A Tale of Three Trolls: Three Trolls Comments by Dan

Ah-this misunderstood and unwanted cadre of artists, long in on the radar and CaseLogic of our red-sweatpanted friend. I remember them being on his musical scene since the days of rooming with Mark Anderson, and I always suspected that he was the reason for them being there. I would submit that, in addition to their decidely "un-idol-like" appearances and chronic fringe status in terms of popular appeal, there are also "troll-like" aspects to their lyrics, themes, and even performances. Words that range from playfully irreverant (but not hip like Cake or Weezer) to dark and almost inscrutable (Cale) (but not hip like Beck). Arrangements that you could almost swear are held together, timing-wise, by scotch tape and hopes; and vocals that, while carried with an odd timbre, are on tune....or are they??? Side note: if the lyrics were even more off-beat, the arrangements even looser, and the singing even more off-key, the recordings would actually be by Mark Anderson, the troll beneath the bridge the trolls walk on.

So, the trolls and tunes:

Johnathan Richman. I gotta say, I've never been a big fan. In the vein of the never-ending disconnect between Mixdorf & me, I feel that, in almost all cases, words alone cannot make a song. And I feel, when listening to J.R. (the songs here, and the ones I somewhat recall), that is what I am expected to let it do. I feel like simplistic (as being distinct from "simple") melodies are conjured up to underscore a playful flight of fancy. Overly complex musical progression and arrangements would only detract from the silly, irreverant ramble and it is clear to which of the two Mr. Richman wants to direct your attention. If others are getting a ton more out of the music, than so be it; but for me, I have a hard time distinguishing between it an a majority of children's music I've heard. Simple, memorable, hummable tunes that leave no indelible mark on me, and generally do not leave me wanting for more.
1. Lonely Financial Zone: By far, I guess, my favorite of the three songs. I do appreciate the slow march of the arrangement. I think the way the guitar plucks come in are pretty neat, and I like the "da da da da dum" strum. I like the words here, and I think the arrangement creates a neat mood. You can picture him walking alone down those streets-even almost see through his eyes, as he accumulates the experiences that lead him to write this song.
2. Abominable Snowman in the Market: Wow-Richman plays hardball. The dude makes it tough to criticize him. How can you hate a guy that writes such irreverant, playful words? You can't! He appears a totally fun-loving guy, with a voice that sounds like he can barely surpress the mirth he has over his own jokiness, and a lovely, innocent Brad Roberts-style perspective on life. That said, am I really missing the boat here? Why does it seem to me that the both music and words could have been composed during a one-take jam? I remember hearing this song live. People were bopping around, and by the end I was sort of looking around like, "...okay...." It just seems like every song sounds like "the novelty" on an album that you eventually debate with yourself about whether to skip over. This song really, really bores me.
3. Government Center: OK, lest I start getting myself a repuation as a grumpy killjoy, let me mention that I totally, totally get and appreciate the humour in this song. Hard not to imagine the Augsburg Fortress mailroom retards cranking away in the manner described within these lyrics. Funny, funny words. Particularly neat: Well we've got alot alot alot of hard work today/We gotta rock at the government center and We put the stamps on the letter/Then we write it down in the ledger. By the way, Gibbs; you missed the whole "ledger" part multiple times in your transcription of the lyrics. But again, it's like somebody recording a funny joke to CD. Great and bringing a smile to your face the first time through, but how many times you gonna listen to it? Side note: anyone notice how the beginning guitar (first four seconds or so) is identical to Tommy James' I Think We're Alone Now?

Johnathan Cale: I know of him, obviously, as a result of his VU involvement, but very little about him. This collection of three really whets my appetite! I am fascinated by his arrangements, avant-garde (or alternative, or whatever) in the truest sense of the word. I love his used of piano, and I love the passionate (if esoteric) words, and the arrangements that are really born of a free and open approach to the studio. I love your comments about his infusion of classical material. Reminds me of the documentary on British history I just saw. Who's to say whose interpretation of great works and events is right or wrong, particularly if such topics are used as inspiration for a completely new work. Not sure if I'm clear on that, but I'm trying to say that anything that some of the most worthwhile art can be inspired by some of the most skewed interpretations of the real world. Note to world: Off Cale's back!!!

4. Fear is a Man's Best Friend: A great example of the arrangements I love. POWER CHORDS to start off. I love piano chords. Strongly hit piano chords. Baba O'Riley chords. I love the juxtaposition between the softer verses and those chords. How Gibbons-esque, the hesitating, bendy guitar. Building suspense. I love the When I'm on the prowl... line. So what's the deal with Say fear's a man's best friend? Is is a sudden realization: Say, (know what?) fear's a man's best friend!" or a demand a raving Cale screams at you while holding a knife to your throat (C'mon, you'd better) Say fear's a man's best friend! (or you're dead)? I lean towards the latter interpretation, especially following that tirade-ish end of the song. Great one one here.
5. Charlemagne: You title a song "Charlemagne" and the literary police are gonna be in your underpants. Guaranteed. But it definitely does seem to be the tale of some sort of turn of the 18th century Louisiana French, aritocratic landowner. Wonder if it's based on a true story, or if Cale just had an inspiration after spending time in that region of the world or coming across a story from those times. If the story was a little easier to grasp, it could almost be a song by the Decemberists. In any event, this song is a lot less likely to be used during a post-Hurricane Katrina rebuilding documentary than is Willie Nelson's version of "City of New Orleans." I love the slow canter of the piano & bass. I, too, love the harmonies. Another great one!
6. Paris 1919: I'm starting to think Cale is a master-arranger. Again, great piano base to this song. Wonderful, tension building piccicato (sp?) string section. I love how the descent of the strings (particularly the cellos) becomes a counter-melody to the vocals, during the verses but particularly during the final set of "la la la las" during each delectable chorus(?). Again, I have no firm grasp of what Cale truly intends this song to be about, but I'd love to know if anyone has any theories. The image I have in my mind is some French Revolution thing. Some member (perhaps already dead) laughing, insane, as his dynasty burns and falls to ruins about him. Of course, Paris 1919 kind of ruins that line of thinking. Perhaps it's like Tommy and he's just trying to throw us off? William Rogers calls up no likely references in trusty Wiki. Question for ya: Bird during that departure, or spaceship?

Leonard Cohen: In terms of stature & acclaim, certainly the least troll-like of the assembled. I love your "Incredible, but I believe it to be true" statement. We should all use method of positioning our wild theories. Not a huge preface to my other comments-only to say that he is an artist about which I knew pretty much only Roberta Flack's version of "Hey, That's No Way to Say Goodbye" and his amazing reputation. That, and that the aforementioned Mark A. was a fan. This collection of makes me feel that he is a troubadour, in the truest sense of the word. But the not the kind of troubadour that dances around your party of adventurers while he plays his lute. More the kind that asks you if you'd mind sitting down for a bit to listen to him, as he "really needs to take a load off."
7. Sisters of Mercy: Beautiful, beautiful poem, if it were not lyrics. But is is. And thus, the makings for a beautiful song. The music is very pretty, recorded very intimately with all the lip-smacking and throat clacking of a Carl Kassell blow job.
8. Hey, That's No Way to Say Goodbye: Also intimate & beautiful in its simplicity. Too bad, I'm familiar with Flack's rendition. As such, it's tough for the original to compete. But a great one. Weird, I'm not having too much to say about these songs. I think they're great, but it's sort of like after listening to "Boots of Spanish Leather," all you can really do is sit back and appreciate it all. I will mention that I think those "bom! balalalala" girls' vocals are kind of funny when they come in. It works, but it's kind of like, "Whoa!" They're probably tripping on the same shit as Cohen.
9. The Guests: I've found it a little tougher to get my head around the music in this song-but I think I can appreciate it for the fluid, flowing group of strains that it is. Seems like it borrows from a number of different world styles, from flamenco to Zep-styled Middle Eastern, to Italian gondola. Worlds are pretty neat-I think your remark about "the fluidity of life" help it make some sense to me. Weird sounds in the background as though he took some people who didn't have a lot of experience on basses & guitars and just turned them loose.

Overall: Truly a tale of three Trolls for me . Holy cow, but I was harsh on Richman & loving up the other two (especially Cale). I really appreciate what you did here, and I am so, sooo interested in exploring Cale some more, but I'll look to you for guidance.

BS: Probably Paris 1919. Maybe Charlamagne.
SIWHI: n/a I know no others by these guys.