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