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