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
Saturday, September 8, 2012
Wednesday, August 15, 2012
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.
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.
Wednesday, August 8, 2012
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
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
Thursday, August 2, 2012
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
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
Tuesday, July 31, 2012
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
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
Wednesday, July 18, 2012
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 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
Tuesday, July 17, 2012
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
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