Woo-Hoo, I'm Not Last! Aaron's VOL.7 Comments

Sorry for the delay on these, I did have comments almost ready to go three weeks ago, but I changed my mind on what I thought of some of the selections. Things are pretty crazy for me right now, Krista has quite a bit going on, and that leaves me with Elsa most of my waking, non-working hours. I also no longer have time to work on comments at work (where I did most of my blogging). I am trying to get more exercise in, and that is taking any free time I have(in fact, I'm finishing these up three hours before I have to get up for work). So again I apologize, but I can’t promise things will get much better in the future. If that is grounds for excommunication, so be it. I have no plans to quit.

Sam Phillips (Hmmm)

My first thought was “I thought Phillips just produced records.” Second thought was “That’s a chick, and doesn’t sound like a ‘Sun’ record anyway.” Sorry T-Clog, never had any doubts. I dig her voice, and the sound, but these offerings don’t make me want to rush out and buy, or even add to a list if “somedays” for that matter.

1. "How to Quit"

I like the waltz in 4/4 sections. Overall there seems to be a Beatles influence in there, maybe circa The White Album. I like the lyrics (although, like Dan I am left wondering about the message), but there is an effect on vocal that makes it hard for me to clearly understand, and that may keep me from liking this one better.

2. "Red Silk Five"

Dan may be onto something with his wondering about the ethnic influence of this song. Maybe gypsy, with a jazzy blues mixed in. I envision hearing this song in a café in the south of France. Tom’s Sammy wandering through the tables singing to the patrons, snaking her boa around men’s necks. I like this one about the same as the first. Pleasant, but not outstanding.


The Decemberists (Ah Ha!)

The next three songs were not the original sticking point of this collection for me, but rather the cause of the second delay. I know that I have heard The Decemberists on The Current, and I know that I liked what I heard. That said, for some reason I was not liking them one damn bit. And that was driving me nuts. I had comments done for Sammy, and for the second two in this set, and I was giving Vol. 7 another listen on the iPod at my monthly poker tourney, and it hit me. My QQ ran into KK, and I was out, but The Decemberist had an Ace in the hole, and caught a break.

Make no mistake, this is folk music. From Montana, but not of Montana. From the 21st Century, but not of it.

3. "We Both Go Down Together"

OK, here it is. My problem, an irrational one to be sure, started with the first line of this song, and I subconsciously held the grudge through all three songs.

Here on these cliffs of Dover
So high you can't see over

That bugs the shit out of me. It doesn’t make any sense, and it still bothers me every time I hear the song. But now that I’ve come to terms with it I am moving on. Otherwise I like the song. The vocals don’t bother me at all, but then again I think Tom Petty and Geddy Lee have fine voices. I like the mix of the acoustic instruments, and this carries over to the other two songs. The pizzicato violin is something not often heard in pop music and I like it here at the 1:16 mark. The harmonic turn at the 2:00 mark is nice, but the lyrics there get to me again. Her name seems like a cheap rhyme. And “untouched?” We know that ain’t true. She’s got a tat, and we KNOW he nailed her in the clearing.

4. "Eli, The Barrow Boy"

And now for something completely different, The Larch. It should become a requirement that each volume have at least one tree reference.

Another love song, this time they are both from the wrong side of the tracks, so they got that going for them. But the barrow boy can’t swim for shit, and that is a real downer. I love the somber mood of this song. But for the lyrics, and vocals (in other words, the guitar and violin), this seems like it could be at home on a Lyle Lovett album. Funny how the vocal style and lyrics can have such an effect.

5. "The Mariner’s Revenge Song"

Sorry to hear that this song gives T-Clog visions of an izmel. I for one like the song. This would make a great screen play. I’m thinking Depp and Bloom…

Great all around. The music matches that tale perfectly. He does have a knack for storytelling. I love the whale attack at 6:35. As Dan mentioned the music doen’t do much, but the lyrics are the focus of this song, and the music comliments them perfectly.


Sufjan Stevens (Meh…)

I love the album title, and it’s an interesting concept, the 50 states/50 albums. I hope he ca finish it, otherwise people are going to point and laugh. I’ve hit a roadblock with these last five songs. I’ve listened and listened to this collection, more than any of the others, almost every day for the three weeks I’ve had it (and since I delayed these comments due to tracks 3-5), and I just cant get anything on these last five tracks. The music is pleasant enough, and I don’t have the urge to skip ahead on any of the tracks, but I can’t really listen to it. On all of my listenings while working around the house or playing with Elsa it has faded to the background. Even on my serious listens, following along with the lyrics I have trouble concentrating, and my mind wanders, even as I am looking at the words, but not seeing them. I’ll give a few notes on each track, but assume that all I’ve said so far applies.

6. "Concerning the UFO Sighting near Highland, Illinois"

Starting out, I dig the piano, and I would like to get into a song about UFOs, but all of the above apply here.

7. "John Wayne Gacy Jr."

Chilling indeed. Especially the last line. The music starts to draw me in at the end of the first verse, but fades again as the song goes on.


8. "Decatur, Or, Round of Applause For Your Stepmother!"

This is my favorite of the selections from Stevens. I like the instrumentation, but I would like a little more progression musically. Some places the vocal seems a bit rigid, but overall, not a bad selection.

9. "The Predatory Wasp Of The Palisades Is Out To Get Us!"

Toward the end of the song things get busy musically (ala The Polyphonic Spree), but it still doesn’t grab me.

10. "The Seer’s Tower"

Nothing here for me really.


Wrapping up

Bold move for Mix highlighting only three artists, but not a bad idea. I wouldn’t object to others taking this approach if they feel the urge. Not finding myself a fan of Stevens, but it certainly wasn’t torture. Like I said, his music was pleasant enough, but just didn’t grab me.

BS: A tie between The Mariner’s Revenge Song, and Eli, The Barrow Boy.
SIWHI: NA

Of Mixdorf's Idea

I like the idea of mixing up the months a bit, so we all do not have the same month over and over again. However, I'd like to propose that instead of swapping a Pat for an Aaron, for example, we simply have a month where there is no CD, a break from the club, one month a year. We could start with September this year, October the next year, and so on.

Let me know if this would be OK.

Yours Truly,

Mighty Tom

Shit or get off the motherfucking pot.

Volume 7 Wrap Up

See individual comments here, here, here and here. Comment and you'll get your name added to the list (that means you MILES).

What I've learned so far....

Mighty Tom and I remained muscially aligned.
Dan/Aaron and I are not.
TClog hates the accordion and can no longer distinguish men's and women's voices.

I seriously considered all ten songs coming from Sufian Stevens. If I had, Dan would have missed out on a tremendous musical find. He also would have had his mind blown altogether in terms of the accepted structure of CMC to date. I had thought that the strength of the SS songs I did include would have garnered more interest, but perhaps I should have chosen some different ones. There are 3 other songs on the album that would probably be considered more powerful than several of the those that I chose, but I thought I would hold them back for other future themes. Perhaps a bad decision.

Given the membership, nothing that I presented was likely to rock the boat that much, though I was genuinely surprised by a number of the reactions, both positive and negative.

If I were to give out an award for best commenter, it would go hands down to Mighty Tom who seems to craft his responses in a far more creative way than any of the rest of us. He deserves kudos.

On other CMC related business, I suggest a shake-up at the end of round two. Starting in September I say we change the order of submission, principally so that we all don't get the same months every year (assuming we remain with 6 participants). Assuming so, I suggest Dan and I switch, Aaron and Mighty Tom swap, and Miles and T-Clog switch. That way, nobody has to go more than 7 months without putting out a collection, and everyone ends up in a different month than they had this last year. Future reorderings are likely to be more painful.

Another Item About Natalie Merchant

It seems, her live version of 'Because the Night' (with the Maniacs? and a mild hit)
was a period of transition for her. From the Maniacs to her solo career.

I tested the waters and it was good!

testing the waters: Volume 7 (Mixdorf, March 06’)

How to Quit – Sam Phillips: From the other comments, people say that this is a girl singing this song. What? Are you kidding me? It totally sounds like a dude to me. I would have never guessed that it was a girl. Mixdorf what is IT? I did not see any comments that countered Pat and Dan’s suggestions that it was a girl. They would know more than I would because they are both girls. Seriously, they have better ears than I do. Now back to the song. It was new to me and I like it enough to always listen to it when putting this album on. Like Randy Jackson from American Idol would say. “It was just alright for me dog.”

Red Silk Five – Sam Phillips: A charming song. I like the smokey coolness of his voice. I am going with the HIM until told otherwise. He is almost too cool to sing this song. It is a very likeable song. I imagine myself in a quiet little bar unwinding from a stressful day. Sipping some whiskey on the rocks and wishing for my friends to walk through the door is the picture that I see in my head.

We Both Go Down Together – The Decemberists: Freak’in great song! I love the line about the white chalk cliffs of Dover. Geography and geology interest me a great deal. The class I took two summers ago has really given me an appreciation for landscape ecology. What does this have to do with this song or music? I see nature as the greatest song ever written/sung. It is impressive how its lyrics are perfectly designed. I am a fan of the Decemberists. Do I have to go to Amazon to buy any of their music? I am sure that I can’t find them at my local department store. Just a fab band brother!

Eli, The Barrow Boy – The Decemberists: One of the best songs on the album in my opinion. I listen to it over and over again. When I listen to this song, I put it on my stereo’s replay function. I listen to this song at least 5 to 7 times in a row. Just love it! It is a sad song that unzips the empathy pocket of your heart. I feel for young Eli, and I wish to make things better for him. His ghostly presence still pushes the barrow and it still pushes out a smile upon my face.

The Mariner’s Revenge Song – The Decemberists: I hated this song so much that I had to tell Mixdorf to his ear that it just plain SUCKED. However, as I listen to it more and more I have been able to distinguish which aspects of the song that makes my hair stand on end. The story / lyrics are GREAT. I really get into the story each time that I listen to it as of late. The parts that burn in my ears are the instruments. Is that an old Czech accordion? Just sucks whatever it is. It makes me think of a Bris. I can’t help to wonder if I am going to get my dick cut again. Sorry for the strong and negative comments, but I just want to be honest. I am developing the ability to appreciate the different aspects of a song. I love the children singing at about the 4:35 mark. Love it!

Concerning the UFO Sighting Near Highland, Illinois – Sufjian Stevens: This song is so eloquent sounding. The piano gives it a classical feel. The musical components of this song are just amazing to me. I really like the song a lot. There are some intelligent lyrics in this song that capture my heart strings. This is a short song, but it is one of my favorites. A VERY GOOD song!

John Wyane Gacy Jr. – Sufjian Stevens: Creepy and very poignant! I found this song to be wonderful. I love history and stories. This song does a great job of telling the historical facts. As a Waterloo native, I feel a connection to JWG. I am one person removed from him. The evil that overcomes a person is insane and I can’t understanding how a person could give into such darkness. I feel a deep disgust for him like I did for Anikan when he killed the younglings in Episode III. I hope that none of you ever become a serial killer or turns to the darkside. I said much more about this song and subject on my blog. IF you are interested in reading more about this man and my thoughts please vist the site. This may be the best song on the album. A little bizarre, yes. However, if I listen to it over and over again and enjoy it how can I not claim it as one of my favorites?

The Predatory Wasp of the Palisades is out to Get Us – Sufjian Stevens: A cool and sweet beginning. Nice use of the tambourine or tambourine on the synthesizer. I like the instruments and music a lot. The lyrics are fine also. The horn is great about the 2:16 mark. A great chorus of voices too. This is a song that I look forward to in this album. I love the palisades. On our way to Taos, New Mexico from Philmont, you pass through some amazing palisades. A natural feature that I really have a lot of interest. Another good pick.

The Seer’s Tower – Sufjian Stevens: Serious piano here. I love it! I never been in the Sear’s Tower but I have been in the Hancock Building. This is a great song. It is great because it has so many excellent aspects. The excellent aspects included: people whoooing in a quiet hum, awesome piano, and good lyrics. The musical flow was very pleasant to my ears and I might request (magazine) the other songs off of this album.

Review: An outstanding album! This is one cd that will get wore out in time. I already listen to this album whenever I find myself putting a cd in the player. My favorites have to be Eli, JWG, UFO, Decatur, and Seer’s Tower. I like them all about the same, so all five are my one clear favorite. I am a man of first. In contrast with this is The Mariner’s Revenge Song. SUCKS musically, but has a great story. Mixdorf was brave in his bold theme, but it really paid off in my opinion! From the teacher you get an A.

Volume VIII: Danbient

In Volume 8, I am taking a bit of a departure from our common base of experience in popular music. Ambient music is something which has been on the periphery of my artistic universe for some time, but to which I had a sudden, intense awakening in Uptown’s The Tea Room, last summer. I then started exploring a little at work, via internet radio. Others who have the benefit of being able to listen to music at work may have run into the difficulty in trying to simultaneously concentrate on work and music. Not so with ambient. As a non-demanding background aural soundscape, the internet radio stations I listen to glide seamlessly from song to song while I plug away during the day, only occasionally piquing my interest to the level where I am jolted out of my here-and-now enough to say, "Hey, now that’s a nice groove!" The nice thing about ambient music is quite probably the thing that is most likely to bring a maelstrom of criticism down upon me: it is not very demanding to the listener, neither his/her musical ear nor his/her intellect. Brian Eno had a great quote about the style:

"Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting."

Does this lack of lyrical message or prototypical song structure (verse, chorus, verse progression) make it less valid of a musical form? An intersting topic for debate; I suspect I’ll have some idea of where each of you falls in the debate by the time the comments for this collection shake out. For my part, I do find the songs on this collection immensely enjoyable; they have swung so far from the realm of "ignorable" so as to move me to purchase them. These songs I find "cool" and they definitely put me into some kind of funky, chilled-out mood where I just want to lean back and groove. The world of electronica is a wild one with few rules. It’s hard to know when one style (anything from trance to downtempo to dub, etc.) is a sub-genre of another, if and how it is related, or if they are just two terms for essentially the same thing. Songs draw from a near-limitless array of styles, influences, and beats. Ambient artists rarely achieve even a moderate level of success in the business (I often refer to the prototypical band as "two French guys in one of their mothers’ basement"), which makes tracking down actual copies of songs I’ve come across very spotty, at best. Roughly half the songs I hear on ambient radio are still commercially available in any form whatsoever, based on my personal experience in trying to aquire some. Having listened to this style quite a bit over the past year or so, a definite couple of simple truths have become quite clear: these guys love outer space and, while they’re not particularly fond of putting a human voice in their song, when you do have to record it, they believe that "reverb" should be cranked hard to the right and possibly through an additional effects processor to boot. Themes, when they can be deciphered, are of space (of course), the sea, and your mind. Some ambient or electronica does not adhere to any tratitional music structure, being of pure "colour and mood." You won’t hear any of that crap here. The songs I like are strongly influenced by dance or funk rhythms and bass lines, often with successive musical layers that come in and out. You know, "grooves." Danbient songs would make great ring-tones.

I’m not sure what I expect for comments. I’ll say a couple of notes about each song, but I would ask that you not feel obligated to comment on each song, individually; if you feel utterly unmoved by the music, as I suspect one or two of you might. Regardless of how much you enjoy or don’t enjoy the collection, I’d like to hear your thoughts on why. If it would help at all, I’d recommend you don’t worry about straining your ears and listening too close. Remember the words of the great Eno. Then, sit back and relax, or maybe start doing something else while you’re listening.

1. Witch Doctor: Small Axe: Slow, grooving, and relentless. This song makes me think of dwarves digging in the deep places of the earth. I love the doppler effect horn sounds and the echoey fill that keeps repeating.

2. Café Coca: De-Phazz: Exotic and alien! Wild confluence of island rhythms, the tinny vibrating vocalizations, the syncopated keyboard, the low, low "ooooh"s. I also love the echo that repeats and repeats on something that sounds like some guy calling out "yammin-o!" at about 1:00.

3. High Roller: The Crystal Method: ooooo-this one, off an album called, Vegas, should presumably be about a gambler. But they’re not fooling anyone. This is all outer space, baby! The build up at the beginning-the countdown, the fuckin’ launch out of the side bay! Christ, this just fires up the hell out of me! When the drums kick in, it’s with an energy that rivals about any live set I’ve ever heard. I love the real guitar power chord at 2:30-damn! I also love the dialogue between this one guy, presumably up in the shuttle, who is concerned that the guy in the starbase isn’t getting his transmission. But the guy in the base, cool as a cubumber, keeps trying to reassure him "we’ve got it."

4. Le Soleil est Près de Moi: Air: I’m pretty sure this is a real electric bass. Slow and sexy. This style might be called chill-out and/or lounge, I’m not sure. I love the seagull keys and the general laid-back nature of the song. I also love the little church organ solo. For those that don’t know and don’t want to have to look it up: Le soleil est près de moi means "the sun is close to me."

5. Kaye: 7-Hurtz: I love the fusion of various styles in this song: the funny spoken word addition by the British guy. Sultry female vocals over the top, with those ping-pongy syncopations bouncing around all over the place, while an orchestration-styled keyboard effect sweeps in from time to time.

6. Sea of Tranquility: John Stanford: If your tether is cut and you’re spiraling off into the vast darkness, there might be some slightly more cheery songs to which you could listen to on your iPod, but none quite so appropriat as John Stanford’s Sea of Tranquility. A perfect ambient song: about space on an album called "Deep Space,"with layer upon poweful layer building for effect and emotion through the song’s gradual and relentless crescendo. To fit the perfect ambient billing, there’s even some guy delivering some sort of echoey transmission or other.

7. Wilderness: Bluetech: OK…now this song. I’m pretty sure it originally caught my attention, as it almost certainly is the background music for some never-before attained level in Blaster Master. I find the beat and diverse, dynamically-pitched tones to be mesmerizing as other mights be mezmerized by the Teletubbies and others, by watching the ocean.

8. Devotion No. 1: Loop Guru: Interesting. The obvious interpretation of the band’s name is that the "Guru" is related to the sitar & tabla used in this song, combined with the "Loop" nature of ambient recording. Odd, then, that Loup Garrou is the French term for werewolf…In any event, I absolutely love the name of the album this song is from: "Bathtime with Loop Guru." The song is not all that dissimilar from a goodly contingent of popular Indian music, insofar as I understand it after repeated dining experiences at Udupi Café and The Great India. I love the repeated vocal phrase and the meditative swirling of sounds. Then they all get brought together just after 3:00 with a catchy bassline motif. Very cleverly done, from a musical standpoint.

9. Numero Deux: The Dining Rooms: This song is definitely using a real, live bass (you can totally hear the squeaks at the beginning). I love that bassline, and the "whatcha-whatcha-watcha" want drums & effects, along with the crazy marimba strain. How about that kind of weird "What’s that flying, in the sky?" delivered at 2:04? A query that is neither answered, repeated, nor followed up with any other words, whatsoever. I can only assume whatever it is, it originates from outer space.

10. Rapture at Sea: Eastern Sun & John Kelley: Much, much more catchy than the song by Eastern Sun & Mike Kelly. Smooth, skidding sound of a .1 gravity space car on a titanium street. I love the little "dittleum!" "dittleum" sounds that are dropped in over the building musical base. Entrancing and compelling.

All right-that’s it. I truly hope you find enjoyment out of this and I look forward to hearing what you have to say!

Get me some comments - bitches

You know who you are!

Dan's Comments on Vol 7: Testing the Waters

Overall remarks. The most monumental shakeup thus far in the collection: multiple songs by multiple artists! Bold! And great idea! Who hasn't been assembling a collection or potential collection and been faced with the problem of choosing between multiple songs by the same artist (though, I guess, Gibbs sort of dilly-dallied with this first with the two Zeps on "Poignant Santa)? Anyway-great way to give us a more substantial look at artists that are floating your boat.

1. How to Quit: I liked it OK, but not an exceptional amount. I think you like her voice more than me-possibly quite a bit more. Interesting, I actually think both the singing and the playing reminds me quite a bit of some early stuff from solo McCartney (circa early 70s-with him singing falsetto which sounds spookily like her voice); which doesn't necessarily give you the impression I would not be a huge fan. I guess when he did it it was more of a novelty-but not a vocal quality that, for me, could sustain itself over an entire album. Some of the chord changes-unexpectedly from major to minor-kind of neat. I had a little bit more trouble trying to extract a cohesive message from the lyrics. You may be onto something about her love affair, but to me it almost seems more like a bunch of individual lines that make sense in and of themselves, but not when assembled (ala Duran Duran, but far less ridiculous).

2. Red Silk Five: More guitar & vocal style reminiscent of McCartney (although her voice sounds lower on this song (this time almost like McCartney without a falsetto). I actually don't find it sultry, but rather unappealing) and more rather insructible lyrics, (again ala Duran Duran, so I will again offer an example of their ridiculous lyrics). This song does very little for me. There's a sort of snaky, loungey sort of minor chordy style of alternative music that is probably not classified anywhere as an official sub-genre, but it is one to which it seems you are drawn, Mixdorf. This is definitely not the first couple of songs of this sort that I've heard in your collection. You know-just thinking here...does this remind anyone vaguely of some kind of ethnic music-either possibly traditional Jewish or some sort of eastern European (Romanian, gypsy, etc.) in chord/melody/song structure. Obviously pretty far removed from any of the actual traditional styles, but there's some basics that, to me, seem like they're in there. Might be interesting for you to visit the ol' public library and explore it...Anyway, the collection picks up considerably for me after the Sam Phillips section is over...

3. We Both Go Down Together: Oh...my...God....what a find for you and for me now! This song rockets to the upper, upper crust of all that I have heard so far in CMC; certainly among the top two or three of songs to which I'd previously not been exposed. I LOVE Colin Malloy's voice and I just think it's hilarious-picturing this guy with this cosmopolitan, East Coast accent-sounding for all the world like he should be out singing show tunes at The Ritz, growing up in Mizzoula, MT. And I love that regardless of where his songs transport you: 19th century England, 18th century Nantucket, 18th century Georgia Plantation; the stories are always being delivered by this skinny, clean-cut guy from late 20th century New Jersey. And I LOVE how and where his songs transport you, lyric-wise. He doesn't just tell a tale-he's IN the tale. His a tall tale teller, and he pulls no punches in that regard. I don't know if this is the case, but I can almost picture their fans waiting for the next album release the way an old audience might have waited for the latest release in a serial publication by Dickens. So, word-wise, Mixdorf and Dan finally meet in the middle? An instance where the words are so jolly good and interesting, that the music is knocked down a notch or two in importance? Perhaps, but that's why "We Both Go Down Together" is so great! The music is FANTASTIC! Spine-chilling the way it supports the scene that is being laid out. Did Gibbs' (I just glanced at his comments-haven't read them closely yet) say that he was delivering the words from the standpoint of the woman? I didn't see it like that...I thought he was definitely being the man, but that the way his character is the one from "wealth & beauty, untouched by work or duty" and all was a fantastic, funny, and shocking fist in the face of rock and roll tradition of about 50 years where everyone knows the protagonist is always the guy that's out of his league. So funny, so wonderful. I can't get enough of his crazy accent (does he sometimes think he, himself is funny, and actually work it to effect?), and the musical progression in this song. Great musical moment, the tension rising between music and vocals right as he delivers the "hold tight, it's just beginning" line. Have gotten chills numerous times at that point. And boy, what a powerful line: "We both go down together." Great, and great. On a side note: consider how the entire gist of the song would have changed with the simple rearranging of two words: "Meet me on my untouched veranda, my sweet and vast Miranda..."

4. Eli, the Barrow Boy: Very, very Dickens reminiscent. God, the story goes from sad to saddest, kind of like Little Nell in The Old Curiosity Shop. Not as musicially compelling as the previous song, but a quality listen, nevertheless.

5. The Mariner’s Revenge Song: OK, now this song is interesting. In this, the two worlds totally collide. Music which could have literally have been lifted from a sound effects CD, or a set list from the house band at My Big Fat Greek Wedding. However, one of the most wild and fantastical set of words to have ever been set to music!!! What to say, how to evaluate? I must say that the way the song is sung, he definitely lifts the music, which defininitely does not progress much, otherwise, to a point where it is supporting and helping to move the story along. What an insane and great story! I guess the end evaluation is that I enjoy hearing the song every time I do. As I mentioned two songs ago, funny also to hear his voice in this character. The fear he sees in his victim's eyes may well be as the result of the guy realizing he's alone in the middle of the sea with a tirading metrosexual.

6. Concerning the UFO Sighting near Highland, Illinois: Wild, great idea for a project on which to embark (50 states, 50 albums). Sounds exactly like something of which I might conceive and, subsequently, fail to accomplish. I wish him the best. In this song, I love the UFO-piano. Words, short and sweet in stark contrast to the previous few selections. Very pretty, very haunting.

7. John Wayne Gacy, Jr.: Ugh. Gibbs saying something like this is the song no one would want to admit being their favorite. Wow-he's embracing a topic a lot of non-speed metal groups would not touch with a 10-foot pole. I wonder if all the little things he alludes to from Gacy's background are true: I suppose they probably are. In any event, an exceedingly pretty song, that is far too pretty and beautiful for the subject matter. Kind of like the beautiful poison dart frog of South America, or the plants that shoot hippie spores in This Side of Paradise. Not sure what he's getting at when he refers to the 27 people killed by Gacy then asks "are you one of them?" Um...no. I think the last couple lines, about being "...just like him" are a little disconcerting and odd. Sort of like, why would you say that? Not sure why he felt it necessary to draw such a comparison. I like the falsetto "aye-ee-aye-aye" moments, musically; and the harmony.

8. Decatur, Or, Round of Applause For Your Stepmother! NPR, indeed! Musically, this sounds like some sort of intro song to a PBS special or documentary. Musically, I also find it rather boring.

9. The Predatory Wasp Of The Palisades Is Out To Get Us! Guitary style very similar to the Gacy song. A couple of moments and moods that seem very much like Paul Simon's "Renee and Georgette Marritte with Their Dog After the War." About traveling in Illinois as a kid? Very poignant and intimate. I like the words and I find the music very pretty, though not groundbreaking. I like some the countermelody choruses that sort of continue throughout the song.

10. The Seer’s Tower
This guy could take a song about Rowan and Martin's Laugh-In and make it haunting. I can't improve upon the comments that Mighty Tom made on this song, for they were mine generally, as well-though I'm not sure I would have "coalesced" them quite so well. I don't find these words really accessible-and it seems that relating them to the Sears Tower is pushing it a bit. It doesn't do an amazing amount for me overall; though sometimes I can pretend that "The Seer''s Tower" is referring to Isengard, and then I sit up and take notice.

Overall: Alternative music has got you, my friend. The newest of the newest of the new, as is so often on the playlist for NPR or college radio, is so amazingly hit or miss (and mostly miss) for me, but it is a fertile hotbed of potential music for your collection. I don't spend much time in that world these days, so you (and Miles too, I think) will be my connection to all that is alt. In the best of moments, I will come across assorted goodies to which I never otherwise would have been exposed. B.S., without a doubt for me "We Both Go Down Together." Thanks so much for bringing that song into my life. SIWHI: hmmm. I don't know any other songs by these guys. How about an individual artist you guys might not know who has multiple songs I think are great and that deserve exposure? Mike Ireland.

Mighty Tom Enjoyed His Bath!

Volume 7

Testing the Waters

To begin, I really love this collection. I really like the cover and the concept: a cautious dip of a toe, an exploratory wade, and a submission to abandonment. Ooohs, ahhhhs, and the splash. Great colors. I also liked the bit of art on the CD itself.

Amazing! The picture on the cover of a 52-year-old Pat Mixdorf swimming at a Holiday Inn pool somewhere in Georgia! Why Georgia? Because, later that evening, Mixdorf will be leading a small group of friends to a Sufjian Stevens concert. Hee hee.

I thought it appropriate for Mixdorf to address the club formally at this time and I enjoyed his assessments. I chuckled at yet another near-denouncement of his Vol. 1. But here we are, as in the opening of the first Planet of the Apes movie…from space to water…

Sam Phillips

First, I like to refer to her as Sammy. I like the story about how you were immediately struck by her voice and how it inspired you to quickly purchase the album. These moments can never be planned and are always sweet as honey cakes. I like her voice and the vocal delivery keeps your attention. I like the arrangements, instrumentation, and agree that she doesn’t appear too jaded or dragged down – someone who probably has a good, healthy outlook on life.


1. How to Quit

I’ve never heard of Sammy before, but I did have a copy of ‘How to Quit,’ though I didn’t know what the song was or whom it was by until the arrival of Volume 7. You gotta like the line, “Faith is running toward the sound of water.” Perhaps there is some deeper personal meaning for you – which is awesome, however, not knowing what that might be I can only form the following explanation. Perhaps it was a Pat Mixdorf Plumbing Escapade gone awry that caused Faith to go… running toward the sound of water (hee hee).

I really like ‘How to Quit.’ It’s an excellent song that incorporates good lyrics and a fresh vocal delivery in the perfect amount of time, meaning the length of the song struck me as being perfect. Very often, especially when listening to new music, the length of a song can work for or against it, to extremes. If I am loving a song, let it go on and on as I’m loving it more and more and more. If I am not loving it, the longer it goes on the more I dislike it. ‘How to Quit’ is a rare instance of a new song (to me) that occupies the perfect amount of time. Nice going Sammy.






2. Red Silk Five

A very intriguing song and intrigue is the word. I’ll get back to that in a second. This song has all the qualities that I liked in ‘How to Quit’ – as to which one do I like better? I’m going to pretend I didn’t ask myself that question. Oh I could go back, highlight, delete – you know, a little light editing, maybe some tea, but what a bother. No matter. These two songs by Sammy along with Mixdorf’s comments indicate a solid album. I would definitely like to have a listen.

Back to intrigue. I do not know exactly what this song is about. I believe it is a James Bondy heavy drama spy movie. The movie is called ‘Red Silk Five’ and the song would open up the movie against Russian urban landscapes. ‘Red Silk Five’ is the 007, a Russian agent suffering from a broken romance. Left to do his or her spy duties but with ZERO conscience. He or she would be very good, smooth, dangerous, but without any sign of a conscience. A life destroyed by lost love. Starring Owen Wilson as…Red Silk Five!

Oh, and the beginning of the song is definitely a take on the Bond theme.


The Decemberists

Where are they from? I think Dan said Montana? Whoa! I am really interested in this band. I have previously heard the three songs included here. I love them all. I really really love the Decemberists. I love the words and song craft. It is impressive the way they can sustain an energy throughout their songs, especially ‘The Mariner’s Revenge Song.’ Odd, I could see them doing a version of ‘Come On Ilene.’ Probably a great version. Daughters and mothers and oceans and rivers and revenge and love.




3. We Both Go Down Together

Maybe a little Romeo and Juliet as well. A classic theme that always bears repeating (a little Stripes for ya). I wonder if the real twist here is that it is written from the point of view of a woman, which it might be. Great song.

I really like the orchestration and the bridge leading up to the final ‘exit.’ Nicely expressed.

Mirandas and Verandas. I can’t help but be reminded of another classic in which a lovely Mexican woman propositions Dusty Bottoms for a kiss.

Dusty replies, “What, now, here?”

The woman: “Oh we can take a walk and you could kiss me on the veranda.”

Dusty, with a considering look: “Lips would be fine.”




4. Eli, The Barrow Boy

‘Eli, the Barrow Boy’ is a funny title if you consider a barrow from TLOTRs. A lost chapter of Tolkien – Eli – the Barrow Boy. Some poor sap to clean up wight crap after the dirty, filthy residents of the barrow have dined. But, from the excellent picture on the cover (or other album art) – obviously a WHEELbarrow. Not to mention the lyrics. Love the lyrics.

The ignored people. The people that do not, could not play any game to get ahead in life. Some we call mentally challenged, but mostly they just don’t go for playing the game. They have no expectation. They feel entitled to nothing. They will get ripped off. They will not argue. They buy coffee for their masters. They pay taxes so scumbags can supposedly better themselves for free. They do not even ask for respect. They will drink a soda alone around noon and enjoy it more fully than any of us could ever hope to enjoy anything, ever. A higher call they have. Be it to push a barrow or to fill it with wight crap.



5. The Mariner’s Revenge Song

My favorite song from the Decemberists and possibly my favorite song on the entire CD and one of my favorites from the club as a whole. I love the distant connections to Bungalow Bill. There is a great energy in this song and it is downright exciting. A fantastic story told marvelously through song. Revenge and love on several levels. The language written here is exquisite and the music perfectly captures the mood. This song has been performed in the courts of princes to the delight of artists and lovers for thousands of years. With Volume Seven, we have now become the privileged. The juggernaut crashes down his fist of approval on this one.






Sufjian Stevens

The newest music to me on this collection. Except for hearing about the 50 album for 50 states idea, I have never heard of Sufjian Stevens. By the way, what was the first state that he tackled? Very interesting. Musically, lyrically, and of course, thematically. 50 albums for 50 states by one artist may be a bit much, but I could certainly see 10 or 12. I will echo Mixdorf’s ‘beauty and quality’ when considering these songs. Very new.

Wow – sign of the times, first hearing music via a podcast partially engineered by Adam Curry. 2006 meets 1982! An album inspired by and partly about my western neighbor, Illinois, fascinating.

Sufjian Succotash!



6. Concerning the UFO Sighting Near Highland Illinois

I love the intro, the unexpected flute roll ups are beautiful, and tasty too! I like the airy feel, attributed to his voice, flute, and piano tappings. The piano reminds me slightly of extremely slowed down Pete Townshend piano/keyboard riffs.

I wonder if this song was based on an actual report? Do the liner notes indicate that this was based on something that actually happened? By the way, Highland and Lebanon are both south of 70 and quite close to St. Louis.

“How many stars DO YOU SEE!” asked the wrinkly-faced alien.

“There are THREE STARS!” responded the tough, but roughed up leader of men.




7. John Wayne Gacy Jr.

Whoa – what a song! Holy crap, talk about something new. What can you say? Maybe I’ll throw in a Gee Wiz.

Interesting use of harmony, I like the way they well up in just the right spots. Disturbing end, his confession to having secrets is one thing, but a confession about having secrets in a song about John Wayne Gacy Jr. Gee Wiz! What a dark ending, the breathing, scary stuff.

So are we to infer that getting hit in the head with a swing set caused him to go evil? And was it the entire swing set, perhaps still in the packaging, or just part of the swing set? I want to make sure I can warn people. “Get your head away from that teeter-totter – shit!”

The “Are you One of them” as it was in ‘Within You, Without You’ is alarming in how involving it is when used in song.

You obviously feel for the victims and those that knew the victims, but you also feel for the mom. I can’t imagine anybody claiming this as his or her favorite song and I’d be interested in going to a dinner party where this song is in the rotation, or maybe I wouldn’t. Good song? Evil Song? Yes.




8. Decatur, or, Round of Applause For Your Stepmother

I’ve never been to Decatur, but I have seen signs.
It resides on the great prime meridian of Illinois, Highway 39.

A funny song with a gentle bounce.




9. The Predatory Wasp of the Palisades is out to Get Us

I love this song, my favorite of the Sufjian songs. I love the monster wasp sound at the end. The whole song compares a wasp to growing up and forming bonds. From cursive, to buzzing independence, to Sting. The pains and delights and rewards of friendship.

An extremely poignant song. It could be about a brother or a friend viewed as a brother. Nothing is more epic than themes of friendship and family.

Finally to the NW of Illinois we go where landscapes might be a little more familiar to us Iowans – probably.

I love the musical explosion that begins with “Oh great sights…”

I think we can all connect to this song. This one stabs me in the heart with a thorny flower.



10. The Seer’s Tower

Could this be the same tower mentioned in ‘Wasp?” Or a more general, biblical tower? Definitely sounds like a closing song. To steal a description, the chorus that ends the song is haunting

Seer’s or Sears. Retail as the undercurrent that splits humanity. Possibly. Comparing the Sears Tower to the Tower of Babel. Possibly. The Sears tower as a statement about man’s presence here on Earth – quite possibly. Why Sears – they may be struggling a bit of late, but it is the tallest tower in Illinois and I believe the man on the cover is staring right at it, bubbling with pride at the symbol of man on Earth. Row for a Buck all the way.

This song could be about any state, country, continent, or even the world as a whole, which is the way I heard it. I really like this as a closing song to Vol. 7.


Closing Comment

Great installment to our club. I loved the format and really enjoyed listening to and thinking about these songs. The order of artists corresponds very nicely with your concept of progressing into water. Loved it – thank you!


My BS of the collection

‘The Mariner’s Revenge Song’ wins. ‘The Predatory Wasp of the Palisades is out to Get Us’ was a close runner-up. While the ‘Wasp’ affected me on a deeper level, I simply could not resist the rollicking good fun of ‘The Mariner’s Revenge Song.’


SIWHI

‘The Infanta’ by The Decemberists. A rolling good song, also from Picaresque.