Volume Ten: Three Trolls
The Three Trolls are upon thee. Please welcome them. They have traveled far, needlessly some might say. They have journeyed from Indiana through Illinois, Wisconsin, and Minnesota, and beyond.
While the Poignant Santa was about feel and transitions and themes, Three Trolls, though the attempt is made to maintain a certain feel, is all about three artists. Jonathan Richman, John Cale, and Leonard Cohen.
In my ‘Land of Music’ The Beatles, Donovan, Hendrix, and Simon chat about home improvements and acid while walking freely across the Bridge passing Beck, Prince, and Led Zeppelin who halt their conversation about sex inside Wal-Mart just long enough to say, “ello!” The happy conversations in the bright sunlight are caught up in the white puffy clouds sailing by.
Lurking beneath the bridge are the Trolls. The Trolls reside below amongst moldy leaves and graffiti. They are not as beautiful or as popular as those above.
Further development of the ‘Land of Music’ is evolving, but from a conversation with Dan, it was suggested that Perry Ferrell and Syd Barrett would be bathing each other in the nearby ‘Pond of Freaks’.
Back to the Trolls. The Three Trolls that I have selected are not the best-looking men in the world, aside from Jonathan’s waistline. He has an excellent waist and knows how to use it. They also have voices that, well, Randy, Paula, and Simon would not offer ANY comments, simply a coordinated about-face. The Trolls would then run like limping apes to the shade. Wrongo! These Trolls would probably never have attempted this sort of stage. They would gobble up idols, mistaking them for the beautiful fish swimming in their stream beneath the bridge.
OK, so maybe I am not painting a very pretty picture of these artists – a ha! ARTISTS! – now that’s a word to describe these three trolls. Three artists that I LOVE.
Around the time of my last year at ISU and my first year in the Twin Cities, 1993-1994, Iowa Mark Anderson introduced me to Richman, Cale, and Cohen. Having recently ‘gotten into’ The Velvet Underground I was aware of who John Cale was, but had not heard any of his solo music. I had heard of Leonard Cohen and possibly had heard some of his music before (or at least versions), but for the most part he was new to me, as was Richman. Mark has made me several mix tapes over the years, but it was two in particular that I became most interested in. Two that I continue to listen to today, thanks to the red escort. One tape was all Richman with two sides completely filled up and featuring original Mark Anderson artwork on the cover. A second tape included Cale, Eno, Cohen, and Nico. By some coincidence and good fortune I made a mix tape just before Mark left the band and the house on Johnson Street. I filled a 90-minute TDK tape of stuff that Mark had that I was digging at the time. Here is the coincidence, notice the list of names on the spine of the tape, written by me, nearly a dozen years ago.
Cale-Cohen-Richman-Mahal-Young-Green-Costello-Nico-Jones-McCartney
There it is, Cale, Cohen, and Richman. Four of the same songs are actually included in Volume Ten, though one is a different version. It is interesting to see the merging of time and clubs. From a tape recording songs from a record or CD to the sophistication we now enjoy with CMC today. In some ways it seemed like a visit to the past and an update to an earlier, much longer version of Volume 10.
And how those mix tapes have endured! A crappy tape player in the red escort, not to mention all that intense heat!
Three Trolls
This collection (or something very close to it) was nearly sent in December, but the Poignant Santa would not be denied. There are other reasons. I actually did not yet own digital versions of two or three of the songs and in the end I liked the idea of sending this one in the month of Mixdorf’s birthday and doing PS as a sort of Christmas Greeting. That said I must acknowledge Mixdorf’s ‘Testing the Water.’ Three Trolls follows the three-artist format and the progressive nature of moving from Sammy to the Decemberists to Stevens.
I experimented with 12 songs, 11 songs, and 10 songs, but in the end, these nine, which surfaced long ago in the vat, made the most sense to me. A sampler of Troll meat for you folks to taste.
The Three Trolls are Jonathan Richman, John Cale, and Leonard Cohen and they are delivered to you in that order. Three musicians that have stayed under the bridge, have unique un-idol like voices, and physical attributes to match. Three songs by each Troll that I love and wish to share with you. These songs span from 1967 to 1979. Cohen in ’67, Cale in ’70, ’73, and ’74, Richman in ’75 and ’76 and then Cohen again in ’79. I kept them in bunches, except Cohen, who made an appropriate leap to 1979.
BONUS TROLL ACTION
On this disc you will find a titillating dramatization of how these trolls were captured and forced to sing for YOUR pleasure. Also, the orientation and tutorial will enlighten you to the power of Volume Ten. It is a medley consisting of a Leonard Cohen song called ‘Chelsea Hotel #2’ (Miles actually made mention of this song long ago) from New Skin for the Old Ceremony, 1974 and a John Cale song called ‘Half-Past France’ from Paris 1919, 1973.
The bonus track is a Jonathan Richman song called ‘New England’ from Jonathan Richman and the Modern Lovers, 1976. A great, fun song. I love the background singers, very Revolutionary War. This idea was inspired from my trip to Boston in the fall of 2005 and works well as a Volume Ten Birthday Dedication.
Happy Birthday Mixdorf from all of us here at Volume Ten!!!! Thata Boy!
Jonathan Richman
Jonathan Richman was born in Boston (Natick). I mention this first because he loves his hometown and the New England area. Evidence of this can be found throughout his songs.
When the CMC club was born a compilation including Richman had already taken hold. I had recently dug up the old tapes and had been listening to them quite frequently.
Jonathan formed ‘Dance Band of the Highway’, later the ‘Modern Lovers’ with three other musicians. Among them were Jerry Harrision and David Robinson. Jerry went on with the Talking Heads and produced the Crash Test Dummies. Speaking of the Talking Heads, the Modern Lovers would play CBGB where the Talking Heads began making their mark. No, not David Robinson the admiral, but David Robinson, a member of The Cars. Speaking of The Cars, Richman would have an album produced by Ric Ocasek in the late nineties.
Jonathan LOVED The Velvet Underground, our first connection to fellow Troll Cale. He especially loved the album ‘Loaded,’ which Cale actually did not appear on. Supposedly, Jonathan went to New York to hang around VU rehearsals and to sleep on Lou Reed’s couch.
It could be said that Richman continued the proto-punk vibe begun with VU. ‘Modern Lovers’ the album, was recorded during this phase of Richman’s career, 1971-1974. This album was not released until 1976. I mention this because that album was produced by none other than, yup, John Cale. The VU vibe is definitely present. None of those songs are included on Volume Ten. Instead, I chose songs from 1975 and 1976. These songs have a 50s style to them and a lighter tone, which is interesting because by the time ‘Modern Lovers’ was released, Richman had seriously switched gears. Confusing fans and band mates. Jerry and David both played on Government Center, but only David remained for the other three songs. Legend has it that David left after his drum set had been reduced to a single snare.
Iowa Mark Anderson, Dan, and I went to see JR at the 7th Street Entry in Minneapolis. There he was, three piece band, guitar, distinctive striped sailorish shirt and jeans doing his Jonathan thing. I believe he was also doing an all ages show and perhaps it was the one we attended, we were quite young after all. I also think we walked there.
The source for all of these songs is from a hard to find and excellent compilation released in 1986 called ‘The Best of Jonathan Richman and the Modern Lovers: The Beserkley Years.’ It spans from 1971 to 1979 and it is this slice of his career that I am most familiar with. He has never had a radio hit, though some of you may have seen him as the troubadour in ‘There’s Something About Mary’ and he has also been on Leno. Beyond 1979 and the movie I know very little about him and have heard very little of his music. I think he is into Latin music these days. I do love Richman and would like to explore 1980 and beyond, but for the moment, I am quite satisfied with the one compilation CD and the old mix tapes.
I am intrigued by his punky-velvety beginnings and his change into 1950s style happy rock. How punk was it, when in 1977, at the peak of PUNK, this former punkster came out to the audience and said, “I’m just gonna tell you I like ya?” Possibly more punk than punk. He certainly is the sunniest of the Trolls and as such, was chosen to lead off Three Trolls in much the same way as Sammy was on ‘Testing the Waters’.
Richman across Time and States
Iowa Mark Anderson (we all have Iowan roots) introduced this Boston area (Mixdorf) artist to Indiana born and current Indiana resident (me) while in Minneapolis (where Dan and Aaron reside).
I think he has a unique voice, though I could certainly understand why some may not like it. I think he is a crafty songwriter with an excellent grasp of different musical styles. His sinuses are legendary and many of his songs begin with a spoken passage, sometimes brief, sometimes not. I love his outlook and romantic tendencies and how he mixes them all up in his own view of domestic bliss. On ‘Back in Your Life’ (the song from the album of the same name) he speaks of going out with his girl’s father to fetch maple syrup or helping his girl’s mother to bring out the pancakes. I’ve freely admitted to my fantasy of being snowed in and having to run out to the woodpile as wife and child look on, both worried and proud, as I make my way into the cold wind. I think there is some Richman there.
Lonely Financial Zone
Zone, Snowman, and New England all came from Jonathan Richman and the Modern Lovers released in 1976.
I love the feel of this song. It really gets me to a place I love. The heartbeats, the meditative, but slightly intense guitars, and the swirling cymbals really provide a setting that I think we can all relate to. If you have ever been to an empty parking lot at night, or a running route that Dan had in Minneapolis that took him under huge power lines, or those few moments when you may have experienced deserted public places because everybody else is where something was going on, but not you. Or simply outside when it was too cold and everybody else was inside. Or the same but due to heat. Or even the reverse of both. With the Arborists I had the pleasure of experiencing many of these. What about a quiet walk during a light fog or a groove alongside a Minnesota lake watching the interplay between moonlight and dock light. Cold October nights at Backbone. Silent buildings on a college campus when everybody else is gone. Ames around a holiday. Scout camp weekends when scouts and fellow staffers are…gone. Afternoons when everybody else is at…work. One of my favorite feelings. One that can recharge me the most. I suppose out Boston way you could almost stumble upon the very site Richman is describing. I love the words. I think they work perfectly with the music and paint a beautiful picture of pensiveness.
I can distinctly remember being struck by this song for the first time around wintertime when I was returning home one night from the Arborists in the green escort. It was from one of the mix tapes, and for some time I had no idea who it was that I was listening to, but I really loved it.
Abominable Snowman in the Market
“I know it’s helped to have a more tolerant feeling and I like to see him treated this way,” sings Jonathan. A fun song about a “dirty marshmallow with fangs”, or something that looks like it…. he feels sorry for the Snowman, he talks to the Snowman, the Snowman appears to be doing better.
“Me and Dave,” of course referring to Dave Robinson, an eventual member of the ‘Cars’.
This song has grown on me quite a bit over the years. It’s like a dose of really good medicine. I really like the words and the background singers, same as the New England singers. Some may pass it off as silly or merely just for fun, but the message is painfully and I mean painfully clear and relevant. Is he hurting anything? Is he hurting you? No and no. OK – so you know what, just let him be. And further, if he needs some help, by all means…. CALL ANIMAL CONTROL!!!!!!
Government Center
This song was originally from a sampler released in 1975 called Beserkley Chartbusters. If you think it sounds a little like ‘I Think I’m A Clone Now’ by Weird Al Yankovic, I would agree, though I much prefer Richman’s Government Center.
“They got a lotta lotta lotta great desks and chairs now.” I love that line. I love his simple take on what must go on in a government center. Looking around and, OK, they got some pretty great chairs and desks and stuff here. Very cool.
I also love, “and see some office boys jump up for joy.” He kinda calms down to a bit of a whisper, like a little joke with his band mates, musing about how silly it is that getting this kind of work done would actually make THEM, the office boys jump up for joy. But you know what, if that is what will make them and the secretaries happy, then we are sure gonna help them. I love the premise of this song. They see a problem and they are gonna rock to help solve the problem.
And “calm down a while, sir that’s the only way the center is ever gonna get better.” Another great line! You can just see the big ole boss starting to sweat under the collar wondering if this sort of morale boost is worth the cost to the bottom line. Richman’s confidence wins the boss over in the end. The boss man even loosens up a bit to shake some booty himself. The guitar at 1:14 could be the boss thinking to himself that this young rocker just might be right.
Is that the boss actually speaking at 1:09?
I like the background singers, very Velvety, and the playful end, complete with a typewriter zing!
I think one of the reasons I like this song so much was the fact that Augsburg Fortress was very close to a government center. I am sure Dan will remember the ole government center. Kinda brown. We would often walk through. You could buy tabs for your car or even eat lunch. There was also the Federal building, but Government Center always reminded me of the brown building.
John Cale
Before joining forces with Lou Reed (of Poignant fame) in 1965 to form The Velvet Underground, Cale had a few other interesting musical moments. The Welshman had a knack for piano and with the assistance of Aaron Copland, was able to relocate to the USA to further his musical training.
I believe it was his troll-like traits that helped him to meet and play with such folks as John Cage and Lou Reed. With Cage, Cale played in an 18-hour piano-playing marathon! A young Billy Joel is reported to have offered Cale some PowerAde, but Cale threw it back in his face, calling Joel a “Simple idol” and a “damned fool!” Well, that last bit was a fabrication. Cale then played in a band called ‘The Dream Syndicate’ before joining up with Reed to form the VU.
I really could go on and on and on about VU, one of my all time favorite bands, but I will not, choosing instead to focus on Cale’s solo career, which began after he left VU in 1968 due partly to differences with Reed. Much is said about grumblings between Lennon and McCartney, but much is not said about the grumblings under the bridge, in the darkness.
John continued his experimental and avant-garde ways, but maintains that he is more of a ‘classical artist.’ I wonder if he really meant that he experiments in the CONTEXT of the classics. Several, if not most of his songs allude to classical works or include literary references. Some have said that he abuses the classics, or even tortures them. I believe his infusion of classical materials is often beautiful and refreshing. It is much more than a mere mention of a name or location, and if it is ever brutal, all the more appropriate. Should we forget the rawness and high levels of cruelty that went along with enlightenment during the Greek and Roman Golden Ages, or the wicked evil and barbarism associated with Spanish and French history despite any so-called political and religious advancements or reforms?
Cale produced several albums for other artists including the before mentioned ‘Modern Lovers,’ and debuts by Patti Smith and The Stooges He has also collaborated with other artists such as Nick Drake (of CMC Club fame), Lou Reed again for a tribute to Andy Warhol, and even David Byrne (Byrne a Talking Head with Jerry Harrison who was a Modern Lover with Richman (whom Byrne produced an album for), whose debut album was produced by Cale, of course).
John Cale has been a memorable performer. Smashing a piano long before The Who smashed guitars and he wore hockey masks years before Jason. Cale also recorded an album in which he set the poetry of Dylan Thomas to music. He has been and continues to be a versatile artist.
Our first connection with fellow Troll Cohen comes to us via John Cale. And no not J for Jonathan and J for John Cale and C for Cale and C for Cohen. John remade Cohen’s song ‘Hallelujah.’ Cale’s position at number two on this volume works well on many levels. He connects the other two Trolls, having produced Richman’s ‘Modern Lovers’ album and covering a Cohen song. He is the binding force, not the leader and, in a way, as The Decemberisits did on Testing The Waters,’ Cale takes us a bit deeper into the core of what it is to be a Troll. The order does not indicate which artist I like better, but does let us sink more completely into the World of Trolls.
Unlike Cohen and Richman, whose songs came from compilation CDs, the Cale tunes are coming to you direct from the actual albums that I own on CD. And, I have somewhat immediate plans to buy at least a fourth John Cale CD. The three songs chosen for this collection are from the first part of his solo career, 1970 to 1974
John Cale can be as depressing as you want him to be, but the power of his music is pure joy to me and, like VU and Reed, Cale’s music is most effective at putting me in a happy mood. We chatted about this phenomenon with regard to PS. John Cale is our Alternative Troll, choosing elegant instrumentation and beautiful arrangements instead of soundscapes, at least for the three songs chosen to represent him on Volume Ten. JC can stand for so many things, like the department store.
Fear is a Man’s Best Friend
From Fear, released in 1974. Eno and Richard Thompson participated in the production of this album, though I m not sure how much they had to do with the song itself.
A transition album and song. This was around the time that Cale moved back to England and signed a new record deal with Island. The beauty and elegance can still be found, but the harsher bits are there too and would help usher in his next batch of albums. Fear is a GREAT album and rivals Paris 1919 as his best.
I cannot believe how much I love Fear is a Man’s Best Friend. There have been times in the red escort where I have listened to this song over and over again. The catchy piano, the guitar that hesitates ever so slightly and sounds like a nerve, the excellent words, and the melody make for a special song. I wonder if any of you have heard it before?
“When I’m on the prowl you better run like hell.” I like the play on a dog as Fear, as your best friend.
“We’re already dead but not yet in the ground.” How very Trollish.
Charlemagne
From Vintage Violence, released in 1970. Cale’s first solo album and the first John Cale CD that I purchased. A good album with several excellent songs.
I love the easygoing flow of the song; you can imagine the different characters floating by. I LOVE LOVE the harmony at 1:12 and again at 3:13:
“Many times, many tries, simple stories are the best,
keep in mind the wishful kind, don’t wanna be like all the rest.” This makes the song for me.
I also like “Mardi Gras just passed this way a while ago making hungry people of us all.”
I like the occasional feel of an adjustment being made to the beat, the words, and the emotional peak at 2:29.
He places Charlemagne, a Frankish sort, and places him down on the Mississippi during the celebration. I believe he is discussing his father in much the same way as Charlemagne viewed his father, in terms of an inheritance of power that resulted in the formation of the Holy Roman Empire, or in Cale’s view, bloodshed ala Dickens. I am not exactly sure of Charlemagne’s relatives and how they worked into Charlemagne’s life, but I wonder if his Uncle’s pen that doesn’t write is somehow a statement or comparison to the way the Catholic Church would use it’s earthbound power to actually make law, resulting in wrongful death. Joan of Arc would be a good example. She did not recognize this pen, to her it truly didn’t write. Her law was only with god above, there was nothing earthbound about it.
Paris 1919
From Paris 1919, released in 1973. Often regarded as his best, and I would, for the most part agree. A FANTASTIC album. There is a picture of me laying in bed on Johnson Street holding both Paris 1919 and Berlin (by Lou Reed – see Vol. 4) with a very happy look on my face. Speaking of Berlin, Berlin is mentioned in the Cale section of the medley, that whole last stanza on the Bonus Troll Action medley really summarizes the Troll, his claims, his honesty, and his lies.
Paris 1919 has grabbed my lower spine and given it a sharp quarter turn to the left, unleashing sprinkles that have nearly incapacitated me.
I love the arrangement and the words, even the repeats that he uses to make it work rhythmically sound good and are kinda funny in that “only in music” kind of way. The orchestration is excellent and I love the bird break at 2:20 (French Horn? Beautiful) and then the return to the strings. Awesome.
The really crazy thing about this song is that as I was reading the DaVinci Code and playing these songs, Paris 1919 suddenly started to sound like it could have come from the DaVinci Code. Anyone else see that? I’d like to discuss this more. I think it is kind of wild.
Leonard Cohen
Leonard Cohen has had a HUGE career. He is the oldest Troll and has been a poet, novelist, singer-songwriter, and even an actor. Best known, probably, for his work as a singer-songwriter, he was a successful poet and novelist before he even became serious about making it in the music industry.
The songs that I have chosen can all be found on the Two-disc, 31-song compilation called: The Essential Leonard Cohen, released in 2002. It covers his career from 1967 to 2001. A huge chunk of time. Before purchasing this CD I was only familiar with Cohen from 1967 to 1974. What a year, by the way, that 1967… The songs on Volume Ten are from two albums, one released in 1967 and the other in 1979. 1980 and on is a different kind of Cohen that I am still familiarizing myself with. So it is the folksy Cohen that I have chosen to include on Three Trolls.
I find Cohen to be powerful stuff. I love his songs on Volume Ten, and many other Cohen songs as well, but it can depress me and it isn’t that often that I listen to him. I think I have a love/fear relationship with him. Like taking the plunge with Stevens, here we are pressed against the mud with blood pouring out of our eyes as if gravity just went up about sixteen notches. He is our Black Troll and he rules the Alternative Troll and the Sunny Troll with silence.
The Canadian Bob Dylan is not a bad way to describe him if you wish to do so simply and quickly. Folksy, Jewish, huge careers, covered often, and both fitted with unique voices. There are huge differences as well, the most notable for us CMC junkies is that though Dylan has many fine Troll attributes, he walks above, in the light.
They say Cohen was deeply depressed since the age of nine when his father died and that only after several treatments of LSD did it finally lift, sometime in the early nineties. You might think this statement is a fabrication, but it is not. Incredible, but I believe it to be true.
He has had many girlfriends including Janis Joplin and Rebecca De Mornay, to name just a few. He is considered to be quite the ladies man, not bad for a Troll. He likes a nice piece of ass from time to time and he’ll use those troubled eyes to get it.
He has been ordained as a Buddhist Monk, but remains a Jew. There have been several Cohen tribute albums and he has often been referred to in song, ex.: Nirvana’s “give me Leonard Cohen afterworld…” Cohen has been covered many many times by many artists, including several CMC artists: Johnny Cash, Judy Collins, Willie Nelson, k.d. Lang, Tori Amos, Joan Baez, REM, Bono, Jeff Buckley, John Cale, Bob Dylan, Rufus Wainwright, Roberta Flack, Suzanne Vega, Neil Diamond, and Peter Gabriel. It is amazing how many Cohen songs Judy Collins (of DanPR fame) has covered, at least six.
For a Troll, he certainly has a far-reaching influence. Watch out! He just might get you as well!
Sisters of Mercy
From Songs of Leonard Cohen, released in 1967. No not ‘Sistas of Fellatio’ by 2Live Crew! An excellent Cohen song and a recent discovery. The feeling is heavy and his words are dripping from his lips. Around 44 seconds the sparse instrumentation comes up and adds a nice touch to the stirring telling of the song by Cohen. I like the bit of panning. Great words. Excellent, really. Such pure love.
Hey, That’s No Way To Say Goodbye
From Songs of Leonard Cohen, released in 1967. A classic song incorporating a classic Cohen device – female singers. Female singers served two purposes (likely three). One, he loved women, and if you notice, the age of the singers increase as his career aged, though they are always a bit younger than Leo. The other reason was to augment his recordings to make them more marketable, probably. I love the effect. Do you hear the Jews harp?
This is a heavy song. All this Cohen stuff weighs me down.
The Guests
From Recent Songs, released in 1979.
A surprise find that just about knocked me out. The simple AB arrangement that slowly evolves works well with the wonderful female voices – older girls see, but still a bit younger than ole Leo. You know he wore sunglasses at the pool. Just staring at the diving board all day long. Waiting.
I also like the occasional electronic noise thingy. A beautiful song addressing the fluidity of life.
I went diving for a Troll once. I tried to get him to notice me. I could not get a single expression out of him as I pranced about on the board. I tried to show off my body a bit in the bright sunlight. Nothing. I do not think he was one of our Three Trolls, but I gave it my all as I finally gathered up the strength to make the dive. I think I actually got a five! I am pretty sure that as I was pulling myself out I saw the faintest sign of a smile spread across his lips. That was enough for me. If I got a five just on your basic front-leaning headfirst dive, imagine what I might be able to earn with a backwards dive or even a flip!
Cohen songs would sink like a stone. They are that heavy. He couldn’t walk on the bridge anyway, for the weight of his songs.
Though the Three Trolls are shaded from the sun, a beautiful light issues forth from their mouths and fingertips.
If ever you are in need of a Sunny Black Alternative, I’d suggest you look up our Three Blessed Trolls.
