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.