Given his recent activity, collaborating with first Kanye and then Kanye and Rihanna, I would like to suggest 5 more collaborations Sir Paul could explore to further his reach in culture:
1. Bon Iver: Kanye could actually introduce Paul, for he collaborated with Justin Vernon back in 2010 and again in 2013. Bon Iver as always worked well with Vernon as the band leader and I think it could also exist with two musicians leading the way. I picture Paul and Justin writing together and then turning to the rest of the outfit to bring some indie-synth ambient folk to life, spiced with just the right amount of some Paul punch. He would deliver a key verse, coming to the forefront of the sound making it know that for this project, he's in charge.
2. The Roots: Once again, there is a friend with a connection. Elvis Costello, a past collaborater with Paul, cut an album with Quest Love and crew last year. As much as he can function as a solo artist, Paul does well with a band. One as talented and able to transform as The Roots would allow Paul to explore a full scope of genres. I see an album with both original work and covers from his early years.
3. Morrissey: Deep within the lore of The Smiths is the story that the late Linda McCartney almost came into the studio to play piano on a track for Meat is Murder. Unfortunately, it never worked out. Today, Paul and Morrissey could connect on their thoughts about eating animals. Together they could make a track protesting the act. There would undoubtedly be tension between pop accessibility and musical uniqueness but I feel that it could be worked out for at least four minutes, with shared vocals on a chorus while taking turns with the verses.
4. Ringo: As long as these two are alive, they should collaborate. I envision something grander than a cameo on a track on the latest release. Never once was a Beatles track credited as "McCartney-Starkey". To invoke a recent Starr album, "Y Not Now?" They could call back to the music they first heard in Liverpool, while possibly covering some of their band mates' better known solo songs. Just for the novelty, it would be noteworthy. It wouldn't be called "Beatles" but it would be close.
5. Brian Wilson: In many ways, his American counterpart, these two songwriting bass players have developed an immense amount of respect for and friendship with each other over the years. So the story goes, Paul was inspired by Pet Sounds to make Sgt. Pepper's. Today, in the Beach Boys museum you can find an autographed copy of each album signed by the other person. Both masters of their craft, also known for not always being in full agreement with their former band mates yet able to reunite when the time calls for it, they could make an album that would stand alone in music history and only serve to add to their legend. Another chapter written together in a big book of being original and innovative. There is enough talent between them to make something worth listening to.
Sunday, February 22, 2015
Thursday, January 29, 2015
The Case for "Last Night"
One of my favorite things about the phenomenon known as Rock 'n' Roll is that it has spawned a handful of songs over the years that will last throughout the ages. Now that list is for another music review outlet (Rolling Stone), I only wish to reflect on a turn of the 21st century tune that I feel should be heard and learned for years to come.
If look through Dylan's discography you will find the musical credit "Trad. arr. Dylan" meaning that the song goes so far back that not one person is recognized as the author. In other words, people have been playing that song so long, no one remembers who the was the first. I really like that. For me, these are the hymns of humanity. Shared by all to be interpreted for the times they find themselves in. Dylan certainly did all he could for his time.
Along these lines, I believe that some songs from recent history will reach that same status. I am not saying that their authors will be forgotten (thank you internet) but that they will be passed down, learned by new artists, and serve as opening tracks to careers. "Last Night" by The Strokes is one of those.
I can almost see it, four or five guys, roughly 16 or 17 in bad jeans and sneakers, starting off the set at a coffee house. If they have any rock n roll in them, they are doing it to wake everyone up. They are probably doing it because it is the only song they know. Still there is something there.
From the opening lick, soon joined by the drums, then joined by another guitar, and at last the singer, it allows the whole band to introduce themselves as they come together to play in a style that would make The Ramones proud. Although I cation against calling it punk in statement, I see it more in style.
The real bite of the song comes two and minutes in with an honest confession and vocal explosion. Julian Casablancas proclaims "Me, I'm never gonna understand.... LAST NIGHT!!!" It causes you to go back and listen to whole song over again ( All three minutes and eighteen seconds). You enjoy again the lead up, complete with lyrics telling a story of confusion and leaving, no big love lost but still something is gone, while name checking a laundry list of people who are also in the dark. There is enough word play that it doesn't become stale and becomes a fun challenge to sing along and get the nouns right, in the style "It's The End of the World As We Know It (And I Feel Fine)". There are also instrumentation breaks that, to return to that image of the coffee house, are probably just as much fun to play as they are to listen to. There is a handful of chord changes to give it some rhythm and beat. It gets your foot tapping in a familiar way while still sounding new.
And that is what made all those traditional songs so appealing to Dylan. They were familiar, but he knew, he could make them new. I feel the same for "Last Night." So Julian, my grandsons might actually understand.
If look through Dylan's discography you will find the musical credit "Trad. arr. Dylan" meaning that the song goes so far back that not one person is recognized as the author. In other words, people have been playing that song so long, no one remembers who the was the first. I really like that. For me, these are the hymns of humanity. Shared by all to be interpreted for the times they find themselves in. Dylan certainly did all he could for his time.
Along these lines, I believe that some songs from recent history will reach that same status. I am not saying that their authors will be forgotten (thank you internet) but that they will be passed down, learned by new artists, and serve as opening tracks to careers. "Last Night" by The Strokes is one of those.
I can almost see it, four or five guys, roughly 16 or 17 in bad jeans and sneakers, starting off the set at a coffee house. If they have any rock n roll in them, they are doing it to wake everyone up. They are probably doing it because it is the only song they know. Still there is something there.
From the opening lick, soon joined by the drums, then joined by another guitar, and at last the singer, it allows the whole band to introduce themselves as they come together to play in a style that would make The Ramones proud. Although I cation against calling it punk in statement, I see it more in style.
The real bite of the song comes two and minutes in with an honest confession and vocal explosion. Julian Casablancas proclaims "Me, I'm never gonna understand.... LAST NIGHT!!!" It causes you to go back and listen to whole song over again ( All three minutes and eighteen seconds). You enjoy again the lead up, complete with lyrics telling a story of confusion and leaving, no big love lost but still something is gone, while name checking a laundry list of people who are also in the dark. There is enough word play that it doesn't become stale and becomes a fun challenge to sing along and get the nouns right, in the style "It's The End of the World As We Know It (And I Feel Fine)". There are also instrumentation breaks that, to return to that image of the coffee house, are probably just as much fun to play as they are to listen to. There is a handful of chord changes to give it some rhythm and beat. It gets your foot tapping in a familiar way while still sounding new.
And that is what made all those traditional songs so appealing to Dylan. They were familiar, but he knew, he could make them new. I feel the same for "Last Night." So Julian, my grandsons might actually understand.
Wednesday, January 28, 2015
Some Shoveling Music
The film Juno goes down as one my generation's landmarks, creating a presentation style only later to copied and warped by MTV's "16 and Pregnant" and "Teen Mom." Still, the film had great music and I had a solid album for some shoveling.
Celebration Rock- Japandroids:
This 2012 release that I first took a pass on because by the time I read about it in Rolling Stone I was too steeped in a set summer mix and then later bought the next but to quote George Constanza, it didn't take, it now exists as go to when I am looking for some indie rock. I feel it would be unfair and off target to characterize the group as Canadian Black Keys but I was first drawn to it because it came out of a duo. I enjoy hearing how two, and just two, musicians can relate to and work together.
The album both opens and closes with fireworks, major points for that one. Truly they do invite you for a celebration. For me on Tuesday, it worked nicely as I seized the day and tackled the task shoveling. Out of season in a sense, still I enjoyed all the elements that led to the attention Rolling Stone gave it.
Two particular elements came across: musical craftsmanship and poignant lyrics. In fact, the later almost gets lost in the former but nonetheless this listening experience is created where you are moving (in my case shoveling) along to the music and try to catch all that is sung.
The album details a young man discovering his sexuality. It is both playful and serious, in all the best ways. Some of the highlights include "She'll kiss away your gypsy fears / And turn some restless nights to restless years" from "Fire's Highway" , "So come and find me in this moment / and expose a passionate man for what he is" coupled with "I'll run to find you in this moment / and expose a passionate woman for she she is" from "Evil's Sway" ,"With her blitzkrieg love / roman candle kiss" from "Adrenaline Nightshift".
"Younger Us" is as much an anthem about being young and having friends as anything I have ever heard. It ends up on about 70% of the mix CDs I make and it is honestly one of my all time favorite tracks. It both speaks to me about my own youth and inspires me to further explore it. In the case of this snowstorm, it pumped me, had me moving across the driveway a little faster
Arguably the album's strongest tracks, these four songs also possess a musical landscape to match these lyrics. The playing is as much about exploration and pride as the lyrics. Sure, we have all heard fast, loud guitar playing before, but it comes with a purpose. It is not loud simply to be loud. It is auditory excitement. I have never seen Japandroids live but I imagine they jump when they play. I like to think the notes also jump, leaving the instruments ready to meet the world and bring some meaning. It borders on racing but I like to think of it as running.
Another possible slight against the style might be that all the songs sound the same. I like to think that they are fabric cut from the same cloth coming together to form a quilt with different scenes from the same experience. I think that some lyrics from "Younger Us" capture it best "Waiting for a generation's bonfire to begin / when the plunder of a poets / thunder of a punk's guitar."
That pairing at the end, a poet and punk, it also does well to caption the album, which did well to provide some music for a snowstorm.
Celebration Rock- Japandroids:
This 2012 release that I first took a pass on because by the time I read about it in Rolling Stone I was too steeped in a set summer mix and then later bought the next but to quote George Constanza, it didn't take, it now exists as go to when I am looking for some indie rock. I feel it would be unfair and off target to characterize the group as Canadian Black Keys but I was first drawn to it because it came out of a duo. I enjoy hearing how two, and just two, musicians can relate to and work together.
The album both opens and closes with fireworks, major points for that one. Truly they do invite you for a celebration. For me on Tuesday, it worked nicely as I seized the day and tackled the task shoveling. Out of season in a sense, still I enjoyed all the elements that led to the attention Rolling Stone gave it.
Two particular elements came across: musical craftsmanship and poignant lyrics. In fact, the later almost gets lost in the former but nonetheless this listening experience is created where you are moving (in my case shoveling) along to the music and try to catch all that is sung.
The album details a young man discovering his sexuality. It is both playful and serious, in all the best ways. Some of the highlights include "She'll kiss away your gypsy fears / And turn some restless nights to restless years" from "Fire's Highway" , "So come and find me in this moment / and expose a passionate man for what he is" coupled with "I'll run to find you in this moment / and expose a passionate woman for she she is" from "Evil's Sway" ,"With her blitzkrieg love / roman candle kiss" from "Adrenaline Nightshift".
"Younger Us" is as much an anthem about being young and having friends as anything I have ever heard. It ends up on about 70% of the mix CDs I make and it is honestly one of my all time favorite tracks. It both speaks to me about my own youth and inspires me to further explore it. In the case of this snowstorm, it pumped me, had me moving across the driveway a little faster
Arguably the album's strongest tracks, these four songs also possess a musical landscape to match these lyrics. The playing is as much about exploration and pride as the lyrics. Sure, we have all heard fast, loud guitar playing before, but it comes with a purpose. It is not loud simply to be loud. It is auditory excitement. I have never seen Japandroids live but I imagine they jump when they play. I like to think the notes also jump, leaving the instruments ready to meet the world and bring some meaning. It borders on racing but I like to think of it as running.
Another possible slight against the style might be that all the songs sound the same. I like to think that they are fabric cut from the same cloth coming together to form a quilt with different scenes from the same experience. I think that some lyrics from "Younger Us" capture it best "Waiting for a generation's bonfire to begin / when the plunder of a poets / thunder of a punk's guitar."
That pairing at the end, a poet and punk, it also does well to caption the album, which did well to provide some music for a snowstorm.
Thursday, January 1, 2015
Top Ten Tracks of 2014
In a year saturated with songs, these ten stuck out as ones that we will be listening to for years and slipping onto mixes for friends and loves alike:
10) "Just One Of The Guys"- Jenny Lewis: A song, thanks to a video filled with all-star female cameos, is nearly as much fun to watch as it is to sing. Miss Lewis delivers chorus and verse perfect for a circle at a girl scout campfire or a coed college dorm room. Either way, it delivers words that are both fun and philosophical, filling the four minutes perfectly and going well with simple strumming led instrumentation.
9) "Rainbow"- Robert Plant: The old lion roars once more, this time accompanied by a relaxed, full band led by a calm bongo beat. Tender and sweet are two words not newly attributed to a song by Plant but it is both reassuring and entertaining to hear him do it once more in 2014. If only the same could be said for leading Led Zeppelin.
8) "Heavenly Father"- Bon Iver: You have got to be a mover and shaker to inspire Justin Vernon to get the boys of Bon Iver back together and record a song. And that is exactly what Zach Braff is. Coincidentally, that is exactly what this song makes you do: move and shake, in a familiar way, just as "Wish I Was Here" undoubtedly felt familiar to "Garden State." In just over four minutes, and through a loop, the moniker meaning "Happy Winter" makes you smile, wonder, ponder, and feel a little happy. Now go make another album!
7) "Scarecrow"- Counting Crows: No Mr. Jones this time for Adam and the gang, but instead an all American rocker in every sense of that cliche phrase. In all seriousness, it is beyond nice to hear a band from a decade now sometimes classified as classic rock still able fire on all cylinders and provide the perfect backdrop for lyrics as mystically pop as one of their first hits (Mr. Jones). A native species ear worm that slows down, speeds up, and equals a lot fun.
6) "A Sky Full of Stars"- Coldplay: With an assist from Avicii, Chris and the crew add another single to their solar system of hits. More catchy than contemplative, it works nicely as a bookend to "Yellow" when Martin first invoked the Heavens. Say what you will about the album, this one belongs right up there with Coldplay's best and definitely goes on any serious Coldplay mix.
5) "Rather Be"- Clean Bandit ft. Jess Glynne: A perfectly smooth around the edges piece of synth pop that is a pleasure no one needs to feel guilty for turning it up loud when it comes on the radio or downloading it onto your computer to enjoy in quiet moments. I deem there to be enough integrity, both musically and lyrically, for it to serve as part of the soundtrack to any romance.
4) "Zigzagging Toward The Light"- Conor Oberst: No longer needing to be known by a moniker referring to his optical light, Oberst brings it all back home in some sorts in this opening to track to his Americana meets today's alternative album released back in May. Fun to both tap and sing along to, it showcases craftsmanship defined by full band involvement and earnest, reflective lyrics. A great introduction to new fans and a reward to those who have been along for the full journey, it is nice to know Orberst has an idea of where he is going.
3) "Lost In The Dream"- The War On Drugs: The lush title-track from album filled with ambient anthems, this one offers a sentiment on an experience we all strive for while moving at a medium pace and bringing in all the instruments that serve as the ingredients for the album's effort. Together they all play, taking turns, and working together to, along with some contemplative lines, provide four minutes of contentment. In effect, the listener gets a little lost.
2) "Gotta Get Away"- The Black Keys: A catchy throwback tune that serves to close out to the album, it also works nicely as a piece of radio gold. It doesn't have the bite of "Tighten Up", but instead captures the release of a man letting go. Dan Auerbach, having shared it all on the preceding tracks, has some fun with his drummer/best friend Pat. As accessible as "Tighten Up" it draws the listener in for less shifts in tempo, but just as much fun. Plus any chorus that can name drop Kalamazoo is just a good time.
1) "Happy Idiot"- TV On The Radio: If you choose to carry on after the death of a band member, it should be with a dance beat and lyrics about love lost. Blending them together, TV On The Radio deliver a song that encapsulates the struggle between joy and knowledge, mirroring the tension between indie and pop found in this song. I hear purposeful instrumentation paired with lyrics written from dipping into the well of pop's cannon. Similar to #4, this very well can serve as the introduction to an act that has for years made critically acclaimed music. With this track, they just happened to make the year's best song.
10) "Just One Of The Guys"- Jenny Lewis: A song, thanks to a video filled with all-star female cameos, is nearly as much fun to watch as it is to sing. Miss Lewis delivers chorus and verse perfect for a circle at a girl scout campfire or a coed college dorm room. Either way, it delivers words that are both fun and philosophical, filling the four minutes perfectly and going well with simple strumming led instrumentation.
9) "Rainbow"- Robert Plant: The old lion roars once more, this time accompanied by a relaxed, full band led by a calm bongo beat. Tender and sweet are two words not newly attributed to a song by Plant but it is both reassuring and entertaining to hear him do it once more in 2014. If only the same could be said for leading Led Zeppelin.
8) "Heavenly Father"- Bon Iver: You have got to be a mover and shaker to inspire Justin Vernon to get the boys of Bon Iver back together and record a song. And that is exactly what Zach Braff is. Coincidentally, that is exactly what this song makes you do: move and shake, in a familiar way, just as "Wish I Was Here" undoubtedly felt familiar to "Garden State." In just over four minutes, and through a loop, the moniker meaning "Happy Winter" makes you smile, wonder, ponder, and feel a little happy. Now go make another album!
7) "Scarecrow"- Counting Crows: No Mr. Jones this time for Adam and the gang, but instead an all American rocker in every sense of that cliche phrase. In all seriousness, it is beyond nice to hear a band from a decade now sometimes classified as classic rock still able fire on all cylinders and provide the perfect backdrop for lyrics as mystically pop as one of their first hits (Mr. Jones). A native species ear worm that slows down, speeds up, and equals a lot fun.
6) "A Sky Full of Stars"- Coldplay: With an assist from Avicii, Chris and the crew add another single to their solar system of hits. More catchy than contemplative, it works nicely as a bookend to "Yellow" when Martin first invoked the Heavens. Say what you will about the album, this one belongs right up there with Coldplay's best and definitely goes on any serious Coldplay mix.
5) "Rather Be"- Clean Bandit ft. Jess Glynne: A perfectly smooth around the edges piece of synth pop that is a pleasure no one needs to feel guilty for turning it up loud when it comes on the radio or downloading it onto your computer to enjoy in quiet moments. I deem there to be enough integrity, both musically and lyrically, for it to serve as part of the soundtrack to any romance.
4) "Zigzagging Toward The Light"- Conor Oberst: No longer needing to be known by a moniker referring to his optical light, Oberst brings it all back home in some sorts in this opening to track to his Americana meets today's alternative album released back in May. Fun to both tap and sing along to, it showcases craftsmanship defined by full band involvement and earnest, reflective lyrics. A great introduction to new fans and a reward to those who have been along for the full journey, it is nice to know Orberst has an idea of where he is going.
3) "Lost In The Dream"- The War On Drugs: The lush title-track from album filled with ambient anthems, this one offers a sentiment on an experience we all strive for while moving at a medium pace and bringing in all the instruments that serve as the ingredients for the album's effort. Together they all play, taking turns, and working together to, along with some contemplative lines, provide four minutes of contentment. In effect, the listener gets a little lost.
2) "Gotta Get Away"- The Black Keys: A catchy throwback tune that serves to close out to the album, it also works nicely as a piece of radio gold. It doesn't have the bite of "Tighten Up", but instead captures the release of a man letting go. Dan Auerbach, having shared it all on the preceding tracks, has some fun with his drummer/best friend Pat. As accessible as "Tighten Up" it draws the listener in for less shifts in tempo, but just as much fun. Plus any chorus that can name drop Kalamazoo is just a good time.
1) "Happy Idiot"- TV On The Radio: If you choose to carry on after the death of a band member, it should be with a dance beat and lyrics about love lost. Blending them together, TV On The Radio deliver a song that encapsulates the struggle between joy and knowledge, mirroring the tension between indie and pop found in this song. I hear purposeful instrumentation paired with lyrics written from dipping into the well of pop's cannon. Similar to #4, this very well can serve as the introduction to an act that has for years made critically acclaimed music. With this track, they just happened to make the year's best song.
Tuesday, July 16, 2013
Just One of Those Albums
I truly do believe that with music, the songs, albums, and artists that mean the most to us have a corresponding moment in which the connection was formed. This can be someone suggesting a listen of an album, an accidental discovery of a song, or admiration of an artist being passed down from a parent in a moment in which a dissertation on the artist's greatness was explained in a manner in which only a seasoned listener could.
For me, London Calling by The Clash is just one of those albums. I just love it. I have loved it through a parade of new music. CDs have been bought, some good, some great, and some not so much. But I have always returned to this 1979 release that took Punk Rock to places Joey Ramone had no time for (not that's a bad thing.)
It was Easter Break my freshmen year of college and I was out for the day running errands. I took a turn and "Spanish Bombs" came on. The sixth track on the album played as the sun joined me via my driver side window. The sounds and sunshine came together in a moment in which I was entrenched in the stories of the song. I listened intently to the mix of Spanish and English being sung together in a manner both political and pop. I sang along about strife I had never heard of prior nor fully understood.
Needless to say, I finished the album, all 19 tracks (a solid number for an album if I do say so myself), and was hooked. Going back to the range of the album, all the songs seemed to be entry ways leading to worlds of emotions and feelings both rooted in the time in which they were recorded and relevant to the time I found myself in: late adolescence. They were expressed in a whole slew of genres that the album can be heard as a reader into all that is Rock. I was living in a time of discovery of experiences all known as life.
Now, on the other side of turning 20, I still dig the album as much as I did that. It still allows me to enter into a world other than my own, as I enter into a life all my own. It is a self-contained reality of unique and authentic artistic expression (the same can be said about Sgt. Peppers, but that is a post for another day). It is an aesthetic escape.
I enjoy hearing the songs for another time and dialing into the music and lyrics for few minutes, knowing that another one awaits me. And with each one, I turn up the tunes a little more and sing with more a smile. All of my joy and glee reaching its peak by the time things wrap up with "Train in Vain(Stand By Me). The album closes with me musically satisfied and already excited for my next time in the world of London Calling.
For me, London Calling by The Clash is just one of those albums. I just love it. I have loved it through a parade of new music. CDs have been bought, some good, some great, and some not so much. But I have always returned to this 1979 release that took Punk Rock to places Joey Ramone had no time for (not that's a bad thing.)
It was Easter Break my freshmen year of college and I was out for the day running errands. I took a turn and "Spanish Bombs" came on. The sixth track on the album played as the sun joined me via my driver side window. The sounds and sunshine came together in a moment in which I was entrenched in the stories of the song. I listened intently to the mix of Spanish and English being sung together in a manner both political and pop. I sang along about strife I had never heard of prior nor fully understood.
Needless to say, I finished the album, all 19 tracks (a solid number for an album if I do say so myself), and was hooked. Going back to the range of the album, all the songs seemed to be entry ways leading to worlds of emotions and feelings both rooted in the time in which they were recorded and relevant to the time I found myself in: late adolescence. They were expressed in a whole slew of genres that the album can be heard as a reader into all that is Rock. I was living in a time of discovery of experiences all known as life.
Now, on the other side of turning 20, I still dig the album as much as I did that. It still allows me to enter into a world other than my own, as I enter into a life all my own. It is a self-contained reality of unique and authentic artistic expression (the same can be said about Sgt. Peppers, but that is a post for another day). It is an aesthetic escape.
I enjoy hearing the songs for another time and dialing into the music and lyrics for few minutes, knowing that another one awaits me. And with each one, I turn up the tunes a little more and sing with more a smile. All of my joy and glee reaching its peak by the time things wrap up with "Train in Vain(Stand By Me). The album closes with me musically satisfied and already excited for my next time in the world of London Calling.
Saturday, July 13, 2013
Always Going to Be A Jam
Since my introduction to it, Bob Dylan's "Jokerman" has been a jam for me. I recall discovering it Summer 2011 following an endorsement from Coldplay's Chris Martin. In an issue dedicated to Dylan, Martin was asked to name his favorite Dylan track. Martin named this song citing its Biblical lyrical range and inclusion of several noteworthy musicians on the track, amongst them former Stone Mick Taylor. Always a fan of Martin's own music, I reasoned that if it was good enough for him, it could potentially be good enough for me.
But before I begin, I would like to first define what a "jam" is to me. Quite simply, it is a song that I listen to no the situation I find myself in. I turn to it and turn it on because for me it leads me to smile. It amuses me in all the best ways possible. It just makes me happy.
In the case of "Jokerman"I am filled with the creativity and intentionality behind it. I anticipate the next lyric Dylan sings with one his last passable voices, his aged 80's cry. It came in the what would later be revealed as the middle part of his career, a decade that began with religious conviction and ended with the founding of his "Never Ending Tour."
"Jokerman" is heard as in response to his three religious albums he released leading up to Infidels, the album housing "Jokerman." Still painting with a lyrical palate rich in religious imagery, this time Dylan uses it not testify to the salvation offered by a prophet, but to create a character is explained through a composite all the stories found in the good book. As I listen, I aim to identify all of them and process what their significance is in this story Dylan is telling, all before the next one appears.
Throughout this process, I am treated to a relaxed landscape of sound. A snare drum taps in beat, coming to the front of the sound, and joining Dylan's voice for a second. Meanwhile in the background, an ambient organs plays with guitars, rhythm, lead, and bass alike, all holding their own and contributing to the sound of the song.
It is a song I continue to return to when I am in need of something I can sing along to and smile.
But before I begin, I would like to first define what a "jam" is to me. Quite simply, it is a song that I listen to no the situation I find myself in. I turn to it and turn it on because for me it leads me to smile. It amuses me in all the best ways possible. It just makes me happy.
In the case of "Jokerman"I am filled with the creativity and intentionality behind it. I anticipate the next lyric Dylan sings with one his last passable voices, his aged 80's cry. It came in the what would later be revealed as the middle part of his career, a decade that began with religious conviction and ended with the founding of his "Never Ending Tour."
"Jokerman" is heard as in response to his three religious albums he released leading up to Infidels, the album housing "Jokerman." Still painting with a lyrical palate rich in religious imagery, this time Dylan uses it not testify to the salvation offered by a prophet, but to create a character is explained through a composite all the stories found in the good book. As I listen, I aim to identify all of them and process what their significance is in this story Dylan is telling, all before the next one appears.
Throughout this process, I am treated to a relaxed landscape of sound. A snare drum taps in beat, coming to the front of the sound, and joining Dylan's voice for a second. Meanwhile in the background, an ambient organs plays with guitars, rhythm, lead, and bass alike, all holding their own and contributing to the sound of the song.
It is a song I continue to return to when I am in need of something I can sing along to and smile.
Sunday, April 7, 2013
A Good Song and Some Sunshine
I sit here on this Sunday afternoon filled with appreciation for the life I live and joy for days to come. This joy is compounded with the situation in which I type on these keys. The sun is shining through an open window and "Landslide" by Fleetwood Mac is playing on Youtube.
Stevie Nicks' intent to convey her message and let the listener into her emotional landscape is compelling. It moves me to ponder my own life, reflect on what would compel me to write such a personal song. Those thoughts and feelings flow into my mind and meet the warmth felt by the sun. Just as a river would in the wild. I may not have the answer to if I can "flow through the ocean's tides" but this moment felt right now is certainly helping.
I get lost in this experience for nearly four minutes and that is enough. It is a breath in of the freshest mountain air. It is the perfect splash of wave on my legs as I walk into the ocean. It is exactly what I needed. It is all these things and more. It is a good song and some sunshine.
Stevie Nicks' intent to convey her message and let the listener into her emotional landscape is compelling. It moves me to ponder my own life, reflect on what would compel me to write such a personal song. Those thoughts and feelings flow into my mind and meet the warmth felt by the sun. Just as a river would in the wild. I may not have the answer to if I can "flow through the ocean's tides" but this moment felt right now is certainly helping.
I get lost in this experience for nearly four minutes and that is enough. It is a breath in of the freshest mountain air. It is the perfect splash of wave on my legs as I walk into the ocean. It is exactly what I needed. It is all these things and more. It is a good song and some sunshine.
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