Rock 'n' Roll In A Song

Straight up, David Bowie fascinates me. He is one of the legendary figures from rock music. He found success by pioneering SciFi Rock and is credited for creating the genre known as Glam Rock. One aspect of his musical journey that sticks out to me is his constant connection to the larger experience known as Rock 'n' Roll. He never lost sight of the origins of modern music and always kept it close to his pioneering work. One does not have to look no further than his song "Rebel Rebel". For me it is Rock 'n' Roll in a song.

I feel this way simply because of the musical feel of the track. The song begins with the staple of clicking drum sticks and a riff being born. As the song continues, the drums become paired with a bass and the riff comes to life. It becomes the life force for the song as a whole and accents the tough grit of Bowie's vocals. He sings in a commanding fashion about a "Hot Tramp" who he "loves so". The person being addressed is a gender-bending friend of Bowie. This lyrical inclusion of an aspect from Bowie's glam rock is matched by a classic rock catchy chorus of "Rebel Rebel". It is repeated just the right amount of times to ensure enthused singing along. Also by this point, the listener is tapping his or her foot along to the riff.

This song came along in the middle of the 70's, a time when rock was still reigning strong. To understand this reign, once again, look no further. Overall, David Bowie is a rocker and songs like this exemplify why. 

The Merits of a Short and Long Song

Pop music grew out of the radio. Music was recorded for the masses and the radio was the means for deliverance. Consequently, songs were fashioned to not be longer than three and a half minutes. The modern single was born. All the early rock and pop bands began by working with this model. Early Beatles records ran under forty minutes, sometimes even thirty. But as music became a means for artistic expression, songs became longer and more complicated. Led Zeppelin really pioneered this. Today, we live in a music world in which we can enjoy both types of songs. It is my contention that a short and a long song are enjoyable for similar reasons.

One of the shortest modern songs is "I Fell In Love With A Girl" by The White Stripes. Clocking in just under two minutes, the song goes full speed for the stop. Jack's vocals are a mix between excitedly screaming and passionately declaring his love. His guitar playing is classic rock strumming. The drumming is like footsteps and keeps the march going. For all these reasons, I enjoy this song. I immediately identify the instrumentation and respond accordingly. I soon join in on singing with Jack and tapping my foot along to the beat.

In contrast, there is "Victory Dance" by My Morning Jacket. This song opens the band's 2011 release Circuital and as it opens up a new instrument joins in along the way, reaching a length of nearly six minutes. The song begins with a gong and guitar. Slowly new sounds enter, such a horn, and it keeps the listener interested to discover what will come next. It is a listening experience of surprise. By the end, it comes together as a feast of sounds and the listener is left sonically satisfied. 

Overall, I believe that a both short and long songs work because of these two approaches to instrumentation. Whether everything is on the table for the start or revealed along the way, the listener can enjoy.

Why I Find "I Want To Hold Your Hand" Rebellious

I listen to different music in different situations. For example, when I have a short walk ahead of me to class, I want something that is going to fire me up with passion for life and a desire to be creative. Today,  I turned to "I Want To Hold Your Hand" by The Beatles. I made this selection instinctively, almost without thinking. So please allow me to pause for a moment and consider what this song does for me (and possibly you).

The history of The Beatles will show that Lennon/McCartney penned the song at the urging of producer Sir George Martin to produce a song that could crossover into America. They took up the task, crafting a track that showcases them fully as a band. Everything that was "The Beatles" at the time can be found in this song. Lennon and McCartney both sing lead. Ringo keeps time in a minimal and respected fashion. George quietly pioneers lead guitar playing in small ways that give the song definition. And it is for these reasons that I find inspiration in it. I listen to it and strive to showcase my full ability in my writing.

I also listen to it and connect with the sentiment that is express; the reflection on love contained in it.  There is a fabulous scene in the movie Nick and Nora's Infinite Playlist in which the song is quoted and championed by a character. And I could not agree with it more. The song is all about that feeling a person gets inside them when their crush is just about bubble out of their soul. He or she just needs to connect with the aim of their affection and holding someone's hands is one of those great ways for a person to communicate without words. This song truly triumphs because it captures that wordless desire in words, something that makes writers great.

Please give this track another listen with a new context to hear it in.

Top Three Albums of Summer 2012

Given the date on the calender and the impending beginning of the school year, the time has come for me to review the music of Summer. Allow me to start big and examine some of the albums released this summer.  Two of the three are sophomore albums, with my honourable mention being a debut.

3. There's No Leaving Now,  The Tallest Man on Earth. Released June 11.
- This album's title alludes to the significance of it; Kristian Matsson's performance aka The Tallest Man on Earth, on this album will determine whether or not he can maintain his hold on the modern folk scene. Of late, his stock has been on the rise and thus he has a lot to live up to. Also, it does not help him any that he sings in a raspy voice and plays acoustic guitar; the Dylan comparisons are both complimentary and pressure causing. But thanks to an album full of fresh folk tunes, there is no leaving now for this Swedish singer/songwriter. The album opens with four killer tracks. Each one drives in a new fashion and speaks to a new message. The second track "Revelation Blues" stands a Dylan like track in both its title and style.  The instrumentation sounds like a track from Dylan's Bringing It All Back Home. It reflective tone is classic Matsson; both hopeful and frustrated. He does declares "its the damn revelation blues", but he also shares "Sometimes its just roses dying to be young." This statement echoes the same emotion as his classic ""The Dreamer" which told all that "sometimes the blues is just a passing bird".  It is a testament to the musician that Matsson is that he can both honour who came before him while incorporating his own style. This four pack of tracks concludes "1904" , which is the lead single of the album. It is very much so in the vain of Mumford and Sons' "I Will Wait", but with a more relaxed feel. Keeping in tune with the image of the music video for "I Will Wait", instead of racing down the road, Matsson walks down that road with ease. The rest of the album dips at times with songs too spaced out and slow, but overall Matsson continues forward and produces a great album overall, but one that shows more greatness on the way. I believe that it could be a Rubber Soul/Revolver to a future Sgt. Peppers.

2. Gossamer, Passion Pit. Released July 20th
- "Take A Walk" is not only, the first track and the lead single from the, but it is also a goo place to start this musical analysis of Passion Pit's sophomore album. It sounds like a classic Passion Pit tune, possibly a b-side from Manners. It wets the palate of the listener by easing them into the new sound of Passion Pit, which soon follows in the proceeding tracks. The band on this album took all the elements of the their old music, mixed them up, added some new sounds and produced music which strives forward, bring the band with it. For example, both "Carried Away" and "Constant Conversations" strike a new path for Passion Pit. The former shares the perspective of someone who is blantly states that he is all set with someone, but still deals with them. The way he/she goes about it is crass and enjoyable. "I do not really know you and I do not think I want to but I think I can fake if you can". The song has a dance beat which has me picturing the singer twirling in circles to it. The later is a slowed down almost r&b jam that showcases the quarrel between two lovers. The musical landscape is one of a night club on a weekend night. At one point the singer says "Ok everybody now" and the listener joins in on the jam. It took me a while to warm up to this song but now it is one of my favorites on the album. Its innovative sound is what endears me to it. And that is what also endears me to the album overall. Some of the later tracks unfortunately do not continue the listening experience started by the opening tracks. Overall, it is a listening experience I will continue to go back to. 

1. Here, Edward Sharpe and The Magnetic Zeros. Released May 29th,.
- This sophomore album tops my list because of all the albums I listened to this summer, it was the one most conducive to listening to it straight all the way through. Along the way, the listener encounters some killer tracks which I believe will stand the test of time because they speak of a positive philosophy about life. These songs use a language composed of sounds resembling those of music played at a campfire. The album opener "Man on Fire" espouses a philosophy so simple yet so complete, "Only desire that's left in me, I want the whole damn world to come dance with me." It is a sentiment that at the surface appears to be carefree, but Edward Sharpe aka Alex Ebert, recognizes that by having a good time, we can escape the bad parts of life. Later in the song he commands "Come dance with me, over heart ache and rage. Come set us free, over panic and strange." The subtle rock and roll to song gets the listener to begin to dance with Alex. Towards the middle of the album, "Dear Believer"contributes to discussion about life. It communicates Alex's journey to becoming and his embrace of being this prophet of positivity. During the song's opening verse, Alex boastfully details all that he has conquered, such as anger and murder. The chorus reads "Paradise, has its hunter / Call me blind, call me fool /I don't mind chasing thunder /I say reaching for Heaven is what I'm on Earth to do." I remember after hearing this for the first time I was so inspired and longed to adopt it as a mantra. Possibly the greatest statement from the band comes in the album's third track "I Don't Wanna Pray". This song is far from an anti-religion track. In my opinion, it is actually respectful of religion and what a prayer signifies. Also it is about personal greatness. As the chorus proudly declares "I am looking to become not the prayer, but the prayer." Alex and the band want to be a part of a system of faith all their own. Now I cannot offer testament to their success in achieving that goal, but I can say they successfully craft music all their own. Yes, it falls under the header of modern folk, but it is so much more than that. It is music made by a bunch of young people coming together and reflecting on the world. Just as they would all contribute their own thoughts, every member adds a new sound. It can be a horn, or piano, or percussion, or hand clap. Even if one of these sounds were missing, then the song would be lacking. For these reasons, both lyrically and musically, I dub Here to be the best album of Summer 2012.

Honourable Mention: My Head Is An Animal, Of Monster and Men. Released April 3rd.
- Released a little before Summer blossomed, this album certainly did in the summer months. Helped by the single "Little Talks", this album came into view and earshot of the public. I offer it praise for possessing a lot of the same qualities of Here; music which is made by a bunch of people and consequently sounds like it. Both albums convey the image of people sitting around and playing together. Also like Here, the album offers some philosophy. "Mountain Sound" is as much a celebration of youth as "We Are Young" with its chorus of "we sleep until the sun goes down", implying they live all night. The track following "Mountain Sound" is called "Slow and Steady". Sung by the female singer of the group, it is introspective in nature. She shares "I move slow and steady, but I feel like a Waterfall. Yea, I move slow and steady past those who I used to know" The pride and acceptance embedded in her delivery is nothing short of inspiring. Be proud of who you are how you go through life. Overall I very pleased with this debut album and I have all the confidence in the world that by the time Of Monsters and Men release their second album, they will be right on the same level as Edward Sharpe and The Magnetic Zeros.  

Strum and Sing

One revolutionary thing about The Beatles was that they did not just have one lead singer, but all the members sang and could sing lead on a song. In fact, when they met producer George Martin for the first time, he tried to figure out which member would be the lead singer, but he did not want to sacrifice any of the voices in the band. It should be noted that the Fab Four took this practice from their idol Buddy Holly, who had all the members of his band The Crickets sing on his records.

Now as revolutionary as this was, it did not become a practice continued on throughout Rock 'n' Roll. Their media-driven rivals from that era, The Rolling Stones, had a member who was simply a singer. This is no dig at Mick Jagger, for the world would not be the same without him, it is simply observation. More specifically an observation that leads into the thought that sparked this post: I love it when the lead guitarist, who does not regularly sing, takes over the duty for a song and allows another aspect of his genius to shine forth.

 The third band in the trinity of 60's British bands, The Who were a driving force behind the practice of the lead singer taking a song off. Given his force behind each song, Pete Townshed would typically inject himself into the songs both through guitar and backing vocals. At times, he would sing the role of one character and Roger Daltrey would sing the other. But on "Going Mobile" from the bands 1971 release, Daltrey steps aside completely and allows the band to function as a trio with Townshed on lead vocals. In my opinion, on this song Townshed lets loose and relaxes a bit. It is light-hearted in tone and in feel. An acoustic guitar gets the song started and continues to drive throughout the song as the rest of the band comes in. Toward the end, Townshed injects a guitar solo played on a synthesizer. For me, that signals that he is not trying to shine forth on this song as the guitar player that made him famous. Instead he is the fella relaxing, playing acoustic guitar with his mates, and singing about traveling. Truly, he uses some fun lines in the song. For example, he is a "hippie gypsy", who is mobile as "the police and taxman" miss him and who is at home while driving free. The song is all about escape and hitting the open road. Everyone can find inspiration in the fact that Townshed makes this statement doing what he loves the most, playing music. 

The Rolling Stones classic 1978 album Some Girls contained a track with Keith Richards on lead vocals. He penned "Before They Make Me Run" following an arrest for heroine possession the previous year. Richards' future in the band was in jeopardy following the arrest. On the song, he sings with a vulnerable and unapologetic voice. The song is about going out on your own terms. Richards declares "After all is said and done, I gotta move, its still fun/ I'm gonna walk before they make me run." It rocks like a classic Stones song. The opening riff to the song announces it start like a trumpet. The march continues on and it has that late 70's groove that the band was pioneering. I believe that it belongs high on the list of Stones hits. If for no other reason than it shows the true talent of the band as an unit. Jagger even contributes backing vocals. In effect he supports his friend's desire to express how he is feeling. Richards expresses so much in this fun, deep album cut from one the most important bands in rock history.

The last song I want to highlight comes from one the most important bands of the last twenty years: Oasis. Just following "Wonderwall" on (What's The Story) Morning Glory? was "Don't Look Back In Anger. For once, Noel Gallagher sang the words he wrote. He does so in a rather controlled manner that stays in tune with the rest of the song. He also includes his signature sound, Beatles-like yet still so Brit Pop. He admits that he did lift a few of the words from John Lennon, but it would not be a Gallagher song without some connection to The Beatles. It should also be noted that the opening piano bears a striking resemblance to Lennon's "Imagine", but that only serves as another means of contributing to the very calm and soothing nature of the song. It is not a large and bombastic anthem like "Wonderwall. Instead it brings the listener in and provides simple and sweet sonic enjoyment.

Please listen to this tracks and appreciate when a musician steps out of their comfort zone to share more of their talent.  

 

Some Great Spots Online for Live Performances

If there is one thing I derive a lot of happiness from, it is passing along good music to others. It is driving force behind this blog (encase you haven't noticed). I strive to recommend songs other than singles because I feel that deep album cuts serve to further a fan's understanding of a band. The same can be said about live performances. It is always a treat when a band includes a live recording as a bonus track on a deluxe edition of an album. It is even better when the live performance is presented free of charge. That is where there the internet provides. In all my web-surfing, I am stumbled upon three sources of such recording. Please enjoy (scroll over for links)

1. A good place to start is Letterman Performances . This deposit of videos automatically collects the guests from each show. It also archives them, which is helpful for going back to view ones from the past. The list varies in prominence and genre. Some of my favorites are The Killers- "Runaways", Gotye- "Eyes Wide Open", and Walk The Moon "Anna Sun". All three of these are amongst my favorite songs from this past summer. It was fun and fascinating to see them performed live. The same applies to the other singles in collection. For that is what is mainly there, singles. But performing them live breathes life into them. Plus Letterman is just funny in his "old man who kind of understands what is going on" antics. I am personally a fan.

2. One that I learned about via the people I live with at Stonehill, is the La Blogotheque aka "A Takeway Show". This internet phenomenon that I do not fully understand captures a variety of artists playing music in public places. For example, The Tallest Man On Earth plays "The Gardner" in the back of a shop. Bon Iver first sings "For Emma, Forever Ago" A Capella  and then transitions into the song in an apartment building. Fleet Foxes walk around Paris singing and playing. As made evident by the artists I highlighted, this showcases shines because of its focus on folk artists. However a fabulous rendition of Phoenix performing "1901" also exists.

3. Lastly, I found this one by accident. It is called the "Tiny Desk Concert" and it is sponsored by NPR. It is literally the artist in a room with a desk and bookcases. For The Tallest Man On Earth it works rather well. He fills the space almost completely as Edward Sharpe and The Magnetic Zeroes  with all ten of them. It is a tight squeeze filled with folk. Overall there is a good mix of folk and alternative acts with the wild card of K'Naan  thrown in. What I like most about this series is that I have a room just like the one in it and I have listened to all these artists in it. For once, they actually came to life.

Feel free to comment with your favorite performances/ any recommendations

Blood On The Tracks- Why It Matters

I once made a Facebook status declaring that if the only album ever recorded was Bob Dylan's Blood On The Tracks, then we would collectively be okay. When I made such statement I had in mind the fact that the album has lyrics with a wide range of emotion and sentiment. Dylan speaks about his love, presumably for his wife Sara, both at its start, middle, and unfortunate end. He covers feelings of infatuation, resentment, anger, and deep love and passion. A person could learn all that he/she would need to know about a relationship from this album. The same can be said about music. This album is traditionally heralded as the album that brought Dylan back. For me, it harkens back to the success of Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde in that it is quite apparent that others are playing with Dylan, but it is as apparent that Dylan is at the center of the creation. And it is for creative reasons that this albums really matters.

As a poet I draw a lot of inspiration from Dylan. Often when asked who I model my style after, I will name "Keats, Wordsworth, Dylan". Truly he is an amazing poet. There may come a day where more people know the words of Dylan as opposed to his voice because his lyrics are studied in English classes. One day people will ask what it was like to be alive at the same time as Bob Dylan. For he possesses this amazing ability to let someone in to the creative process. For example, I praise his 1969 album Nashville Skyline because it is a testament to how a creative person can adapt a new style, operate in a simple fashion, "just mess around" I call it, and produce something some lasting and unique onto itself. Check out key tracks "Lay Lady Lay"  and "Tonight I Am Staying Here With You". Unfortunately a link on youtube for the latter track does not exist; such a reality which prompted me to buy the cd within days time of first hearing it.

But on Blood On The Tracks, it is not simplicity that drives but complexity and depth. As note, there is a range in sentiment regarding love expressed. For example, "Shelter From The Storm" opens with the line "Twas in another lifetime". After hearing that earlier this morning, I thought that Dylan took creative license with the romance he was describing. As a writer I so often fall into traps when writing about a love. I feel obliged to be 100% truthful to what actually happened. For me, this song is a rallying cry for me to dip into other stories, combine them together, and tell one that is both new and compelling. One final note on this song, is it once again contains a fabulous Christ reference. Dylan speaks of this love taking his crown of thorns. Throughout his career Dylan made references to Jesus. For example in "Bob Dylan's 115th Dream" off of Bringing It All Back Home, he responds back to someone who will not help him, "You know they refused Jesus too". Once again I am challenged, this time to include references that speak with universal appeal and profound meaning.

Each track on the album is distinctive and a little different than the last. Each one could be the "best track" on another artist's album. After listening, I too want to write poems that varying in style and continue to be innovative. Now, all this inspiration from Dylan is not daunting nor pressure causing, but it is wind in my sails. It is rejuvenating and reinvigorating. It touches the inner part of my soul from which my creativity spouts. And it does in the form of music. I can simply listen to it and be better for it. Most importantly, I believe that anyone can be inspired after listening to this album if they pay attention to the fact that it showcases someone who is pushing the boundaries of creativity and producing something wonderful because of it. It is like a painting for the ears.

During the morning listen session which prompted this post, I was already coming up with verses. They shall stay with me all day, week, maybe month, until at last they meet paper and come to life. What shall also come with me during that time is how much Blood On The Tracks matters.

"Oh Love"- Green Day

Following a very brief stint on it during eighth grade, I long ago jumped off the Green Day train. I am very much so turned off by the fact that starting with American Idiot all their albums had to be based on a contrived, politically liberal concept/plot line. Do not get me wrong, I do not think concept albums are inherently bad, Sgt. Peppers  and Pet Sounds are two of my favourite albums of all time. They key to their success is that the concept was found in the music, not the lyrics. But bands like Green Day and the Godfathers of concept albums Pink Floyd, try to deliver messages that often go right over my head. However on their latest singles "Oh Love" Green Day pay homage to classic Rock n Roll and deliver a song that works musically and thus works as a song.

The track opens with guitar strumming and an address to the concept of love; both staples of Rock n Roll. From there, my palate was wet and I was curious. The song continues and so does the tribute to classic rock. The song stands very much as an address to the concept of love. As if it is this deity which rests in the heavens and can be summoned. It reminds me of "Hymn to Intellectual Beauty" by Percy Bysshe Shelley. Not I would never want to put Billie Joe Armstrong on the same level as Romantic great, but I do give him credit for writing a song which calls out to a concept representing a constant in all our lives.

He does it with such musicianship that it is deserving of praises. As previously said, the song opens with a classic rock n roll sound. It continues. The song plays as a classic rock n roll track. To take it one step further, it returns the classic Green Day sound. It is very much so in the style of "When I Come Around", an early hit for Green Day. In fact, it is quite fitting that in this latter stage of their career that Green Day return to this classic sound.

Now I cannot say anything about the forthcoming singles from Green Day and offer any insight as to whether or not they shall stay this path. But I will say that this initial step is enjoyabl

Getting Lost in a Great Album

Often in my free time I ponder a hypothetical ranking of the greatest albums of my lifetime or my favorite albums of all time. One quality that would run through all these recording is inclusiveness. By this, I mean the experience of becoming engulfed by an album, almost lost in it. It is its an environment onto itself. And it is for this reason that we listeners return to it. After a few listeners, we become to recognize the world as unique and different. It becomes a place that we can always return to.

Allow me to ponder the initial getting lost. It is a blissful confusion. With every song, more features of the landscape are revealed. Every sound contributes to the distinctiveness. For example, an album that I find myself returning to often is U2's The Unforgettable Fire. Released in 1984, this album carries no sense of nostalgia for me. I do not harken back to time that it was released with fond memories. Instead, it takes on a timeless feel for me. It exists in its own musical landscape, not dependent on what came before it nor what followed it. Going into it, I attempted to construct some context in my head: 1980's U2 equals the time when they were still an "alternative band". They were part of the great group of pioneering alternative/indie acts. Also on this list are giants like R.E.M. and The Smiths. Nevertheless, I gave this album a listen with an open mind. Quickly the guitar playing of The Edge found on this album filled the space in my head. Also, the musical environment created by the complete band on this album drew me in. I characterize it almost storm like. Even thing is heavy and has depth. Whether it is the rhythm section of Adam Clayton and Larry Mullen Jr. or the thoughtful lyrics passionately sung by Bono. I just picture clouds gathering. And I feel that is what the band did on this album. They brought all they had together. Most importantly part of this was the aforementioned guitar playing of The Edge. To stay with the storm motif, each effect-heavy riff is like lighting striking. And just as lighting striking in the summer, these riffs are nothing short of awe inspiring. I invite all of you to get lost in this storm.

Another album I get easily lost in actually does relate to the time and place in which it came into my life. That escape is Coldplay's 2008 album Viva La Vida or Death and All His Friends. This album came out Summer 2008. I bought it in June of that summer when I got home from Boy's State. I drove to my local Target, bought it, and gave it a listen on the ride home. I would continue to listen to that album as I drove around New England that summer. For me, its sounds and symphonies are synonymous with a blue summer sky. This association is also aided by the spacious soundscapes which comprise this album. Based on my reading Coldplay took their time with this album. There was a lot of thought behind it. For example, the recorded it in an old bakery the band bought. On the wall they either wrote "Think Sgt. Peppers" or had a picture of that album. Either way they were inspired by that Beatles masterpiece. That mindset is reflected in the songs. I describe them as wide with plenty of space for a listener to fit in. The production for the album places each of the individual instruments in their own sphere, as if they were individual planets in a solar system. The listener is album to be in the presence of all of them at once.  Truly, when I listen to it, I feel that I am in the heavens.

In the case of both these albums, I feel that there is a carved out spaced in the album for the listener to possess. Originally I was going to use the word settle instead of possess but in the case of some albums, the listener is unable to settle or get comfortable. And that is part of the experience.  It is part of the getting lost. Overall, this experience of confusion I dub getting lost, is a welcoming in to a place that is unknown and strange, but soon the mysteries are revealed. It is because of this revelation and the desire for more of them that we listeners return to our favorite albums. We can find that spot that we first occupied while getting lost. Except this time, it is more familiar; it feels like a place we can return to.

A Review of The New Mumford & Sons Song "I Will Wait"

There certainly has been a lot of anticipation for anything new from Mumford & Sons following the huge success of the 2009 groundbreaking album Sigh No More. For it was an album that did a lot to open the door for the modern folk revival. Countless folk bands and acts have become recognized and celebrated because of songs like "Little Lion Man" and "The Cave". Going into this sophomore album, the question has been whether Mumford would stay true to the sound that gave them success or would they seek out a new sound.

Now second albums are always key. For there is just something magical about the unexpected success of a debut album.  It will take everyone by storm and temporarily overtake the musical landscape. In the case of bands like The Beatles and Nirvana with their debut releases, they never relinquished their control. Sigh No More was deep enough of an album that it continues to last. However Mumford & Sons correctly assessed their situation and recognized that they needed to release new material if they were ever going to take the steps to being a band like The Beatles or Nirvana.

The new album is named Babel and it will come out in late September. In order to appease their anxious audience, a lead single entitled "I Will Wait" was released yesterday. After giving it a few lessons, I have my own assessment of it. Personally it struck me as everything that was great about "Little Lion Man" and "The Cave" with small doses of progress. What I mean by this is that Mumford & Sons are growing and transitioning. But they are taking their time with this expansions. In this single, the expansion is small but meaningful. Similar to the two aforementioned tracks, this song just drives (it does not hurt it that the clip for this song is movement down a road"). The instrumentation is saturated with an up-beat tempo. At times it all comes together with every instrument firing on all cylinders. Sometimes, an acoustic guitar is the strongest instrument and no note sounds sad. Instead they ring of triumph. Helping to communicate a message coming out of contemplation. When Mumford declares "I will wait" the piano being struck in addition to the guitar are his biggest source of support. They show that song will go on even during this serious moment. After all, that is what this is a song. I feel that Mumford & Sons recognize this and have fun with it.  On Sigh No More, I found that some of the songs were a little slow or drawn out for continued listening. I could only return to them after a period of time. But with a song like "I Will Wait" I enjoy the journey every time.

I cannot say that the rest of Babel will be like this, but I am certainly more intrigued to find out because of this song which showcases the promise of one of today's premiere bands.

Please enjoy,
Nick Howard

A Review of "George Harrison: Living in the Material World"

Up until this point on The Forum, I have only shared my thoughts on music. But today I was blessed with the opportunity to watch the Marin Scorsese documentary George Harrison: Living In The Material World, for I have had a hold on it this entire summer at Easton's Ames Free Library and finally it was my turn with the DVD. Over three hours later, I am filled with thoughts regarding the film and I feel that The Forum is the place to share them.

Now, I have watched my fair share of music related documentaries in my day. Typically I watch one about artists that I already know a lot about and I want that information presented to me in a new and exciting way which highlights the elements from the narrative that mean the most to me. One of the best I have ever seen at accomplishing this feat was Tom Petty- Runnin' Down A Dream. This film, also succeeds in this aim. The film is broken up into two parts. Not surprisingly, the first part is heavily focused on George's time in The Beatles. However, Scorsese does highlight Harrison's family and upbringing. Also each episode within the narrative of The Beatles receives a  proper amount of attention. I did get a little nervous during the part about The Beatles time in Hamburg, Germany. I feared that Scorsese was not going to spell out the band dynamic at the time. But slowly he highlighted how at that time the band had an extra guitar player named Stuart Sutcliffe and Pete Best on drums. Also at that time, the band befriended two Germans named Klaus and Astrid. Eventually Stuart would start dating Astrid and take up painting. Ultimately he would stay in Hamburg with Astrid. I approve of Scorsese's portrayal of this period in The Beatles career. From there, he brings the focus on and off of George as the band grew and changed. He almost checks in on George's individual footsteps as The Beatles marched on toward taking their final walk across Abbey Road. Part one concludes with the recording of "While My Guitar Gently Weeps". Not too much longer into Part Two, The Beatles break up.

From there, the part of the film which would make or break it commences: Harrison's life as an individual, both musically and personally. There have been thousands of hundreds of books/movies written and made about The Beatles. The reason that this film was so high anticipated was because it was about George. The film does a fabulous job of tracking Harrison's budding individuality. The first chapter in this process comes early in Part Two while still a member of The Beatles. During a band trip to India, Harrison gets turned onto Hinduism. As the film correctly notes, he never gets turned off and continues his spiritual search. If a person wanted information about the spirituality of George Harrison presented in an attainable way, this film is the perfect choice. I was pleased with how Scorsese communicated this complicated yet captivating aspect of Harrison's character. His post-Beatles music career also receives such treatment. Phil Spector is brought in to speak about his involvement with Harrison's first solo record All Things Must Pass. The rest of his work from the 1970's is explored. Countless friends and fellow musicians are brought in for commentary. Overall that is a strength of the film; the people who knew George best speaking about George. For example, Paul McCartney, Pattie Boyd, Eric Clapton, Ringo Starr, and Tom Petty all contribute to the narrative. Truly George's circle of friends came together to celebrate his life.

Unfortunately, in that celebration there was a shortcoming in regard to the coverage of events after 1980. The shooting of John Lennon does flush out the feeling Harrison had about how John left his body. It was very interesting to learning that aspect of the murder of Lennon so troubled Harrison. However, the film seems rushed after that to reach the unfortunate death of Harrison. I do not know if Scorsese felt that his film was going to be too long, but a I feel that a little more attention should had paid to Harrison's 1987 album Cloud Nine. It is regarded as one the best of his later career. In addition it spawned his time in The Traveling Wilburys, another topic skimmed through. Lastly, the mid-1990's reunion of Harrison, Starr, and McCartney is not even mentioned in the movie. Only clips are briefly incorporated.

Despite this, the film ends in a concluding fashion. The film wraps up by covering three final events in his life. The first is his cancer diagnosis. A clip is seen of Harrison expressing his desire to a reporter of not wanting it to be a big a story. Second comes the attack on Harrison home in which he was stabbed and his wife Olivia was also attacked. Lastly, Harrison passes on. Olivia speaks of the passing by saying "that if the event were to be filmed, there would no need for lighting because he light up the room". The film ends and that sentiment transcends. Ending the movie with that statement works well for achieving the aim of the movie: capturing the essence behind George Harrison. After watching the movie, I do not feel that it could better be put into words. He was a man so concerned with knowing God rather than simply believing. Because of this film I can say the same about George Harrison.

Please enjoy,
Nick Howard

A Reflection On "We Are Young"

The other night while driving home I was listening to the radio. As a part of the radio experience, I was changing stations. Not surprisingly, I came across "We Are Young" by Fun featuring Janelle Monae.I entered into the track right after the first time the chorus is sung. The lead singer Nate Ruess's voice was the focal sound at the time. In about a note or two, the rest of the band came in. Nate then declares "Tonight, we are young".  In that moment of pure vocal bliss, it dawned on me that I now struggle to remember a time before this song. A time before that declaration was one made by so many of my peers in unison with the track.  Normally when such a characteristic can be attributed to a pop song, my skin crawls about a quarter of an inch. But for me, this is more than a pop song. Sure it is played on local pop stations 93.3, 92.3, and 104.1, but it can also be found on the alternative stops of 95.5 and 92.9. It stampedes through all musical territories, leveling all walls which stand as boundaries, thus creating landscape for it to freely move across.

All that movement has fostered a surplus of sentiment being attached by youths of all ages. In particular, there was a surge of sing-a-longs this past spring semester. I remember an avalanche of facebook statuses quoting the chorus of the song. It became a rallying cry for youth. As someone who does not believe in surrendering his youth so quickly, I was pleased in the celebration of our collective age. However, in my opinion, that is not a 100% accurate reading of the song's lyrics. I do not fault people for understanding the song in such a fashion, but I focus more on the relationship between the singer (Ruess) and his love that he addresses in the opening verse. I enjoy the song as one about two former lovers who run into each other one night at a bar. To this chance meeting, they both bring old feelings and a new found fondness for one another. I feel that Ruess is attempting to communicate a lasting sense of caring that he has for his old love. He also acknowledges that is cannot work and that both parties have moved on. One my favorite moments in the song is when he snarly states "Now I know that I am not all that you've got".  Overall, this story within a story warms my writer's heart. I find it to be both clever and original. Ruess could had easily written a song about missing someone, but he put it into a social situation that anyone could find them-self in in. It gives it new life in a song new to the musical landscape.

However, I do not believe that "We Are Young" will be going anywhere any time soon. Sure as new pop and alternative songs are recorded, it will be played less on the stations I named above, but I feel that it will stay close to all of hearts of so many because of how big it was to us in this year. In post to be written, I plan to reflect on who would be playing in the opening ceremony of the Olympics if there were to hosted in The United States. For one,both Fun and Janaelle hail from America. Also, given the current significance of this song, I feel that a rendition of it would be included in the festivities. In particular the way that this song was significant  means something. For so many, it was a declaration of their age; a time they will never want to forget. For me personally, it stands a poem I would have never thought to write but certainly enjoy. While hearing it on the radio that time, I had an image in my head of being a middle aged man turning the radio dial and coming across the song. When the canon of "classic" songs from our era forms, I feel that this one will be added. We can only hope.

Please enjoy,
Nick Howard

Tribute Songs to John Lennon

Within the past couple of days, Bob Dylan has announced that he will be releasing a new studio album, Tempest, set to be released September 11th of this year. Yesterday he announced the track listing for the album. Included on the album will be a song entitled "Roll On John". As reported by Rolling Stone, the song will be in tribute to John Lennon. Dylan has worked several of Lennon's lyrics into the track. Amongst them, "Come together right now" and "I read the news today, oh boy". Not only did this news immensely excite me, but it prompted me to think of other tribute songs to John Lennon. Interestingly enough, three of them come from his former band mates in The Beatles. All three possess an unique nature distinct to the musician who crafted them and speak to the relationship the musician had with John.

The first of these songs came from George Harrison in 1981. "All Those Years Ago" aims to romanticize the time Harrison and Lennon spent in The Beatles and almost places it as a far off period in a distant past (The Beatles had only broken up eleven years prior). The lyrics of the song praise John for his personal philosophy and outlook on life. For example, Harrison references one of Lennon's most personal Beatles song, "All You Need Is Love" and sings "But you point the way to the truth when you say / All you need is love." Harrison also looks back at the treatment John received for his "controversial" views and declares "They've forgotten all about God / He's the only reason we exist / Yet you were the one that they said was / So weird / All those years ago." It appears that in this song Harrison attempts to connect to Lennon on a philosophical level. For example, the song opens with "I'm shouting all about love / While they treated you like a dog / When you were the one who had made it / So clear". He is positioning himself on the same level of Lennon's love for peace and happiness. It is a positioning I can support. Like Lennon, Harrison made his views known through his music. His view for his fallen friend shines forth in this song.

Paul McCartney released "Here Today" in 1982. Honestly, I came into this song with a few reservations. Personally I get turned off by Paul McCartney a lot. Probably because of the fact that he is the only one left to speak of the legacy of Lennon/McCartney. But I do feel that in this song he takes the high road and expressed love for John. I enjoy the fashion in which he does it. Whether in this live version I included or the original studio recording, the choice of acoustic guitar fosters an intimate feel. The listener is invited into Paul's reflection on his old friend. It is a reflection on the entire narrative of their friendship. The song opens with a lighthearted and honest reading of how John would feel about Paul at the time. It has been reported that John and Paul used to talk on the phone some what frequently toward the end of John's life. Friends talk on the phone with one another and friends can joke around. Paul then focuses in on the time that he met John. As seen in the movie, Nowhere Boy, John had the band already and Paul wanted to join. John gave him a hard time at first but they grew as friends because of their musical ability. I do not know what is referenced when "the night we cried" is mentioned, but similar to the fact that in "Hey Jude" there are lyrics that do not necessarily apply to Julian Lennon (the person for whom the song is supposedly written), there are lyrics in this song that do not necessarily apply to Paul's relationship with John. Overall this song is a nice, short, and extremely sweet sentiment for an old friend.

Ringo recorded the third of these tribute songs in 2009 for his album Y Not. Simply titled "Peace Dream", Ringo shares of a dream he had of utopia based around the frameworks Lennon envisioned in "Imagine" . The quoting of Lennon continues throughout the song. Ringo pleads with the listener "So try to imagine / if we give peace a chance." This combination of two of Lennon's most important and personal songs really stands as fitting tribute. Ringo directly quotes Lennon when he sings "Just as John Lennon said in Amsterdam from his bed / 'One day the world will wake up to see the reality'". This song matches Ringo's personal mission to carry on John's mission for peace and love. Ringo ends most conversations with "peace and love". It is nice to see him capture that work in a song which is a tribute to the man who inspired it.

An interesting fact about these songs is that they may be credited to one of The Beatles individually but on two out of the three, the other members appear. Ringo plays drums on Harrison's track and Paul sings back up vocals. On Ringo's song, Paul plays bass. George had passed away in 2001 and consequently could not appear on the track. However these two songs are not the only instances of the band "reforming" in order to honor John. In 1995, with the help of Yoko Ono, the three surviving Beatles or "The Threetles" worked with two of John's demos to create two new songs. These songs are "Free As A Bird" and "Real Love" . The former has a narrative filled music video and the latter intermingles the recording of the song with images from the career of The Beatles. These two songs honor John not through lyrics but through music; something I am sure he would approve of.

So as Dylan, someone from the same era and of the same talent as John Lennon, prepares to honor him, we can look back at how his former band mates did. I believe that it speaks to his character that people continue to express there love for him in song. Dylan shall be the latest. Most definitely he will not be the last.

Please enjoy,
Nick Howard

 

The Black Keys Should Play The Super Bowl, Not Van Halen

I know that we find ourselves in the “dog days of summer”, when the only male professional sport going on right now is baseball, but people are always talking about football. In particular there has been some chatter about football’s big game in early February and the musical act which plays half time. One guess as to who will take the stage is Van Halen. Nothing has been official, but in an official release on the website "Van Halen News Desk"  (who knew they had a news desk?),  David Lee Roth expressed “That honor has not been bestowed upon us at this time though it is one we would accept in a NY minute.”

Personally, I would not enjoy it in the slightest if Van Halen were given the slot. I believe that choosing them would be another case of an act from the past that just cannot do it anymore. Two years ago The Who exemplified this completely. Also, to be blunt, I just do not like Van Halen. There music just never did anything for me. Interestingly enough, a member of the band who I believe would be a satisfying choice for the halftime show holds a similar position. Patrick Carney the drummer for The Black Keys spoke of Van Halen in an an interview with Rolling Stone's Patrick Doyle and said “I am not a big fan of that music.” In fact in that same interview he reflected on seeing Van Halen play today, “what the f*ck is the point?”

Without sounding like the beginning of an English essay, there are several reasons as to why I believe The Black Keys would the perfect act to play halftime. First and foremost, they are current. Ever since their 2010 release Brothers, their stock has been on the rise. They went from being this indie-blue two person act to one of the largest acts in music. They continue to play bigger and bigger shows.

Into those large arenas they bring their signature sound, which is the second characteristic of theirs which sets them up to play this big stage. I understand that by picking acts such as Van Halen or The Who, the NFL is trying to appeal to “Classic Rock” fans, the assumed majority of the football’s audience. It is my opinion that a classic rock fan would also enjoy the music of The Black Keys.  The Keys pull from rock’s origin: blues. It the greatest common factor for music. For it is origin of all music from 1950 onward. But The Black Keys also work modern innovation into their music. Their latest album El Camino, was produced the modern producing prophet Danger Mouse. In fact he co-wrote all the songs on the album with the band. He also produced their 2008 release Attack & Release and their 2010 song “Tighten Up”.  Mouse aka Brian Joseph Burton , has worked with modern stars such as Cee Lo Green, James Mercer, and Beck. Together, Dan Auerbach and Patrick Carney form a signature sound which has a classic base coupled with modern innovation.

The fact that it is only Auerbach and Carney is the final reason as to why I think they belong right there on the stage; there is plenty of room for a guest musician to jump and jam with them. One thing that people love to see happen at half time shows is a surprise musical guest to join the featured act. Not only are The Black Keys willing to work with someone else in the studio, it is something they embrace on stage. Two examples from this year come to mind. Following the passing of Levon Helm,  the band invited John Fogerty onto stage to perform “The Weight” with them in tribute to Helm. Earlier this summer at the MTV Movie awards, the band was joined by Johnny Depp (scroll down to the bottom of the page to see the performance) to play “Gold On The Ceiling” and “Lonely Boy”. The possibilities are endless for who could pick an instrument or mic for a song. Heck, even someone from the “classic rock” era could join them and appease those may had wanted Van Halen or someone of the like. The only stipulation would be that they could keep up with The Keys. 

Now I have given much consideration as to what an ideal setlist would be for the band given the venue. Half time shows are just a little under fifteen minutes, so song selection is important. I feel that the band should honor the journey it has been on musically and showcase their growth and change. In no particular order, I feel that the following songs would be best. "I'll Be Your Man" because it comes from their first album and rocks in an eternal fashion.  "Your Touch" stands as a measure of the middle of their career. "Tighten Up" was the song broke so big two years ago and brought them to the forefront of modern music. "Gold On The Ceiling rocks all the way through with every instrument present and accounted for. Also, its simple chorus will have the whole stadium singing along. In this hypothetical set-list I am leaving room for a cover. I love seeing band I love from today pull something they love out from yesterday.  

I acknowledge that this idea of mine is probably more fantasy than prophecy but it makes an important point: bands from today should be playing they biggest stages of today. We as music fans should honor them in the period in which they rein. Here is a throne for The Black Keys to sit upon.  

Please enjoy,

Nick Howard

The Beatles Sing Today's Pop

Given my existence as a 21 year old college student with a fairly active social life, I encounter pop music. Currently part of this encounter includes the songs “What Makes You Beautiful” by One Direction and “Call Me Maybe” by Carly Rae Jepsen. Now I do enjoy these songs for they are: songs to be listened to in social situations. They are fun to sing along to while riding in the car with friend or to shout at the top of your lungs at a party. But personally I feel like I would enjoy them in a whole new way if one my favorite bands could cover them. More specifically I think about how they would sound if The Beatles covered them. Unfortunately there are number of factors which prevent such renditions from ever being recorded. Amongst these road blocks are the unfortunate deaths of John Lennon and George Harrison, the event which was The Beatles breaking up in 1970, and the simple fact that The Beatles existed almost fifty years before these songs were even thought of. However it is my belief that if The Beatles were around today, they would cover these songs and possibly even put them on an album.

The Beatles are justly praised for their innovation and originality. These qualities are what make them a landmark group in the history of Rock N Roll. In seven years that they released albums, their style grew almost as much their hair. Their music became as complicated and detailed as their lives. The arrangement of their songs became as thoughtful as their personal philosophies. The songs they recorded at the starting point of this growth were standard and average pop music. What made them stand out was the fact that they wrote the songs themselves. During the recording of their first album, Please Please Me, the record’s producer George Martin was struck by their ability to write. However, The Beatles also participated in a practice fairly common for their time: the recording of songs already made famous by another artist or group. Some of the covers they did are their most famous songs. For example, “Twist and Shout”, which concluded their debut album was a cover. It was originally by The Isley Brothers, who were a doo-wop group. The Beatles would go onto cover other songs by doo-wop groups and Motown artists. They understood that as much as cover could work as a means of paying tribute, something they did by covering Buddy Holly’s “Words of Love”, two Carl Perkins songs, and a Chuck Berry tune,  they viewed covering a song as a way of reinventing a song and reimaging its musical landscape. It is for this reason that I believe that The Beatles would cover the two aforementioned songs.

Let’s start with “Call Me Maybe”. I can understand there may be doubt about The Beatles covering this song given the fact that is sung by a girl from a girl’s perspective. But that never stopped them before. An example from the career of The Beatles standouts as an examples of the group playing a “girl song”. It comes on Please Please Me and is fittingly named “Boys”. The chorus of the song is “Well I talk about Boys/ don’t you know I mean boys… / What a bundle of joy.” In order to convey a heterosexual message, Ringo Starr who sings on the track switched some of the pronouns. For example he declares “My girl says when I kiss her lips/ Gets a thrill through her finger tips”. The Beatles recognized that they could have fun playing this song and they gave it to their most light-hearted member to sing. Paul McCartney is quoted as saying that when they played this song in concert it was always a crowd pleaser. When I first thought about the idea of The Beatles covering “Call Me Maybe” I envisioned Ringo taking lead vocals. Given the job he did with “Boys”, I could see him sliding into the shining role for this song.

As for “What Makes You Beautiful” I feel that it would be a group effort in regard to vocals. Just as in One Direction where there more than one singer, so was the make-up of The Beatles. Each member had a distinctive singing personality which was reflected in their singing voice. During the verses of One Direction’s hit, a different singer takes the lead. I have given it much consideration and I have mapped out which Beatles would sing each verse. Coincidently, every time I indentified a shift in Beatle, there is a shift in One Direction member. Also the moments when I believe a certain Beatle would return, the corresponding member of One Direction returned.  The song would open with John. I can see him having a lot of fun setting the scene for this song. He would do it in a half serious/ half silly tone. Meanwhile George would enjoy reinterpreting the opening guitar riff. I envision him turning to the style of guitar he was pioneering around the time of their albums Rubber Soul and Revolver. It was distinct mid 60’s Harrison. Paul would sing the bridge. The whole gang would come in for the chorus. The second verse would be George’s turn to sing. Interestingly enough, the subject of that verse is similar to a song Harrison wrote with The Beatles called “I Want To Tell You”. George penned the lyrics “I want to tell you / My head is filled with things to say / When you’re here / All the words they seem to slip away”. Overall in that song George has things to tell his love interest. The same sentiment is found in this verse: “So c-come on / You got it wrong / To prove I’m right / I put it in a song.” It only makes sense that he would step up to the plate on this one. Paul would come back in with the bridge. Then another round of the chorus, followed by some “Na Na Na” courtesy of John. The middle eight would be all Paul and then rest of the band would come in to finish the song off.

I hope that my points make sense and add to the listening experience of these two songs by providing some perspective on them and their connection to one the greatest groups in Rock N Roll history. It may just be a musical fantasy of mine but is sure fun to think about. Take it for what is and please enjoy.

"Just Like Heaven"- The Cure

This song is important for a lot of reasons related to the band which recorded it, the genre of music it exemplifies, and rock n roll overall. In my opinion it showcases the unfortunate fate of The Cure; they came along too soon in the history of music. If for some reason, such as all the band members being born ten years later,  and they had blossomed in the musical landscape of the 90's, one which rich with an alternative vibe, then this song would had been one of the staples from its time period. Instead it stands as one of the best "overlooked" songs from the 80's. In my opinion, this song brings The Cure close to their musical counterparts from the period, The Smiths. Now it has been reported Morrissey, the lead singer of The Smiths had his gripes with The Cure, but for me this song is similar to the The Smiths' "There Is A Light That Never Goes Out". Both songs feature an expression of a hopeful romantic longing and a rich ambient musical landscape. Embedded in that landscape is a persistent rhythm that is matched by sleek and smooth piano, guitar and synthesizer. The music of the song both calms and drives.  It is a sound which allows a listener is able to enter into a realm that is completely in awe of love. 

For me, Robert Smith, the singer of this song and the genius behind the band, in this song speaks of his wife in a manner which makes this song of the greatest love songs ever. He gives a narrative of feelings and realizations. Around two minutes into the song, Smith dubs his wife to be “just like a dream”. The raw emotion embedded in his delivery endeared me to the song and has me continue to go back to listen to it. The song’s title refers to the final statement of the Robert Smith about his wife. After a reflection captured in the words of the song, he realizes that she is nothing short of divine. Immediately after, the song concludes. It is as if this realization took everything out of Smith.

The idea that Smith realizing that his wife was both “just like a dream” and “just like heaven”,coupled with his heavy emotional state throughout the song suggest an experience with the Sublime. This category typically used in aesthetics names an experience with something that is large, terrifying, raw, rough, over-taking, but in the end not dangerous. Personally, I feel that Smith experiences that when in the prescence of his wife. I do not know if that sentiment would come across to other people but for this scholar, it shines as bright as the sun.

Included here is the link for the song. The music video only adds to the sentiments named above.

"Just Like Heaven"- The Cure 

Please enjoy,

Nick Howard

"Secret Smile" - Semisonic

One of the most fascinating elements to this song is that its title and theme reflect the band which recorded it. Essentially, the song is an address from the singer to his lover asking her to use her secret smile in order to make him happy. I view this as symbolic for the talent of Semisonic. They are best known for their song "Closing Time". Now don't get me wrong, "Closing Time" is a fabulous song. It so perfectly captures both the sound of late 90's alternative and the feeling of desperation one feels when desiring to connect with another under the constraint of time. But I feel that in this song, more of the talent of Semisonic shines forth.

In those rays are both simple but precise lyrics which pop into the sound landscape and then slide back as to allow the band to play. All of the musical elements come together on this track. Smooth guitar and keyboard is matched with drumming which drives at a comfortable speed of 35 mph. The aforementioned lyrics not only call for happiness, but the personal and special type of happiness that only a lover can deliver. A strong connection between the singer and his love comes across both in his words and his delivery. For example, when he states "So use it and prove it / Remove this whirling sadness / I'm losing I'm bluesing / But you can't save me from madness” there is both pain and hope in his voice. He is in a bad place now but he knows that there is something that can help him. As he puts it “When you are flying around and around the world / And I'm lying alone / I know there's something sacred and free reserved / And received by me only”. The type of love which fosters such a connection is a special thing and Semisonic capture it in this song.

Included below is a link for the music video for this song. The connection between the singer and his love becomes even stronger as they run for their lives.
 "Secret Smile"- Semisonic


Please enjoy,
Nick Howard