiles" is much less so) but I've decided to take the high ground and stop breaking the non-rules re choosing previous year's stuff.
A few songs that I liked and haven't mentioned:
The Black Keys - 10 a.m. automatic. Great retro sixties sounds on this tune, but the album sounds too much like coherent Jon Spencer (blues riffs...yippeee) meets White Stripes. Solid enough but ultimately unoriginal.
Death Cab for Cutie - A Lack of Colour. I know Derek likes Passenger Seat from this record, which is a goody (in the same vein), but for me Colour's clean bittersweet melody and simple folky arrangement caught my ear first. Unfortunately the album is spotty - often these guys are embarrasingly commercial sounding (in an eighties/early nineties indy rock way, sounding like Guadalcanal Diary meets The Odds), sometimes the songs are good enough to work in spite of that.
Camper Van Beethoven - The Gum You Like is Back in Style. Great to hear one of my fave late eighties' bands playing again, and this song is vintage sarcastic, intelligent, rhythmic CVB. Their new record has four or five equally memorable tracks/perfomances, but overall was disappointing. Since when did CVB play minute-and-a-half prog-rock guitar solos - I thought I'd bought a King Crimson reunion record after the first couple of tunes.
I scooped up a bunch of records at Soundscapes sale the other day (the ones Derek rejected, presumably); ended up with a lot of re-issues - the Kinks "Village Green", the Pretty Things "Emotions" and The United States of America eponymous and only record, all from '68, being the highlights. The fact that I spent a lot of the year looking back in history for pop gems (and finding some.....hmmm, can I mention Nico again) is a good indication that this wasn't a stellar year for me and pop music.
Happy New Year y'all.
Wednesday, December 22, 2004
The only other disc I think worthy of the list for me is Max Richter's "the blue notebooks"....
Unfortunately I bought it a few months ago and lent it to Derrick immediately after purchase..(stupid stupid stupid) I only listened to it once , but thought it potentially great....Fortunately Derek returned it to me after only a few weeks, but unfortunatly it was immediately misplaced again with all our construction stuff going on at our house ( we are living out of 3 rooms and a hall)... I remeber it being moody piano and with spoken word --I know that is pretty much all anyone needs to hear from me to turn off and not finish reading my review, so Ill have to turn it over to Derek to ask him to comment as he has at least listened to the disc more then once... I realise putting a disc up for best of the year after only one listen is risky but hey ...what the fuck... So Derek do you even remember the disc?
Unfortunately I bought it a few months ago and lent it to Derrick immediately after purchase..(stupid stupid stupid) I only listened to it once , but thought it potentially great....Fortunately Derek returned it to me after only a few weeks, but unfortunatly it was immediately misplaced again with all our construction stuff going on at our house ( we are living out of 3 rooms and a hall)... I remeber it being moody piano and with spoken word --I know that is pretty much all anyone needs to hear from me to turn off and not finish reading my review, so Ill have to turn it over to Derek to ask him to comment as he has at least listened to the disc more then once... I realise putting a disc up for best of the year after only one listen is risky but hey ...what the fuck... So Derek do you even remember the disc?
Final album is the year is The Walkmen's 'Bows + ....wait, Derek already talked this one up, quite well I thought. So I'm gonna have to go with Elliot Smit...actually I haven't listened to it as often as my wife has so I can't really make that call.
Instead, let me go with Bebel Gilberto, whose self-titled album washes over me with its warm vocals, lush production, and fluttery bossa nova beats. Just noticed that all my faves from 2004 are ones that comfort me. Is this my reaction to the cold weather or do I have deep-seated womb issues? This is a rhetorical question so don't answer please.
One album that won't comfort me is the new Fiery Furances disc that you raved about, Derek. I've only listened once so I'm willing to give it many listens and chances and hope that it rewards me as it has you. However, jarring does not begin to describe my reaction to it on first play, particularly because I've listened to some tracks off of their EP and they are markedly different.
If I don't talk to yall tomorrow night, have a bitchin' christmas and may santa leave you many presents.
Topic for next week: discs I got for christmas or purchased at boxing week sales!
Instead, let me go with Bebel Gilberto, whose self-titled album washes over me with its warm vocals, lush production, and fluttery bossa nova beats. Just noticed that all my faves from 2004 are ones that comfort me. Is this my reaction to the cold weather or do I have deep-seated womb issues? This is a rhetorical question so don't answer please.
One album that won't comfort me is the new Fiery Furances disc that you raved about, Derek. I've only listened once so I'm willing to give it many listens and chances and hope that it rewards me as it has you. However, jarring does not begin to describe my reaction to it on first play, particularly because I've listened to some tracks off of their EP and they are markedly different.
If I don't talk to yall tomorrow night, have a bitchin' christmas and may santa leave you many presents.
Topic for next week: discs I got for christmas or purchased at boxing week sales!
Tuesday, December 21, 2004
I forgot to post a song of the year......this week it'll be Arcade Fire's "Neighbourhood #2 (Laika)", (also known as track 2). I will say that I'm not entirely smitten by the whole AF package (yeah yeah, we all know that); too much self-conscious eighties sound-alikes that pulled me out of the musical moments and reduced the impact of their simple, strong songs. Regardless, there are some magnificent, completely successful works here, and Laika is my favourite of the bunch. Great lyrics, great Pixies-like angst and energy.
Monday, December 20, 2004
Well, Derek (the bastard) has scooped me on the Vanderslice disk, so I'll just add a couple of points. I agree with most of what DM said, and the after hours (OK, 7:14 pm) quasi-poetic tone which he used to describe the disk is very appropriate. Vanderslice is working in an ambitious and earnest - at times pretentious, at times melodramatic - voice, but while some of it feels unconvincing, the good stuff is very good. And it would likely be a different batch of songs for each listener - personally I think "They Won't Let Me Run", "Promising Actress" and "Lunar Landscapes" are the highlights.
My other notable 2004 record for this week is a Charles Ives collection featuring a selection of his songs performed by Susan Graham, and more importantly (for me), a superb rendition of his Second Piano Concerto (the Concord) by Pierre Laurent Aimard. This is a magnificent piece of work, which kept me stuck to a listening post for thirty minutes when I came across it in the summer. Very twentieth century, with all of the good and bad things thereby connoted, but with a central beauty (amid the chaos) that enthralled me. The performance is equal parts dreamy and high octane. Quite a revelation, and precipitated a headlong plunge into learning more about Ives and his contemporaries (primarily Elliott Carter).
I will be purchasing the Iron and Wine disk, owing to its universal belovedness. I downloaded "Naked as We Came" in the summer and am a fan.
Am I allowed to rant and rave about Nico as a 2004 experience? Though it's from the late sixties early seventies, it's my numero uno discovery of the year, but outside the bounds of these list. Damned unfair. Maybe I'll do a "best re-issue" list (though actually her music wasn't even re-issued in '04, goddamn it).
My other notable 2004 record for this week is a Charles Ives collection featuring a selection of his songs performed by Susan Graham, and more importantly (for me), a superb rendition of his Second Piano Concerto (the Concord) by Pierre Laurent Aimard. This is a magnificent piece of work, which kept me stuck to a listening post for thirty minutes when I came across it in the summer. Very twentieth century, with all of the good and bad things thereby connoted, but with a central beauty (amid the chaos) that enthralled me. The performance is equal parts dreamy and high octane. Quite a revelation, and precipitated a headlong plunge into learning more about Ives and his contemporaries (primarily Elliott Carter).
I will be purchasing the Iron and Wine disk, owing to its universal belovedness. I downloaded "Naked as We Came" in the summer and am a fan.
Am I allowed to rant and rave about Nico as a 2004 experience? Though it's from the late sixties early seventies, it's my numero uno discovery of the year, but outside the bounds of these list. Damned unfair. Maybe I'll do a "best re-issue" list (though actually her music wasn't even re-issued in '04, goddamn it).
Saturday, December 18, 2004
I love the epic nature of the opening opus of the most recent Destroyer disc. Stuart was rather concerned about the over abundance of synthesized sounds on this track, "Notorious Lightning" and others on "Your Blues" but I've never let the presence of various Rolands and Kurtzweils deter me from wholeheartedly embracing a record. So Brian you've been warned.
The album really kicks in for me on track 3, "An Actor's Revenge", a melancholy piece laden with a plethora of sing-a-long "ba da ba da ba das". Dan Bejar's biggest strength for me is that he writes songs that deal almost entirely in metaphor. I now own three Destroyer discs and the lyrics to almost every song fall in to the oblique category. Compare this to the latest Elliott Smith record where he leaves one in no doubt whereof he sings. I admire practitioners of both styles but its so easy for straightforward lyricism to become trite in the hands of a less than proficient songsmith.
So perhaps Bejar is singing nothing but nonsense but I was a kid raised on Ogden Nash and the short-lived television show "Tomfoolery" which delighted in nonsensical verse. So please never give it to me straight. Don't bore me to tears with the facts. Give me Robin Hitchcock, the Jazz Butcher and Destroyer. The depressingly factual times that we always seem to live in cry out for the poets, the slanted viewpoint. God knows we wont find them in a blog.
Suffice to say a lovely piece of work and looking forward to the next crazy turn in direction he takes in 2005.
On to album number six of the year, although none of this is in any sort of hierarchal order. John Vanderslice's album "Cellar Door" took it's sweet time working it's way into my subconsciousness. And I am thankful that it did. Nothing worse than a record that grabs you by the balls on the first listen and dumps you without fanfare a week later. Think most of Franz Ferdinand or the Real Tuesday Weld.
Vanderslice is working in the same dark unnoticed corner of the music world as Dan Bejar. Neither one of these gents is likely to make much more than your average CFL lineman off their artistic endeavours. Unlike Bejar I think Vanderslice's music is much more personal. Still not in a straightforward manner but I get the sense that he's relating tales here of an intimate nature.
"Wild Strawberries" comes in at under 2 minutes, and it's no power pop song. It almost has a Ben Folds Five feel to it as it tells in consummate succinctness the tale of a man who has his own self-interest at heart: "still light follows, the same rules that I do, reflecting off the water, never making it down to the bottom."
Track 5, "Heated Pool and Bar" relates the stories of what can only be various internationally far flung enlisted men of the United States army tracking down such "villains" as members of the Sendero Luminoso. Its a political song with no political message at least not one that beats you senseless with its lack of subtlety.
"White Plains" is probably the most conventional guitar-drum song on the album until about the halfway mark where the strings and piano come in once again and lend more melancholy to an already world-weary track. Vanderslice can hardly be accused of having a fine singing voice but it's all the more resonant for it.
And lets give credit where credit is due. If not for the wonder of downloading music gratis I would never have heard of (or heard I suppose) this fine musician. The few tracks I downloaded about 3 years ago enticed me to seek out this latest disc. I read in the Guardian lately an author's thanks to our Scottish grannies for indoctrinating in us a disdain for authority. So on that note let me say fuck the RIAA and their petty lawsuits.
And in the spirit of the season should I not see you gentlemen this week have a wonderful Christmas and may Santa bring you all the wonderful music you so sadly overlooked in the last 12 months.
The album really kicks in for me on track 3, "An Actor's Revenge", a melancholy piece laden with a plethora of sing-a-long "ba da ba da ba das". Dan Bejar's biggest strength for me is that he writes songs that deal almost entirely in metaphor. I now own three Destroyer discs and the lyrics to almost every song fall in to the oblique category. Compare this to the latest Elliott Smith record where he leaves one in no doubt whereof he sings. I admire practitioners of both styles but its so easy for straightforward lyricism to become trite in the hands of a less than proficient songsmith.
So perhaps Bejar is singing nothing but nonsense but I was a kid raised on Ogden Nash and the short-lived television show "Tomfoolery" which delighted in nonsensical verse. So please never give it to me straight. Don't bore me to tears with the facts. Give me Robin Hitchcock, the Jazz Butcher and Destroyer. The depressingly factual times that we always seem to live in cry out for the poets, the slanted viewpoint. God knows we wont find them in a blog.
Suffice to say a lovely piece of work and looking forward to the next crazy turn in direction he takes in 2005.
On to album number six of the year, although none of this is in any sort of hierarchal order. John Vanderslice's album "Cellar Door" took it's sweet time working it's way into my subconsciousness. And I am thankful that it did. Nothing worse than a record that grabs you by the balls on the first listen and dumps you without fanfare a week later. Think most of Franz Ferdinand or the Real Tuesday Weld.
Vanderslice is working in the same dark unnoticed corner of the music world as Dan Bejar. Neither one of these gents is likely to make much more than your average CFL lineman off their artistic endeavours. Unlike Bejar I think Vanderslice's music is much more personal. Still not in a straightforward manner but I get the sense that he's relating tales here of an intimate nature.
"Wild Strawberries" comes in at under 2 minutes, and it's no power pop song. It almost has a Ben Folds Five feel to it as it tells in consummate succinctness the tale of a man who has his own self-interest at heart: "still light follows, the same rules that I do, reflecting off the water, never making it down to the bottom."
Track 5, "Heated Pool and Bar" relates the stories of what can only be various internationally far flung enlisted men of the United States army tracking down such "villains" as members of the Sendero Luminoso. Its a political song with no political message at least not one that beats you senseless with its lack of subtlety.
"White Plains" is probably the most conventional guitar-drum song on the album until about the halfway mark where the strings and piano come in once again and lend more melancholy to an already world-weary track. Vanderslice can hardly be accused of having a fine singing voice but it's all the more resonant for it.
And lets give credit where credit is due. If not for the wonder of downloading music gratis I would never have heard of (or heard I suppose) this fine musician. The few tracks I downloaded about 3 years ago enticed me to seek out this latest disc. I read in the Guardian lately an author's thanks to our Scottish grannies for indoctrinating in us a disdain for authority. So on that note let me say fuck the RIAA and their petty lawsuits.
And in the spirit of the season should I not see you gentlemen this week have a wonderful Christmas and may Santa bring you all the wonderful music you so sadly overlooked in the last 12 months.
Friday, December 17, 2004
Listmania continues...today we've got NME whose choices for number one is a tad overgenerous, methinks.
i like boogie but it's out if you shorten it to boog, for obvious reasons.
i like boogie but it's out if you shorten it to boog, for obvious reasons.
Thursday, December 16, 2004
The Miles disc "ESP" is in fact mine. If it makes you all feel any better, espcially Boogie Phillips, I just counted the number of unopened discs residing on my shelves and it comes in at a rather mediocre and disappointing 19. Needless to say Soundscapes 15% boxing week sale will see me jack these numbers up to their usually healthy state.
Marc I also have your Tinkertoys CD which you should consider for you top 10 of the year becasue as far as I can tell you've only picked one so far.
Marc I also have your Tinkertoys CD which you should consider for you top 10 of the year becasue as far as I can tell you've only picked one so far.
Was the disc opened (ie. out of its wrapper)? If so, that probably rules out Derek.
Had to get in a dig at somebody since i can't think of any discs I purchased that I want to diss here. Is this because I've gone soft and will only purchase albums that I'm almost 100% certain are going to be good? Have I just been lucky? Or have I grown less cantankerous in my dotage? [Note: With such silly, self-amused rhetoric, I thus present myself for swift castigation]
Agree wholeheartedly with your assessment of the Snow Patrol disc, Marc. I enjoy listening to it, even though it borders on modern rock territory at times. The lyrics are fine but the overall production is unnecessarily smooth where it could be a little grittier. I guess I find it more authenic when I can sense desperation or urgency in what I'm hearing. My favourite track, "Tiny Little Fractures" is a notable exception, recalling the voice and jangly guitar of Sebadoh's Lou Barlow on 'License to Confuse'.
Thanks for the link to the Jazzland site, which points out that Buggee Wesseltoft's first name is, "...conveniently prounced 'boogie!'". Why can't my name be conveniently pronounced something fun like that? [Again, this one's right down the middle of the plate]
Had to get in a dig at somebody since i can't think of any discs I purchased that I want to diss here. Is this because I've gone soft and will only purchase albums that I'm almost 100% certain are going to be good? Have I just been lucky? Or have I grown less cantankerous in my dotage? [Note: With such silly, self-amused rhetoric, I thus present myself for swift castigation]
Agree wholeheartedly with your assessment of the Snow Patrol disc, Marc. I enjoy listening to it, even though it borders on modern rock territory at times. The lyrics are fine but the overall production is unnecessarily smooth where it could be a little grittier. I guess I find it more authenic when I can sense desperation or urgency in what I'm hearing. My favourite track, "Tiny Little Fractures" is a notable exception, recalling the voice and jangly guitar of Sebadoh's Lou Barlow on 'License to Confuse'.
Thanks for the link to the Jazzland site, which points out that Buggee Wesseltoft's first name is, "...conveniently prounced 'boogie!'". Why can't my name be conveniently pronounced something fun like that? [Again, this one's right down the middle of the plate]
Wednesday, December 15, 2004
If I could only manage to get this dyslexia under control (or simply learn to read a tape measure) I might actually find time for leisure activities such as contributing insightful yet meaningless fluff to the blog.
Be forewarned that that I have not yet made it into my stack of favourites yet, but am currently working my way through the runners up/ the would be favourites if only….
First off… “To the Five Boroughs” is the Beastie Boys first effort in six years and is heavily influenced by the thick layer of post 9/11 dust that settled on the island. The boyz have used the voice of popular urban music in an attempt to bring a worthwhile message to their well established audience, and for that I applaud them. “Right Right Now Now”, “It Takes Time to Build”, and “An Open Letter To NYC” are powerful highly political songs that speak out against the insanity of the Homeland with a style that is crafted, catchy, melodic and accessible. Somebody had to say it and I am glad the Beasties had the courage to stand up for what it truly sounds they believe in. What stopped the Boroughs from reaching the top of my top 10 is that a large minority of the album is crap! The Beastie boys bounce back and forth between meaningful tales of injustice and unsophisticated rappa rhymes dissing fellow mc’s. wha da fuck’s up wid dat? Well worth the listen…”cause we got the power to make a change”
The Jazzland label brings us Bugge Wesseltoft ‘New Conception of Jazz / FiLM iNG’ (sic). The work blends Bugge’s smooth Scandinavian interpretations of 60’s – 70’s funk and jazz and fuses it with modern techniques and concepts and a little cross border ethnicity. I have had this one for a while and it’s still growing on me but I occasionally find it a little hard to get over the moodier sides of the music. Look out for Jazzland! I keep hearing stellar pieces from the label. http://www.jazzlandrec.com Bugge also brought us ‘Moving’ a few years back. No regrets from either of them.
The girls of Organ released ‘Grab That Gun’ with much fanfare from the indie press earlier this year. The sound is post/post punk all gurl band with a slightly cloying sweetness to the sound that disturbs at times. Think Blondie without the edge…just a little too much GoGo’s. The songs are at times strong, the problem with the album being that the sound is tiresome, unrelenting. “I could care less if people bred themselves to death” …I wish the album were more than just an also ran.
Franz Ferdinand – yes Kyle, it’s so much better on holiday! This almost made it into the top 4. Nice to hear what might be a new face to Brit pop? Clever, boppy, catchy, fresh; but in the end, the latter part of the album drags and does not have the legs it needs. The package is, at times, passionless….”so if you’re lonely/ you know I’m here/ waiting for you” …now that’s conviction! … I love the change ups though, they’re so cheap.
Antibalas picks up the torch where they left off and bring it all home to the Bronx with ‘who is this America’ More politics from the streets of NYC and it pulls no punches. The sound of Antibalas has always been big and has followed the afro beat roots of Kuti’s soul, but in “America” it on occasions breaches the levies that have, to date, contained it. Check out Stuart Bogie’s ‘Indictment’ for a swift kick in the head. Think Tom Waits meets the wholly father of afro funk himself in an alley and everyone done gets beat up! Want to hear these fuckers really rock? Head down to the Shoe next time they are in town. Five thumbs up for the show and four for the album because it fails to “push the boundaries” towards the end of the album. Again, it almost makes it into the top 5.
Snow Patrol – ‘Final Straw’ The biggest surprise of the year for me is how I am craving the sound of guitar driven rock…(witness next weeks picks) Final Straw’s sound is big and lush, diving and feel good, straight forward and well crafted, beautifully engineered if a little shallow. Will it be on the top of my cd player next year or back in the stax? Only time will tell. Final Straw has its introspective moments but always comes around. Again, it almost makes it into the top 5. ok ok, maybe it IS #5.
Lastly, Jolie Holland ‘Escondida’ might well have made it into the top 5 but I have not bought it yet and besides, I’m sure Stuart will tell us all about it.
Be forewarned that that I have not yet made it into my stack of favourites yet, but am currently working my way through the runners up/ the would be favourites if only….
First off… “To the Five Boroughs” is the Beastie Boys first effort in six years and is heavily influenced by the thick layer of post 9/11 dust that settled on the island. The boyz have used the voice of popular urban music in an attempt to bring a worthwhile message to their well established audience, and for that I applaud them. “Right Right Now Now”, “It Takes Time to Build”, and “An Open Letter To NYC” are powerful highly political songs that speak out against the insanity of the Homeland with a style that is crafted, catchy, melodic and accessible. Somebody had to say it and I am glad the Beasties had the courage to stand up for what it truly sounds they believe in. What stopped the Boroughs from reaching the top of my top 10 is that a large minority of the album is crap! The Beastie boys bounce back and forth between meaningful tales of injustice and unsophisticated rappa rhymes dissing fellow mc’s. wha da fuck’s up wid dat? Well worth the listen…”cause we got the power to make a change”
The Jazzland label brings us Bugge Wesseltoft ‘New Conception of Jazz / FiLM iNG’ (sic). The work blends Bugge’s smooth Scandinavian interpretations of 60’s – 70’s funk and jazz and fuses it with modern techniques and concepts and a little cross border ethnicity. I have had this one for a while and it’s still growing on me but I occasionally find it a little hard to get over the moodier sides of the music. Look out for Jazzland! I keep hearing stellar pieces from the label. http://www.jazzlandrec.com Bugge also brought us ‘Moving’ a few years back. No regrets from either of them.
The girls of Organ released ‘Grab That Gun’ with much fanfare from the indie press earlier this year. The sound is post/post punk all gurl band with a slightly cloying sweetness to the sound that disturbs at times. Think Blondie without the edge…just a little too much GoGo’s. The songs are at times strong, the problem with the album being that the sound is tiresome, unrelenting. “I could care less if people bred themselves to death” …I wish the album were more than just an also ran.
Franz Ferdinand – yes Kyle, it’s so much better on holiday! This almost made it into the top 4. Nice to hear what might be a new face to Brit pop? Clever, boppy, catchy, fresh; but in the end, the latter part of the album drags and does not have the legs it needs. The package is, at times, passionless….”so if you’re lonely/ you know I’m here/ waiting for you” …now that’s conviction! … I love the change ups though, they’re so cheap.
Antibalas picks up the torch where they left off and bring it all home to the Bronx with ‘who is this America’ More politics from the streets of NYC and it pulls no punches. The sound of Antibalas has always been big and has followed the afro beat roots of Kuti’s soul, but in “America” it on occasions breaches the levies that have, to date, contained it. Check out Stuart Bogie’s ‘Indictment’ for a swift kick in the head. Think Tom Waits meets the wholly father of afro funk himself in an alley and everyone done gets beat up! Want to hear these fuckers really rock? Head down to the Shoe next time they are in town. Five thumbs up for the show and four for the album because it fails to “push the boundaries” towards the end of the album. Again, it almost makes it into the top 5.
Snow Patrol – ‘Final Straw’ The biggest surprise of the year for me is how I am craving the sound of guitar driven rock…(witness next weeks picks) Final Straw’s sound is big and lush, diving and feel good, straight forward and well crafted, beautifully engineered if a little shallow. Will it be on the top of my cd player next year or back in the stax? Only time will tell. Final Straw has its introspective moments but always comes around. Again, it almost makes it into the top 5. ok ok, maybe it IS #5.
Lastly, Jolie Holland ‘Escondida’ might well have made it into the top 5 but I have not bought it yet and besides, I’m sure Stuart will tell us all about it.
I've heard the voice of Hamilton Leithauser from The Walkmen described as 'Rod Stewart, if someone were pulling on his testicles'. That I think this is accurate in no way detracts from my admiration for this album and my decision to include it in my top 5 as well (so what the hell am I going to post next week?) I downloaded two tracks from the Fiery Furnaces recently and liked them...perhaps a trip to Soundscapes is in order. Or maybe I should wait until Boxing Week to do some disc shopping...
Stuart, I borrowed the Lekman disc from Marc (note that I did not put quotes around the verb, meaning that permission was granted for me to take the disc), so I'm not in any position to whine about wasted caja. Marc, on the other hand, has every right to take one of your cds in reparation and it's quite possible that he has already done so.
Also, while Feist may have it going on, I can't say I'm digging her music. Perhaps I need another listen, or perhaps a private performance from Feist herself. Actually, I can't recall what she looks like so instead I'll ask for a private performance from Natalie Portman.
I was hoping that the Onion would list their Least Essential Albums of 2004 today but it appears as though they've either abandonned this tradition or are waiting until next week. In the spirit of schaedenfraude and the continued smackdown of the Lekman disc, does anyone want to add their most disappointing/hated discs of the year? I'll think of some and then try to think of some really clever putdowns to add as well.
Stuart, I borrowed the Lekman disc from Marc (note that I did not put quotes around the verb, meaning that permission was granted for me to take the disc), so I'm not in any position to whine about wasted caja. Marc, on the other hand, has every right to take one of your cds in reparation and it's quite possible that he has already done so.
Also, while Feist may have it going on, I can't say I'm digging her music. Perhaps I need another listen, or perhaps a private performance from Feist herself. Actually, I can't recall what she looks like so instead I'll ask for a private performance from Natalie Portman.
I was hoping that the Onion would list their Least Essential Albums of 2004 today but it appears as though they've either abandonned this tradition or are waiting until next week. In the spirit of schaedenfraude and the continued smackdown of the Lekman disc, does anyone want to add their most disappointing/hated discs of the year? I'll think of some and then try to think of some really clever putdowns to add as well.
Tuesday, December 14, 2004
I'm not sure that I loved either of these discs but they were fairly solid and in a year that left me vastly underwhelmed where popular music was concerned that was far more than enough. The first disc is "Bows and Arrows" by the Walkmen. Not as strong as "Everyone Who Pretended to Like Me is Gone" they're still a band who's next record I will look forward to with some degree of anticipation unlike say Franz Ferdinand, Clinic, Interpol etc who I think may have reached the limit of their creative powers.
There's no doubt that Track 2, "The Rat" was one of the best songs of the last 12 months. Visceral (love that fucking drummer!) and plaintive and schizo all in one song. One minute he's pissed off at someone re-entering his life, next minute he's lamenting his sad and lonely existence. Ah the tightrope of life that we all tread summed up in a beauty of a 4 minute pop song.
There's a bit too much shimmering guitar shit going on and not enough pedal to the metal which is where I might find the album a bit weak but tracks like "Little House of Savages" (kick-ass circa "Crocodiles" Echo and the Bunnymen vibe), "The North Pole" and their homage to the Pogues "Hang On, Siobhan" make it all worthwhile.
I think what holds it all together for me where the Walkmen are concerned is Hamilton Leithauser's "yet to have that first coffee after a hard night of drinking" vocals. The 21st century's answer to Rod Stewart and I mean that with the utmost respect.
My second pick for this week is "Blueberryboat" by the Fiery Furnaces. According to the album liner and my Denon CD player there are only 13 tracks on this 76 minute opus but I the first time I listened to this on the Walkman I swore there were at least 3 times that many. This can produce two reactions. Initially, extreme annoyance at the constant mid-song readjustments, then over time and with a bit of patience the pleasure of discovering something new within each 60 second segment of music. The album starts off with a 10 minute track so its obvious from the getgo that this brother and sister combo aren't out to conquer commercial radio.
I found it rather hilarious (especially since I wasn't there) to read in Now's live review of their September concert that they played for almost an hour without a break and the crowd were getting pissed off because they had no opportunity to go "whoo" or "whaa" which lets every true fan know they've been part of a history making gig.
I really haven't got a clue how to describe this record and I suppose for me that's its major strength. It's got very little to do with lyrics or even the bizzare array of instruments on display. Its all about the flux of emotions that the music induces. I'd be tempted to call it a concept album but I couldn't begin to say what the concept is.
Suffice to say that some of my favourite songs of 2004 come some 5 maybe 7 minutes in to these songs. I've got an inkling that if Guided by Voices and Fiery Furnaces hooked up not only would we have one helluva cool band name but the music that the necessary compromise, between focus and blur, would produce would be life-altering.
There's no doubt that Track 2, "The Rat" was one of the best songs of the last 12 months. Visceral (love that fucking drummer!) and plaintive and schizo all in one song. One minute he's pissed off at someone re-entering his life, next minute he's lamenting his sad and lonely existence. Ah the tightrope of life that we all tread summed up in a beauty of a 4 minute pop song.
There's a bit too much shimmering guitar shit going on and not enough pedal to the metal which is where I might find the album a bit weak but tracks like "Little House of Savages" (kick-ass circa "Crocodiles" Echo and the Bunnymen vibe), "The North Pole" and their homage to the Pogues "Hang On, Siobhan" make it all worthwhile.
I think what holds it all together for me where the Walkmen are concerned is Hamilton Leithauser's "yet to have that first coffee after a hard night of drinking" vocals. The 21st century's answer to Rod Stewart and I mean that with the utmost respect.
My second pick for this week is "Blueberryboat" by the Fiery Furnaces. According to the album liner and my Denon CD player there are only 13 tracks on this 76 minute opus but I the first time I listened to this on the Walkman I swore there were at least 3 times that many. This can produce two reactions. Initially, extreme annoyance at the constant mid-song readjustments, then over time and with a bit of patience the pleasure of discovering something new within each 60 second segment of music. The album starts off with a 10 minute track so its obvious from the getgo that this brother and sister combo aren't out to conquer commercial radio.
I found it rather hilarious (especially since I wasn't there) to read in Now's live review of their September concert that they played for almost an hour without a break and the crowd were getting pissed off because they had no opportunity to go "whoo" or "whaa" which lets every true fan know they've been part of a history making gig.
I really haven't got a clue how to describe this record and I suppose for me that's its major strength. It's got very little to do with lyrics or even the bizzare array of instruments on display. Its all about the flux of emotions that the music induces. I'd be tempted to call it a concept album but I couldn't begin to say what the concept is.
Suffice to say that some of my favourite songs of 2004 come some 5 maybe 7 minutes in to these songs. I've got an inkling that if Guided by Voices and Fiery Furnaces hooked up not only would we have one helluva cool band name but the music that the necessary compromise, between focus and blur, would produce would be life-altering.
First off Id like to extend a heartfelt apology to all those that bought the Jens Lekman CD, I bought the cd a few months back when it first came out and gave it a good review after listening to it the first few times. This may have been a factor for Marc and Kyles purchase, and if so all I can say is that - yes it is completely tiresome and suitable only as a frisbie after 3 listens.....
As for next selections I am afraid I am following Kyle again ( we both picked Arcade Fire) with this next round with the Iron & Wine's disc. It has atypical melodies and a killer bit of instumentation w banjo that I never tire of even though I have listened much to it. His voice is never over the top emoting but somehow his understated mutterings seem very intense.
Im afraid Kyle was wrong with his second choice, sadly , and what he really meant to pick was Feist , because frankly shes hot... Lets face it.... Ok I like the eurobeat meets Burt Backarach sound much and I found this album to be the perfect summer album...Sauvinagn Blanc , Italian Cheese , black olives, Feist nakid.....ahhhhh
Unfortunatley I dont seem to focus on just songs anymore so Ill pass on that catagory.
s
As for next selections I am afraid I am following Kyle again ( we both picked Arcade Fire) with this next round with the Iron & Wine's disc. It has atypical melodies and a killer bit of instumentation w banjo that I never tire of even though I have listened much to it. His voice is never over the top emoting but somehow his understated mutterings seem very intense.
Im afraid Kyle was wrong with his second choice, sadly , and what he really meant to pick was Feist , because frankly shes hot... Lets face it.... Ok I like the eurobeat meets Burt Backarach sound much and I found this album to be the perfect summer album...Sauvinagn Blanc , Italian Cheese , black olives, Feist nakid.....ahhhhh
Unfortunatley I dont seem to focus on just songs anymore so Ill pass on that catagory.
s
Monday, December 13, 2004
Okay, I'll step up to the plate. Here's what I was going to post on Wednesday before I got caught up in actual work:
'Our Endless Numbered Days' by Iron & Wine, a beautiful, lush album despite its relatively spare instrumentation. The lyrics are intelligent and heartfelt without being clever or maudlin, conveying the hitherto discussed and lauded sincerity with elegance and seemingly without effort. The perfect accompaniment to those cold winter mornings when I'm sitting inside with a coffee and the newspaper and want to feel at once insulated from the world and connected to it . He has one of those rich, warm voices, like Nick Drake's, that seem to reassure with each note. Highly recommend, as the disc gets better with each listen.
'Dead Cities, Red Seas & Lost Ghosts' by M83, which goes 180 degrees in the opposite direction, cranks out a massive, swirling wall of sound, that channels My Bloody Valentine's "Loveless", and at times, Sigur Ros. The melodies build slowly and patiently before exploding into a hammering yet blissful crescendo. What the hell am I talking about? I don't know. But I can say that for all its colder, electronic harmonies, I find it puts me in that same cosy state of being as the Iron & Wine disc.
So to sum up: Quieter record + immediate, soft vocal = intimate whereas Louder record + barely discernable vocals = intimate.
Rather than slowly trotting these out as if they were manna from Heaven, here are the rest of my songs of the year:
'Float On' by Modest Mouse, which can get a wee bit tiresome in spots, particularly its military drum beat, everybody-join-in-with-the-chorus denouement, but the syncopated beats more than atone
'Take Me Out' by Franz Ferdinand, starts off like a great Strokes song, switches gears and gets even better, and which should be the single of the year though I'm willing to replace it with 'Jacqueline', if only for the kickass chorus, "It's always better on holidays...that's why we only work when...we need the money!"
'Check it Out' by the Beastie Boys for that pow-pow-like sample in the verses that packs a whallop and puts an extra little spring in my step. Used to great effect in an episode of 'The OC', to a series of quick edits of characters walking through the lobby of a casino.
'Surfin' on a Rocket' by Air, which pairs a sweet poppy harmony of overlaid vocals with a souful catchy ambient sound that most critics would call 'ethereal'. Sometimes that's not a good thing but in this case it is.
Honourable mentions include: 'The Love Song' by K-Os, 'Fallen Angel' by Elbow, 'Run' by Snow Patrol, 'Train from Kansas City' by Neko Case, 'Fit But You Know It' by The Streets, 'Sommersault' by Danger Mouse and Zero 7, 'Loosen Your Hold' by South, 'Little House of Savages' by The Walkmen, 'Retour a Vega' by the Stills and 'Farther On' by Vetiver.
Whew....one more album to post next week...
'Our Endless Numbered Days' by Iron & Wine, a beautiful, lush album despite its relatively spare instrumentation. The lyrics are intelligent and heartfelt without being clever or maudlin, conveying the hitherto discussed and lauded sincerity with elegance and seemingly without effort. The perfect accompaniment to those cold winter mornings when I'm sitting inside with a coffee and the newspaper and want to feel at once insulated from the world and connected to it . He has one of those rich, warm voices, like Nick Drake's, that seem to reassure with each note. Highly recommend, as the disc gets better with each listen.
'Dead Cities, Red Seas & Lost Ghosts' by M83, which goes 180 degrees in the opposite direction, cranks out a massive, swirling wall of sound, that channels My Bloody Valentine's "Loveless", and at times, Sigur Ros. The melodies build slowly and patiently before exploding into a hammering yet blissful crescendo. What the hell am I talking about? I don't know. But I can say that for all its colder, electronic harmonies, I find it puts me in that same cosy state of being as the Iron & Wine disc.
So to sum up: Quieter record + immediate, soft vocal = intimate whereas Louder record + barely discernable vocals = intimate.
Rather than slowly trotting these out as if they were manna from Heaven, here are the rest of my songs of the year:
'Float On' by Modest Mouse, which can get a wee bit tiresome in spots, particularly its military drum beat, everybody-join-in-with-the-chorus denouement, but the syncopated beats more than atone
'Take Me Out' by Franz Ferdinand, starts off like a great Strokes song, switches gears and gets even better, and which should be the single of the year though I'm willing to replace it with 'Jacqueline', if only for the kickass chorus, "It's always better on holidays...that's why we only work when...we need the money!"
'Check it Out' by the Beastie Boys for that pow-pow-like sample in the verses that packs a whallop and puts an extra little spring in my step. Used to great effect in an episode of 'The OC', to a series of quick edits of characters walking through the lobby of a casino.
'Surfin' on a Rocket' by Air, which pairs a sweet poppy harmony of overlaid vocals with a souful catchy ambient sound that most critics would call 'ethereal'. Sometimes that's not a good thing but in this case it is.
Honourable mentions include: 'The Love Song' by K-Os, 'Fallen Angel' by Elbow, 'Run' by Snow Patrol, 'Train from Kansas City' by Neko Case, 'Fit But You Know It' by The Streets, 'Sommersault' by Danger Mouse and Zero 7, 'Loosen Your Hold' by South, 'Little House of Savages' by The Walkmen, 'Retour a Vega' by the Stills and 'Farther On' by Vetiver.
Whew....one more album to post next week...
OK OK let me belatedly break the ice on week two of the much ballyhooed (but reluctantly posted) Top Five/Ten/yeah whatever countdown for 2004.
Some more albums:
Frog Eyes - The Folded Palm. Victoria BC-based band's second release - it's intense without being loud, mostly due to the eyes-bulging-out-of-the-head vocal style of singer Carey Mercer, whose lyrics are paradoxically (given the aforementioned vcoals) poetic and ephemeral, though at times they do embrace a more direct angst-ridden style. Reminiscent (vocally, at least) of eighties goth...at other times it's more like whacked out Bowie. As a whole, it's powerful stuff, but not an easy listen, and it's possible it would just be exhausting if it weren't for the underlying songs - sympathetic and inventive organic instrumentation, melodically and musically rich arrangements, and they grow and grow.
Eric Friedlander - Maldoror. Mentioned this one before, and you kind of have to hear it to have a discussion about it. It's ten improvised cello (solo) tracks (first takes, no overdubs) referencing and drawing inspiration from a series of surrealist poems by Comte de Leautremont called Les Chants des Maldoror. Not really difficult listening ultimately, certainly not as atonal as it might be - he has a beautiful tone and is a spectaculalrly inventive player, and has crafted a gorgeous, flowing, synesthetic, mood piece. Groovy cool. Top two or three of the year for me.
Songs - well, how about something from Modest Mouse? I originally was loving "Float On" big time, but the more I listened to the record the more "Ocean Breathes Salty" was the one for me. A great song, very similar really to Float On, but I love the verses with their sloppy, vaguely hip-hoppy rhythm and his over-the-top singing. Great driving song.
OK, who's next?
Some more albums:
Frog Eyes - The Folded Palm. Victoria BC-based band's second release - it's intense without being loud, mostly due to the eyes-bulging-out-of-the-head vocal style of singer Carey Mercer, whose lyrics are paradoxically (given the aforementioned vcoals) poetic and ephemeral, though at times they do embrace a more direct angst-ridden style. Reminiscent (vocally, at least) of eighties goth...at other times it's more like whacked out Bowie. As a whole, it's powerful stuff, but not an easy listen, and it's possible it would just be exhausting if it weren't for the underlying songs - sympathetic and inventive organic instrumentation, melodically and musically rich arrangements, and they grow and grow.
Eric Friedlander - Maldoror. Mentioned this one before, and you kind of have to hear it to have a discussion about it. It's ten improvised cello (solo) tracks (first takes, no overdubs) referencing and drawing inspiration from a series of surrealist poems by Comte de Leautremont called Les Chants des Maldoror. Not really difficult listening ultimately, certainly not as atonal as it might be - he has a beautiful tone and is a spectaculalrly inventive player, and has crafted a gorgeous, flowing, synesthetic, mood piece. Groovy cool. Top two or three of the year for me.
Songs - well, how about something from Modest Mouse? I originally was loving "Float On" big time, but the more I listened to the record the more "Ocean Breathes Salty" was the one for me. A great song, very similar really to Float On, but I love the verses with their sloppy, vaguely hip-hoppy rhythm and his over-the-top singing. Great driving song.
OK, who's next?
Wednesday, December 08, 2004
Tuesday, December 07, 2004
Ja, ja ich kenne that both the albums I picked to review were released in 2003 but I promise the 8 remaining album choices will adhere to the very stringent rules that herr burkhalter (aka kyliep) has laid down. I only slipped initially because I noticed that Exclaim had slipped in both Jim Guthrie and Ulrich Schnauss in their best of 2004 and I purchased both of those last year. I also find it extremely difficult to come up with 10 albums released in any year that could possibly be labelled "best of", case in point being Marc. Don't worry though I will not include Coltrane's "A Love Supreme" in forthcoming installments.
Some notes on your posts...
The Spring Heel Jack sounds intriguing given the band members but I'm not sure if I'm sold on your review of it, Derek. Aimlessness? Abrasion? Anti-tortoise? Sounds terrible, which of course means I'm really interested in hearing it and will in all likihood come to rave about it. Damned if I can locate anything more than a 20 second stream online...you must bring it to the next cd club.
I may have to pick up the American Music Club disc...I've been digging the tracks I've downloaded recently...still hate the name of the band though...reminds me of Dick Clark or Columbia House...
Marc, wouldn't you say that the Hiorthoy disc represents an audacious claim to the vanguard of exceptional neo-minimalist experimentation? No? It's just shit, then? Ah, well. They all can't be good purchases. Which reminds me that soon the Onion website will be posting its yearly 'Least Essential Album List', which is always good for a cathartic giggle or two. Hope it comes out this week.
And did it feel good for those of you who have thus far listed discs which weren't technically released in 2004? Feel you're entitled to choose any goddamn disc that has crossed your path in the last twelve months? I guess there are no real rules here but if raging against these imaginery contraints has inspired you to passionate expression, so much the better.
I went with the idea of choosing five and then choosing my favourite 'singles' to highlight songs that were great on albums that were only just good. If you guys want to include more than 5 discs or any number of noteworthy songs, go for it. Or actually, don't. You're not allowed. Don't even try it! It is verboten. That's German for step off.
Since I'm out of the office Thursday/Friday I will post my picks tomorrow.
The Spring Heel Jack sounds intriguing given the band members but I'm not sure if I'm sold on your review of it, Derek. Aimlessness? Abrasion? Anti-tortoise? Sounds terrible, which of course means I'm really interested in hearing it and will in all likihood come to rave about it. Damned if I can locate anything more than a 20 second stream online...you must bring it to the next cd club.
I may have to pick up the American Music Club disc...I've been digging the tracks I've downloaded recently...still hate the name of the band though...reminds me of Dick Clark or Columbia House...
Marc, wouldn't you say that the Hiorthoy disc represents an audacious claim to the vanguard of exceptional neo-minimalist experimentation? No? It's just shit, then? Ah, well. They all can't be good purchases. Which reminds me that soon the Onion website will be posting its yearly 'Least Essential Album List', which is always good for a cathartic giggle or two. Hope it comes out this week.
And did it feel good for those of you who have thus far listed discs which weren't technically released in 2004? Feel you're entitled to choose any goddamn disc that has crossed your path in the last twelve months? I guess there are no real rules here but if raging against these imaginery contraints has inspired you to passionate expression, so much the better.
I went with the idea of choosing five and then choosing my favourite 'singles' to highlight songs that were great on albums that were only just good. If you guys want to include more than 5 discs or any number of noteworthy songs, go for it. Or actually, don't. You're not allowed. Don't even try it! It is verboten. That's German for step off.
Since I'm out of the office Thursday/Friday I will post my picks tomorrow.
Monday, December 06, 2004
Interesting choices Derek. I've been reading about, and had on my list, the S/Heel Jack one for sometime now. Your review makes it sound pretty intriguing. Raises a discussion topic in my head, which I'll save for a rainy day.
And as for Ted Leo, I had just come across him a couple months back and finally downloaded some last week. I agree it's got a ton of elements I like, still trying to decide if I love the overall package - as much as some of the reviewers do, anyway. I haven't heard "Ballad of the Sin Eaters", so I'll seek it out.
And as for Ted Leo, I had just come across him a couple months back and finally downloaded some last week. I agree it's got a ton of elements I like, still trying to decide if I love the overall package - as much as some of the reviewers do, anyway. I haven't heard "Ballad of the Sin Eaters", so I'll seek it out.
Sunday, December 05, 2004
Admittedly I've played neither of these discs at a CD club but for two pretty good and different reasons. The first disc entitled simply "Live" by Spring Heel Jack came out about mid-2003 but I purchased it late in the year and only now am I succumbing to its charms. With only two tracks on the album, running each close to 40 minutes, the allure of this album is far from being readily apparent. One might be tempted to simply switch off after the first 6 or 7 minutes of track #1 (entitled descriptively Part I) finding little to hold on to other than abrasion. This might be described as the anti-Tortoise. Some might flee at the rather aimless flight of take-off but with Coleman, Shepp, Ayler and others taken head on it would take a bit more than seeming pointlessness to scare me off. Unlike some of the aformentioned Spring Heel Jack and friends give you plenty of room to come up for air and this is where the wonders of the record come to the fore.
With Han Bennink on drums, Evan Parker on sax, William Parker on bass, Matthew Shipp and J Spaceman (ex of Spiritualized) on guitar there's plenty of talent here and they all get their chance to shine. It's still not something you'll want to play first thing on a Sunday morning but the music ebbs and flows and changes directions in a myriad of ways, that allows the listener to discover a bit more with each listen. And this is music that demands that you do listen to it. No dish-washing background noise this.
Also on my year-end list and regretfully an album I have never purchased (thanks to the TPL) is "Hearts of Oak" by Ted Leo and the Pharmacists. Ted and the boys always seem to garner the good reviews which obviously I've always skimmed because up until recently I was under the impression, due to the band name, that they were purveyors of electronic music. To my delight nothing could be further from the truth. I have no idea if they receive much in the way of commercial airplay but if I was 17 again and looking to kick out the jams this is what I'd want to hear on my radio. Its hard poppin, briskly played but still erudite music. They've taken some of the best of the Posies, Elvis Costello, and the politically savvy Jam and turned it into something that College stations would find hard to resist. "Ballad of the Sin Eater" might be the best summing up of the mood in America post 9/11 that could be captured outside of a lengthy article in Harpers: "...you didn't think they could hate you now, did ya?". Time to invest some coin in their just released CD.
With Han Bennink on drums, Evan Parker on sax, William Parker on bass, Matthew Shipp and J Spaceman (ex of Spiritualized) on guitar there's plenty of talent here and they all get their chance to shine. It's still not something you'll want to play first thing on a Sunday morning but the music ebbs and flows and changes directions in a myriad of ways, that allows the listener to discover a bit more with each listen. And this is music that demands that you do listen to it. No dish-washing background noise this.
Also on my year-end list and regretfully an album I have never purchased (thanks to the TPL) is "Hearts of Oak" by Ted Leo and the Pharmacists. Ted and the boys always seem to garner the good reviews which obviously I've always skimmed because up until recently I was under the impression, due to the band name, that they were purveyors of electronic music. To my delight nothing could be further from the truth. I have no idea if they receive much in the way of commercial airplay but if I was 17 again and looking to kick out the jams this is what I'd want to hear on my radio. Its hard poppin, briskly played but still erudite music. They've taken some of the best of the Posies, Elvis Costello, and the politically savvy Jam and turned it into something that College stations would find hard to resist. "Ballad of the Sin Eater" might be the best summing up of the mood in America post 9/11 that could be captured outside of a lengthy article in Harpers: "...you didn't think they could hate you now, did ya?". Time to invest some coin in their just released CD.
Mark Koselek's sun kil moon project- "Ghosts of the Highway". Ok this was released in November 2003, but I listened to it throughout 2004 as well as picking up another 3 of his cds. This is the one that started it all, and still seems the best of the bunch but they are all pretty great. The quality of the songwritting and the pacing of the album (mixing crazy horse like rockers w acoustic ballads) is pretty much perfect, (unlike his live show at the shoe). The etherial sound of his voice and his wash painted lyrics are a blend made in heaven. IT gets rave reviews from other friends who I haver played it for. If you have any of his other stuff and love it, dont miss out on this one, (on sale now for the low price.......)
The other pick would have to be Arcade Fire . Derek and I have been discussing how maybe this band will usher in a new era of sincerety and heartfelt passion in pop music. I cant handle the ironic tonge in cheek bullshit most bands push out any longer....They managed to capture a sence of the live showin the disc and the show for me had to top the list for concerts last year (but thats another list topic....) These kooky looking freaks are the real deal I think, no poseurs would choose this geeky a look..... The range of material on the album is something I hope they continue rather then honing in on one aspect of their sound...I never new eighties influenced rock could sound this great,( it helps not having that stupid production w the big drum bash). These 2 albums are polar opposites , but both have honesty rarely seen these days.
The other pick would have to be Arcade Fire . Derek and I have been discussing how maybe this band will usher in a new era of sincerety and heartfelt passion in pop music. I cant handle the ironic tonge in cheek bullshit most bands push out any longer....They managed to capture a sence of the live showin the disc and the show for me had to top the list for concerts last year (but thats another list topic....) These kooky looking freaks are the real deal I think, no poseurs would choose this geeky a look..... The range of material on the album is something I hope they continue rather then honing in on one aspect of their sound...I never new eighties influenced rock could sound this great,( it helps not having that stupid production w the big drum bash). These 2 albums are polar opposites , but both have honesty rarely seen these days.
Friday, December 03, 2004
Marc. Sorry man.
Like you, an annual top ten is often a little daunting for me these days, as I rarely buy enough music released in the year in question, but for 2004 I think I can muster up a few options.
For albums, I'll start with......American Music Club's "Love Songs for Patriots". Great to see these guys back at it, and depressing as hell to think that it's been ten years since their last record. Frig, I say. This one is consistently good - their songs are so intelligent and emotionally complex (I hesitate to curse any band by labelling it "mature", but...), and musically rich as well. The sense of the dramatic reminds me that AMC started out in the eighties and worked through the grunge years, but it still sounds contemporary to me, and satisfyingly, uniquely them as well. The album opener "Ladies and Gentlemen" is an absolute stunner - but wait! I'm not choosing songs of the year yet, and will not be so gauche as to double dip (at least until I begin to run out of ideas next Friday).
Second album, released in 2002 but fuck off, is John Cunningham's "Happy-Go Unlucky", a gorgeous update on Beatle-esque songwriting (meets Elliott Smith, but more on him later), without a weak track on the record. At times it can be too reverntial, but mostly it is beautiful beautiful beautiful. Chamber Pop at its absolute best. I particularly love "Invisible Lines", "It Isn't Easy" and "Here it is" . Highly recommended and available only at Soundscapes I believe.
Now for a song. Since we're splitting songs from albums, which is fine, I'm more tempted to choose tunes I like to play in the car, quick hitters as it were. At least that's what my first choice is - it's Ben Kweller's "I Need You Back". I blew my brains out on this one all summer - light as candy floss, and in a way it's very cheesey (hmmm, two food metaphors, OK snack break) with BK's pretensions of naivete, but ultimately it works great because of its energy and angst, and his great singing. I remember driving back from my CFA exam in June, convinced I'd failed, and screaming this one at the top of my lungs (look out ma, I'm turning forty!).
Kyle, thanks for the metacritic site - it rocks.
Like you, an annual top ten is often a little daunting for me these days, as I rarely buy enough music released in the year in question, but for 2004 I think I can muster up a few options.
For albums, I'll start with......American Music Club's "Love Songs for Patriots". Great to see these guys back at it, and depressing as hell to think that it's been ten years since their last record. Frig, I say. This one is consistently good - their songs are so intelligent and emotionally complex (I hesitate to curse any band by labelling it "mature", but...), and musically rich as well. The sense of the dramatic reminds me that AMC started out in the eighties and worked through the grunge years, but it still sounds contemporary to me, and satisfyingly, uniquely them as well. The album opener "Ladies and Gentlemen" is an absolute stunner - but wait! I'm not choosing songs of the year yet, and will not be so gauche as to double dip (at least until I begin to run out of ideas next Friday).
Second album, released in 2002 but fuck off, is John Cunningham's "Happy-Go Unlucky", a gorgeous update on Beatle-esque songwriting (meets Elliott Smith, but more on him later), without a weak track on the record. At times it can be too reverntial, but mostly it is beautiful beautiful beautiful. Chamber Pop at its absolute best. I particularly love "Invisible Lines", "It Isn't Easy" and "Here it is" . Highly recommended and available only at Soundscapes I believe.
Now for a song. Since we're splitting songs from albums, which is fine, I'm more tempted to choose tunes I like to play in the car, quick hitters as it were. At least that's what my first choice is - it's Ben Kweller's "I Need You Back". I blew my brains out on this one all summer - light as candy floss, and in a way it's very cheesey (hmmm, two food metaphors, OK snack break) with BK's pretensions of naivete, but ultimately it works great because of its energy and angst, and his great singing. I remember driving back from my CFA exam in June, convinced I'd failed, and screaming this one at the top of my lungs (look out ma, I'm turning forty!).
Kyle, thanks for the metacritic site - it rocks.
The end of another year and the start of a season of top ten lists (or is it five)…a chance for reflection on where our musical choices have taken us…the same old predictable meaningless drivel or down new and inspiring avenues of discovery.
Starting off my top 10 list of favs. would be Kim Hiorthoy, "For The Ladies". Now the only reason this could make it onto my top ten is that I purchased less than ten albums released in 2004. This album, for lack of a better term is the greatest disappointment I have ever picked up in my life (music, that is)….EVER. I had heard some of Kim’s work on Denise Benson’s show and really dug it. A smooth Scandinavian blend of jazz and electronica, soulful and cool but pushing the limits of what I have heard…just a bit. So I walk into soundscapes not having done my research and pick up his latest release….not a song on the album…barely even a note. 10 tracks of ambient noise, much of it barely audible at normal listening levels, which is ok with me since it’s all shit! Often I might find myself being generous, embracing such an experiment as art, but not this time….sorry Kim. The only reason I am not throwing this one into the Michigan landfill is that I want the ultimate example of how absurd the record industry is. Will I ever pick up the Hiorthoy I was really looking for? I don’t know! Will I ever implicitly trust Soundscapes again? Not bloody likely. Caveat emptor! This sucker was born on a day long, long ago.
No. 9 on the top 10…Jens Lekman “when I said I wanted to be your dog”…I just don’t get It!...highly rated by the critics? Not sickly sweet but rather tastes of sacrine…has no nutritive value and leaves a nasty taste in your mouth. Ixnay on the Lekman eh!
...a dog indeed!
Starting off my top 10 list of favs. would be Kim Hiorthoy, "For The Ladies". Now the only reason this could make it onto my top ten is that I purchased less than ten albums released in 2004. This album, for lack of a better term is the greatest disappointment I have ever picked up in my life (music, that is)….EVER. I had heard some of Kim’s work on Denise Benson’s show and really dug it. A smooth Scandinavian blend of jazz and electronica, soulful and cool but pushing the limits of what I have heard…just a bit. So I walk into soundscapes not having done my research and pick up his latest release….not a song on the album…barely even a note. 10 tracks of ambient noise, much of it barely audible at normal listening levels, which is ok with me since it’s all shit! Often I might find myself being generous, embracing such an experiment as art, but not this time….sorry Kim. The only reason I am not throwing this one into the Michigan landfill is that I want the ultimate example of how absurd the record industry is. Will I ever pick up the Hiorthoy I was really looking for? I don’t know! Will I ever implicitly trust Soundscapes again? Not bloody likely. Caveat emptor! This sucker was born on a day long, long ago.
No. 9 on the top 10…Jens Lekman “when I said I wanted to be your dog”…I just don’t get It!...highly rated by the critics? Not sickly sweet but rather tastes of sacrine…has no nutritive value and leaves a nasty taste in your mouth. Ixnay on the Lekman eh!
...a dog indeed!
good god men! it's friday afternoon and no one has offered at least two of their five discs of the year for others to contemplate/congratulate/annihilate?
fine. then i'll offer up two of my choices:
'Cast of Thousands' by Elbow, an album that doesn't really push any boundaries, channelling, from track to track, everyone from Coldplay to Catherine Wheel to Primal Scream to Spiritualized. But hey, since I dig all those influences and since this is one solid album I can listen to and enjoy all the way through, and since, even after I've played it over 20 times I'm still not tired of it, into the top 5 it goes.
My other choice, 'Funeral' by Arcade Fire, is probably up there at the top of the top five, for the sheer energy and intensity of the music and the vocals and for the fact that it conjures up good feelings about the music I liked in the 80s.
as promised, here is one of my top 5 songs of the year:
'What are you afraid of?' by West Indian Girl. If you don't recall it from the cd club (we were probably 5 or 6 drinks in at that point), you can preview a copy at the new Itunes store, the Canadian version of which opened yesterday (meaning for a mere 99 cents, you can also purchase it, all legally.
Itunes is a free software program that you can download from apple's website and I use it to burn all my cds and organize my music. Recommended if you like to listen to music on your computer and necessary if you wish to purchase music from the itunes music store. Enough promo for apple!! (I've got my own software to sell!)
But one quick other note, in regards to the reviews topic last week, there is a site called Metacritic that compiles, among other things, reviews of cds from various sources. There was a reference to this site in an article I read today at Salon.com that echoed statements made by those of you who own the Brian Wilson disc. The writer can't understand why it's the highest rated disc of the year. (Note: to read articles at Salon, you have to watch a brief commercial).
Okay, back to selling career exploration and planning software...
fine. then i'll offer up two of my choices:
'Cast of Thousands' by Elbow, an album that doesn't really push any boundaries, channelling, from track to track, everyone from Coldplay to Catherine Wheel to Primal Scream to Spiritualized. But hey, since I dig all those influences and since this is one solid album I can listen to and enjoy all the way through, and since, even after I've played it over 20 times I'm still not tired of it, into the top 5 it goes.
My other choice, 'Funeral' by Arcade Fire, is probably up there at the top of the top five, for the sheer energy and intensity of the music and the vocals and for the fact that it conjures up good feelings about the music I liked in the 80s.
as promised, here is one of my top 5 songs of the year:
'What are you afraid of?' by West Indian Girl. If you don't recall it from the cd club (we were probably 5 or 6 drinks in at that point), you can preview a copy at the new Itunes store, the Canadian version of which opened yesterday (meaning for a mere 99 cents, you can also purchase it, all legally.
Itunes is a free software program that you can download from apple's website and I use it to burn all my cds and organize my music. Recommended if you like to listen to music on your computer and necessary if you wish to purchase music from the itunes music store. Enough promo for apple!! (I've got my own software to sell!)
But one quick other note, in regards to the reviews topic last week, there is a site called Metacritic that compiles, among other things, reviews of cds from various sources. There was a reference to this site in an article I read today at Salon.com that echoed statements made by those of you who own the Brian Wilson disc. The writer can't understand why it's the highest rated disc of the year. (Note: to read articles at Salon, you have to watch a brief commercial).
Okay, back to selling career exploration and planning software...
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