Coalescent Musical Co-op

Spotify?

2011-12-16T21:34:00.001-05:00

That app is free on desktops. It would obviate the mailing of disks.

Old Freud: The Complete Comments

2009-01-06T22:40:00.005-05:00

OLD FREUD

Old songs. In thinking about age and mortality, these songs remain older. We all may know all or at least most of these songs. Songs that I have loved, but never considered as much as songs by my favorite artists form generally the same time period, songs forming the basis for music that we continue to love today. Basically, Freud was a painter who painted the old man on the cover. Like the old men sitting around naked on the benches in the locker room. Gravity is a constant. He is old, as are the songs.

These songs have been selected for their significance to me personally, their variety in style, and their staying power.

1. “Dizzy” by Tommy Roe

“Dizzy” was a hit released as a single in 1969 and was written by Tommy Roe and Freddy Weller. The song reached number one and is considered “bubblegum” or “bubblegum pop.” But as with most labels — whatever, bubblegum seems to have a negative connotation, light, friffy, fluff without substance, but anything with a label can suck eggs. So, bubblegum or not, “Dizzy” is my favorite Tommy Roe song.

I’ll tell you what “bubblegum pop” is. It’s the music that I was exposed to while sitting in the back of Dan’s station wagon. I remember so many trips, sitting in the back, Dan and Sharon in the front, Dan CHEWING GUM while tuning in the oldies. Neil Sedaka, Tommy Roe – these were the heroes of those days and by Dan’s chewing of gum alone is this genre possibly known as “bubblegum pop.” Dan dug deeper into understanding such artists and it is he who I credit for my own deeper appreciation of Roe and his cousins. It was the 90’s, we were in a wagon from the 80’s, we were born in the 70’s, the music was strangely and differently from the 60’s, somehow I was Dan and Sharon’s child, sitting in the back, father Dan with his gum and his gloves and his ear ever-fixed on the music, he kept us warm and safe in the cold of the Minneapolis winter. Do you remember the Holiday gas station on Central, the wagon, Sharon, the gum, the gas, the gloves, Sedaka and Roe, the cold?? It may be 2009, but it sure seems like 2000. That was “BUBBLEGUM POP” and it was warm and inviting, like Sedaka in a hot shower.

Back to Tommy Roe: he was born in Atlanta and moved to England for a few years and his song “Dizzy” was sampled on De La Soul’s Three Feet High and Rising, which, interestingly enough, I heard Steve Cummings positively critique; I owned the album on cassette tape. It might be worth to note that Steve Cummings was the business manager of summer camp, as Dan was the waterfront director, as Cory and I worked in the Ecology area. I can still hear an echo of that conversation, Dan discussing the title of the album as it invoked memories of road trips with his father, and Steve digging that one of the members of De La Soul listed ketchup as his favorite food. My question, Steve, was it the use of the Tommy Roe sample that especially drew you to the album?

A compliment to Dan, but a need for a preface so that it makes sense: in the Star Trek episode, “The Enemy Within,” Kirk is split into two halves. The bad part and the good part. Well, if it happened to Dan, the good part could have penned “Dizzy” – meaning that the song’s melodic strength and arrangement, as well as other like artists, is a skill that Dan also possesses and if he suffered a transporter accident, this kind of music would have been the result. As it is, Dan usually has more of an edge and often expands beyond Roe-like arrangements.

Awesome things to listen for: echo on drums, EXCELLENT vocal recording, at about 31-32 seconds listen for the gurgly wah guitar – something 44 might have produced, superb harmonies and strings, gotta love the use of “whirlpool,” and especially “fellas,” the added guitars and toms at the end, and the strings @ 1:44 as an example of 1960’s sonics at their best.

The song could be from a vinyl record’s point of view. The girl keeps playing the music, causing the entity (the record) to get dizzy, but it’s a party and so there are all these “fellas” hanging around, interfering with his opportunity, so all he can do is go round and round, his head spinning, dizzy and never able to put on his moves. As the record is pulled out of the sleeve it falls immediately in love with his liberator. It can only speak by being played, the girl loves it so much, and she holds it close because it is dear to her heart.

Dizzy is a tight, perfect little ass of a song.

2. “Green Tambourine” by The Lemon Pipers

The song is often considered a sample of “psychedelic pop” or again with the “bubblegum” – it was released in 1967, reaching number one in 1968.

An interesting story. I’ll briefly summarize. First, I must confess (I wanna get undressed) – I thought they were British!! But no, they are from Ohio except for the bass player who is from New Zealand. Once they found their New Zealand bass player, they were good to go. They were a college band playing rock and blues in Cincinnati until they were “picked up” by a major New York label. Dan will understand the casual use of “picked up” – it’s just what happens, like a pastor receiving his or her “call.” So, off to New York they go. Anyway, producer and songwriter Paul Leka, along with his partner Shelley Pinz, wrote a song capitalizing on the psychedelic vibe of the time, and as a condition of the contract, The Lemon Pipers had to record it. “Green Tambourine” was recorded and released on an album of the same name.

Though the band enjoyed their bit of success, despite what they would say in subsequent years, there was a depressing side. They could never reconcile their Cincy blues scene with the seemingly manufactured British psychedelic pop of a New York producer’s design. The song is often criticized for not having a lot of substance and the band would only release one more album until disbanding in 1969. The drummer died in 1999, but the other members continue music-related careers – just not in the pop spotlight.

I make a pretty firm distinction between songs like “Dizzy” and a song like “Green Tambourine.” Songs like “Dizzy,” as I have mentioned, were introduced to me by Dan and involve a more direct connection to the artists themselves while songs like “Green Tambourine” have been familiar to me since my beginning, songs I’ve always loved, attracted by the production – they attempted to sound like elements used by the greats (Beatles, Donovan, Hendrix, Doors, Who).

Green Tambourine pulled out all the tricks with fortunate results. Everything was in line, including the planets, this song is GREAT! Inspires good feelings, it is by chance that the song is as good as it is. The attempts by the producers combined with the reluctant embrace by the band. Despite the band’s later musings, they enjoyed to the max the success that the song brought them, including several cheesy TV appearances available via YouTube.

Poor man asking for money and in return, he will play songs on the tambourine. The tambourine is the collection plate for the money. Pop music exists because of the money offered up by consumers – is this the dream of the poor man, his chance – retail ru (i) ns civilization.

The song makes me feel GOOD!!!! I love the sparkly sitar, percussion, love the string decent, British vocal approach, “help a poor man fulfill a dream,” “reflections,” heart drum, love strings at about 1:03, love the string change around 1:27 – great arrangement – superb, they embody the elements of more substantial forms of music for which it was critiqued, wild drum ending, echoes and effects – pulled out all the tricks, but again, with fortunate results.

The “music machine” continues and this will not be the last song about tambourines to be recorded.

This is one of my favorite grocery store songs – see more about this below.

3. “Speedo” by The Cadillacs

A 1955 rock’n’roll and doo wop hit from Harlem. Earl Carroll was the lead singer, hence the lyric, Speedo was his real life nick name (given to him affectionately by children at a school where he was a janitor) – he later joined The Coasters, and then reformed The Cadillacs. The style and execution of this musical form is WONDERFUL.

I do love this song. It is a surprisingly recent discovery for me, since about 2004. Especially odd since it is one of my father’s favorites. Whenever he had a great deal going on he would refer to “the helicopters coming out.” I think he got it from the movie Good Fellas, from which “Speedo” is famously featured. The helicopters represent another level of stress or pressure, an added chore to complete or errand to run – for instance, to the grocery store.

Speaking of going to the grocery store – there is something to that. I know that everyone has mentioned a trip or trips to Baesler’s, local grocery store, when discussing a visit to see me. I just want to talk about that for a moment because it is interesting. I am not saying that moments spent together in a grocery store eclipse those of other moments spent together, but there is an equation. It is a time spent together out in society. Deciding together, planning or lack of planning, spontaneous interaction with others of our kind – it is a mission of sorts, including a ride in the car, music, traffic, and weather, or our collective exposure to the elements. The clothes we wear to survive the elements. Without the clothes, we cannot survive out there. If naked, we die. Together we will make sure we wear something. Together we help each other survive. By “getting” and “gathering” food we are doing what humans have always done. It may be the 2000s, but our tribe does the same sorts of things – together we survive and interact with the elements. It may be strange. It may not on the surface be “the thing to do,” but if you search your memories have not the trips we made together for food been some of the most memorable? I will admit here and now that they are for me. And not only for those that come to see me – I remember excellent memories going with Mixdorf to get Blueberry Beer, or with Dan to Cub Foods to get donuts, or with Cory to get cheesecake – whatever and whenever – that is just the superficial tip of the iceberg in terms of the depth of importance and significance to my life that such moments have had for me and my connection to my friends. A whole new post/discussion concerning grocery-store memory friendship bonding experience may be worth the time and thought. The discussions during such fleeting moments represent life itself. When we are at the store we are living. We are out there. We are in it. We are the ones living. Others will see us and wish, “boy I wish I was with a friend eyeing Little Debbie.” This warrants additional exploration and it is bigger than this paragraph. Feel free to make fun if you like, but the next time I am in town or if you are in Terre Haute and we are headed to the Baesler’s, please know how important the experience is – indulge me, know that a refusal to go to the Baesler’s leads to a broken heart and a sapping of my soul.

Another great thing about this song and many of the songs on this compilation is that they can be heard at Baesler’s. They play some kind of oldies station (a possible title for the compilation – Its Baesler’s Baby) and even pipe it out to where you can get gas. Now that is truly experiencing life. Gas, “Speedo,” AND a friend, oh my.

AMAZING AMAZING AMAZING vocal performance, the harmony, so clear with wonderful texture, wonderful hums after each phrase, the song really moves – drums and bass, almost can’t believe this was recorded in the fifties – sounds better than stuff today…some 60s engineering fell off a bit in terms of recording quality as evidenced by this fine recording.

Another feel good song and definite stress reliever, even if the helicopters are out. A great coping song.

4. “Working in the Coalmine” by Lee Dorsey

Born in New Orleans, Lee Dorsey was a boxer called Kid Chocolate; he worked in an auto shop during the day and sang at night. “Working in the Coalmine” was written by Allen Toussaint and released by Lee Dorsey in 1966.

I love the anvil sounds – spectacular vocal and harmony arrangement, Lee Dorsey’s voice and horn summations really emote what the words are attempting to convey, excellent arrangement, gotta love the “Lord I’m so tired, how long can this go on.” Molly loves this song and we have attempted our own version. Great horns, great recording of horns, which can so often be messed up and poorly utilized.

Great song, the first in a two in a row of “the working man’s plight” – though “Speedo” does to a lesser, less overt degree.

This song says it all.

5. “Get a Job” by The Silhouettes

Released in 1957, it was a hit in 1958. Sha Na Na took the name from the lyric. The song was written by Richard Lewis, Bill Horton, Earl Beal, and Raymond Edwards – the group members.

It is the oldest sounding recording and of the poorest quality on this compilation, but….what a blast! Listen to the percussive piano – almost can’t hear it without headphones, classic beginning (dip dip dip dip or yap yap) - all that is great about doo wop.

The lead vocal rolls in at 19 seconds like some kind of crazy instrument – part flute, horn, and percussion! (What a voice!). I love the melody at 49 seconds, lending to the song’s strong melodic form – GREAT harmonies, and come on “GET A JOB” – great, and in the fifties! A classically typical break at 1:30 with keys and sax supplies the cherry.

The ultimate necessary evil? The ultimate nag? Perhaps.
Both “Get a Job” and “Working in a Coalmine” are blues songs done in different styles. Both songs are fantastic! Both songs would make old Freud proud.

6. “My Boy Lollipop” by Millie Small

Millicent Small was born in Jamaica. “My Boy Lollipop” was a big hit in 1964. The song was written by Morris Levy. Barbie Gaye recorded it first but her version pales when compared to Millie’s. The song is a step in the evolution of Jamaican music, residing somewhere between bluebeat and ska (most will call it ska) and on its way to reggae pop (evolutionarily speaking). “My Boy Lollipop” was the first major hit for Island Records, for those of you who run in U2 circles.

Oh man – the voice – how perfect, how cute, a lineup of cosmic forces, sweetness and cuteness, coming together and uniting the Western Hemisphere through human male fantasy. There was a time in the 1950s when the Western Hemisphere was about to split into the “Right” lobe and the “Left” lobe, potentially fracturing any chance, ever, of global peace. Eisenhower felt that is was crucial that any hope for a global peace rested in securing peace in the Western Hemisphere first. He initiated “Ikehunt” in an effort to capture and then market an entertainer of Western Hemisphere origins who could charm and secure an everlasting peace. Eisenhower’s term came and went without the successful execution of “Ikehunt.” Kennedy, in an effort to honor his predecessor, not only vowed to go to the moon, but also to fulfill Eisenhower’s dream for Western Hemisphere peace. He developed a task force that sent “investigators” to Canada, the West Indies, and South America. Kennedy proudly presented the fruit of “Ikehunt” when he exclaimed to the Western Hemisphere: “I, your president, of these United States, present to you, The Effervescent Millicent!” JFK later admitted that had she not been found the situation with Cuba could have reignited if not for the bouncy lulling of Millie’s song.

I love the “but I don’t want you to know,” like the girl who rolls her hand up her smooth and tanned leg while purring to you – knowing you are looking, leaving you debilitated, incapacitated, warm, and peacefully tired. Is it a dirty song? Is it the innocence? Ask Freud.

Interesting use of harmonica, so bouncy and happy in that 60s, ska kind of way. What a fantastically exotic voice, especially for Midwesterners of the mid-sixties! A very very happy song from what I like to envision as a very very happy time.

http://www.youtube.com/watch?v=ZCUcbRTB6Rs

******THE THING ABOUT THE NEXT TWO SONGS ******

A time it was. Dan and I. Augsburg Fortress. All about the infrastructure. And friendship… Our main concern was our morning break. Making our way through the skyway like two cadets on the enterprise. To sit in the sun at Bixby’s café. Poetry guy with the teeth and tongue stud selling us his brew and stories. Coffee steaming, bagel beckoning. Newspaper ready. We would talk. Bond. Jam. Wonder. Hope. Believe. We spent our money and found our seats. We did our picks and made our plans. And then . . . on a daily basis, the following two songs would mingle with the sunlight, creating not just a memory, but life. The guitar opening to “Sleepwalk” gently giving us pause, these were our songs. We’d hold hands as we continued to guess the betting line for next Sunday’s NFL football games or that night’s NBA basketball games. Conversation would shift from Star Trek to sports to music as suddenly as the birthing of mice. This was part of our music education. Listening to these songs, drinking coffee, hoping for hope for our dreams to deliver.

These two songs were very much a part of the Bixby’s experience, a saintly venture framing the Augsburg Fortress days. There was coffee in the air, and it was good.

7. “Sleepwalk” by Santo and Johnny

Italian-American Rock & Roll brothers from Brooklyn. They wrote the song, and in fact had lyrics for the song as well, but the song remained an instrumental, released in 1959.

The guitar at six seconds is perhaps the most beautiful use of the steel guitar in the history of the instrument. As I think back I always think – surely there must be strings and lush orchestration, but alas ---there is not, I guess memories always have strings. The ending is absolutely beautiful.

8. “Laugh, Laugh” by The Beau Brummels

Beau Brummel was a 19th century English person who was very much into fashion. The Beau Brummels were an American band that was heavily influenced by the British bands. “Laugh, Laugh” was released as a single in 1964 from the album titled, Introducing the Beau Brummels, released in April of 1965. Where The Lemon Pipers had producers forcing them to give up the blues to assume British attributes for the sole reason of selling records, The Beau Brummels were artists unto themselves who looked to British Bands as a source of inspiration. Less flashy, more folksy. The song is structured much like “Things We Said Today,” by the Beatles but already into some Rubber Soul folksy content, possibly because of Dylan, but retaining a very folk – pop identity.

Ooh - listen to the stereo effects. I love the guitars – excellent – especially the little reinforcements. I LOVE LOVE the “lonelys” that are first heard around 54 seconds – LOVE IT! I also love the harmonica. I am often rough on that instrument’s use, but they use it right. Also listen at 1:37 for some muttering – you can hear it here and there, “Before I Go.” The song always involves the listener, especially as he pleads with the listener. The harmonies are interestingly paced. I do not know if I have ever heard anything else by this band.

9. “Reflections” by Diana Ross & The Supremes

Are we in the cold of space? No, just in the warm vocal embrace of one Diana Ross; The Supremes with space effects and just in time for Season 2 of Star Trek. The song was released in July of the “Summer of Love” (1967), aka the summer between Seasons 1 and 2 of Star Trek. It was written by Holland-Dozier-Holland and all the instruments were played by The Funk Brothers. This would be the first single released by Diana Ross & The Supremes, as opposed to simply, The Supremes. It was released shortly before Florence Ballard was fired from the group.

Her voice, Motown, the drumming, her silky quality, all contribute to this masterpiece of psychedelic soul music. I love how in half a minute the song ramps up with the beat slamming on all four beats. The wild background vocals are otherworldly and slightly scary – especially with the accents on “loving you” near the end.

Listen to her “ah” for “I” at 1:12 – my god – almost yanks the tears right out of my eyes. The strings trip around interestingly at 1:30 and I LOVE their power at 1:45 as it spills back into a verse, the strings are amazingly innovative throughout.

An amazing song that I have heard so many times that I almost was not able to appreciate its many beautiful intricacies and nuances; I wonder how much of Motown I have yet to fully appreciate.

10. “Good Vibrations” by The Beach Boys

This band was almost too big to include. However, my neglect qualified them for inclusion. “Good Vibrations” was their third number one hit. It was released as a single in 1966, close to the release of Pet Sounds — kind of like the relationship between “Strawberry Fields Forever” and Sgt. Pepper. The music for “Good Vibrations” was written by Brian Wilson and the lyrics were written by Brian Wilson and Mike Love.

First, the vocals are insanely amazing, what was going on here was incredibly unique and I am not sure if it has yet been matched within the context of a pop song running less than 4 minutes – under four minutes!, this song is as a symphony. I will not examine too closely the many fantastic vocal performances, sounds, ideas, and harmonies at work here, there is too much to admire and enjoy: the mastery, the great opening line, I love the “sound” (an electro-theremin) and the sound and use of the cello, the “excitations,” damn Sunkist.

I love the “I’m picking up,” the idea of giving off and picking up vibes pours into pop culture. The changes beginning at 1:41, dramatic, how will it change and then whoa… at two minutes, one of my all time favorite lines, “I don’t know where but she sends me there.”

The vocals are soaring, and then 2:14 just starts up almost instantly in a state of fading, like a day’s sun fading into a fire at night, and yes – can you feel the beach? – where was Enya to do the “aahh” at 2:54? And just when you think the song might be over and the adventuresome vocals completed, they throw in the next little treasures that they dug up on the shores of Huntington Beach, at around 3:13, listen to the bass tones supporting the vocals and of course the sound of the vibration itself, connecting us all to Wilson’s brain waves and the nature of the universe Unfortunately this version does have a crappy fadeout, or was this intentionally done to represent the impossibility of an all powerful connection between people and the reason world peace continues to prove so incredibly difficult and possibly impossible?

The Summit

2008-11-23T22:07:00.002-05:00

ok ok....this has probably been driving the Clog up the wall, me not getting around to posting this.

Indeed, in advance of the Global Financial Summit, The Statesman arrived in Minneapolis MN for a CMC Summit on Friday, November 7.

A pitcher of (CMC) Summit Extra Pale Ale, was consumed.

Here's where we stand:

About a year ago, we made a consensus decision to not put the collective thumb-screws in, and get off the original "one CD a month" mission, in order to accomodate our various members' busy lives and collective desire for less stressful lives.

The result, as we all know, has been as successful as it would be if Mixdorf just poured an entire bag of dog food on the floor so Primus wouldn't need to be stressed out about a regular feeding schedule.

T-Clog & I, with very little debate or difficulty, arrived at a very possible working solution to keep this thing going so that a crucial aspect of this endeavor, critical to its survival, is addressed:

How can we make the prospect of commenting on a CD enjoyable and not a dreaded pain-in-the-ass?

Others can chime in, but the way I see it - this is the real boner of the whole thing. We all like to listen to the new CD. We may even enjoy the act of sitting at the computer to hammer out specific responses to specific songs. But - gosh - the act of setting aside an evening to do it! That's what makes weeks strech magically into months.

And so....in a near complete reversal from a position I've put forth in this venue not two years ago...here's the proposition:

1. CD Creator (the Creator-Kirk) sends out the CDs and posts initial comments.
2. Responses are simply done in the "comments" section of the initial post. Period.

There is no obligation to comment on every song, or even any need to wait, necessarily, for everyone to respond. The next Creator-Kirk in line simply waits for the discussion to trickle down a bit and - or - whenever he/she (but, in reality, only "he") feels it's time, then sends out the next volume.

What does everyone think? This is just the result of a Summit of a couple of us, I realize. T-Clog would have agreed to just about anything to kick-start the CD-sending once again. And, for me, creating the CDs has never been the issue. I have a potential backlog of seven or eight volumes I'm excited to send out. I may be only speaking for myself, insofar as it's always been the commenting that's bogged me down.

Thoughts?

Also - as a side note - if we do go forward under the ground rules laid out by this Summit, it might be only fair to invite Aaron back in. He was a good and valuable (and founding) member of the CMC; and his involvement actually ended over pretty much this very issue that's currently tearing us apart. His Project 365 was last updated on April 8, so it's tough knowing whether he'd be interested in committing to going forward, even under this New, much less demanding, World Order. But I think it would be good to let him know and open up the welcoming arms.

The CMC Summit

2008-11-23T17:38:00.003-05:00

A CMC Summit was held at the Eagle's Nest in November. Summit beer and cheese pizza was consumed as we discussed pressing issues. Dan will be the keynote speaker about what took place, but I just wanted to let everyone know that some changes will take place.

Volume 19 - A note

2008-05-27T22:01:00.002-04:00

The last song necessary for volume 19 was acquired today. Soon it shall be yours as well.

Mighty Tom’s Spin on Ye Olde Round Sound

2008-05-14T15:09:00.003-04:00

Opening

I must at least acknowledge that it has indeed been a long time. But I will always apply the same “program” to each of these offerings, never “shorting” the effort that the compiler puts forth. That said, I am pleased to have completed my Round Sound experience.

It was great. I loved the cover – really outstanding – I am almost always in need of such an expression. Intrigued, as always, by the songs within. One of the many strengths inherent to CMC is the infinite combinations that are available to the club. Rich learning, remembering, discovering, and contemplating are as available as a shaker of salt – just need to grab and add. Thank you in advance for putting together another installment for the CMC. The pleasure is mutual, except when it comes to your cover – then I am afraid it is all mine.

And now . . . the songs-------

1. “I’m Not in Love” by 10cc

Oh - Eric Carmen is who sings ‘All By Myself!’

A good choice to introduce your listeners to what the round sound is - the electric piano is a key component as well as the smooth and groovy production. This band, emasculated by its very name (cc is a small amount compared to what you drink in a glass of beer in a truck with your dog), is an interesting combination of musicians. The name is a scientifically calibrated measurement that reduces it to the amount in a syringe. “Buckets of Load” was the name of the band that would have kicked this band’s ass.

It seems amazing to come up with and record a song such as this. There is an artistic weird, which I quite enjoy, embodied at times by my favorite bands, and then there is genuinely weird, such as 10cc.

This is one of those songs that I recognize as hearing, but not listening to. Hearing as a basic function of the human sense – if it is on and I am in range I cannot help, but to hear it; however, its inclusion “here” has allowed me an opportunity to LISTEN to it. Interesting to LISTEN to a song which I have heard here and there throughout me life.

Wild background vocals. Interesting break at 2:00 minutes. Weird “Big Boys Don’t Cry” section. Gets out of it with a transporter sound (see Star Trek 2) – which might be exactly what the doctor ordered. Get outta there! At 3:25 until about 3:51– the song’s most interesting musical passage.

The song captures the round sound vision, but despite the wetness of its production and the insinuation made by the name of the band, leaves me a little dry.

2. “Run That Body Down” by Paul Simon

First, I must again reveal my love for Paul Simon. I really do love him - his days in an acoustic duo, through his 70s addiction, and then exploding into what I can only describe as uniquely Simonesque. I think Dan is right on in terms of Simon replicating a contemporary form of music in the 70s along with Joel, P-Mac, and Elton, but Mixdorf is also right – post 70s – Simon truly is an artist unto himself. So, I love Paul Simon and was quite excited to listen to “Run That Body Down,” which I have never heard before. I applaud Dan’s launch into the albums of Paul Simon (and recently benefited from such a launch with Dan’s “One Trick Pony”). I am intrigued by Dan’s comparison to P-Mac’s debut solo album and agree for the most part – though P-Mac’s, I suspect, might be better, barer, and stronger overall– though I am only able to base this on Dan’s info and this one song.

I love the smooth vocal by Paul Simon and believe he is a bit underrated as a vocalist. He can sustain notes with oohs and aahs as well as anyone and has such a gentle, smooth quality. I like the transition that begins around 2:10 culminating with the surprising bit of guitar work, then spilling back into the “normal” part of the song. I like the words and find them comical in that “song kind of way.” The whole notion of pointing out to someone that you are “gonna run that body down” is great. Smoking, overeating, unprotected sex. Great.

This song has grown on me with each listen. I liked it initially and like it more every time I hear it. There are Simon songs that fit the bill of Dan’s round sound better, perhaps, but this one works nicely on the collection. I’ll “speak” more about this in my discussion on song #3.

3. “Reminiscing” by Little River Band

In my initial listens, this and song number 1 became clear illustrations of Dan’s Round Sound concept. Before I listened to the album and only saw its cover and title, I thought it was going to be a funk compilation. After becoming more familiar with the album, I soon listened to it as representing quite a large grouping of songs, of which this and song number 1 were firmly rooted, but not as the clear cut representative for the sound Dan is presenting. I see many similarities between this song and “I’m Not in Love.” They both were songs I have heard, but never LISTENED to. Both were songs that I would switch away from as soon as they began. Both almost appeared to be elevator music to me.

That said, after listening and reading about the songs, I like “Reminiscing” better than “I’m not in Love” – though I am not too crazy about either of them. And John Farnham – oh what Greenpeace did for him, at least for me. And Australian, there was a time when I seriously thought they were a NE Iowa band.

Dude – I am sorry I cannot like this song as much as you. The song is very Steely Dan like to me, and like them, I do not hate them, it is simply that I would search the radio for something different. I like the horns and know what you mean about the guitars being Prince-like. The singing is good and I do like some of the nifty chord changes. The ending could have been a 44 ending.

And now . . . let me take you down . . . to the bowels of West High School, where I temporarily belonged, amongst the tunnels and the Anderkays, Greenwoods, and other creatures of the pool. We would work our muscles and then . . . we would stretch and do aerobics.

The music chosen by the assistant swim coach: music from the genre of Round Sound. There was the LRB, Joel (“Just the Way you Are” was a major stretching song), Simon, Elton, Hall and Oates – and others. Pictures of our favorite Aerobic girls motivated us from the walls. Early mornings before school or after school into the early evening hours – stretching, twisting, reaching, and contorting to the electric piano. Aside from hearings in the car, it is there, on the sweaty blue mats, over and over and over again. I cannot help, but equate these sessions with that sound. It isn’t all bad, but it is there and I needed to say it. That said, I was able to disassociate myself from those memories as I listened – no problem, but on some level, of course, it is part of my experience. I chose to disclose the info during the discussion on the LRB because along with Joel and Simon, this song without a doubt was drilled into my school skull during “cool down” exercises.

4. “What You Won’t Do For Love” by Bobby Caldwell

I really liked your snapshot of 1978. I think I may have heard this song before, probably a long time ago in a car. I am not specifically familiar with Bobby Caldwell, but I am vaguely aware of artists like him.

Love the drum fill at 3:58 – great sound, great continuation. He is an excellent singer – and if I were to guess the color of his skin, not white. I wasn’t going to use the word “muzak,” but there is that element to the round sound, due mostly to its ultra smooth and very gentle quality – not entirely a bad thing, but obviously such qualities could cause the listener to view it as background music. Like jazz or even classical music, until you get into it – then you either dig it or hate it. That is the clearest I can put it. I am not dismissing this music at all; on the contrary, I am situating it with that kind of music that is softer on the ears and therefore less demanding of the listener’s attention – at least as far as I think so. A punk song will demand attention and will demand the listener to make the decision – do I like or do I hate – instantly – no passing it off or ignoring it. Back to the ole “hearing” a song, but not “listening.”

Jazz, smooth R&B, but definitely working within the context of Dan’s Round Sound concept – I wonder if Gnarls Barkley ever studied Caldwell. Caldwell is certainly not as psychedelic as Barkley, but some of the vocalizations reminded me of the two or three songs I have heard from Gnarls.

5. “Little Jeannie” by Elton John

At this point, the Round Sound begins to sparkle. Truly Sparkle. I do love this song. Elton John really turned into a fomp (whatever that is, but I think you can discern at least some of what I mean). Mixdorf’s glasses and costumes did not bother me until the music lost its artistry. Elton lost it. Plain and simple, but let’s return to the time when he was very very good, including this song, which I did not know was without Taupin.

An interesting merging of Mark Anderson and Dan Hylton helped introduce me to the music of Elton John, Mark the earliest stuff and Dan, a little later. My very favorite Elton songs are: “Someone Saved My Life Tonight,” “Goodbye Yellow Brick Road,” and “Empty Garden” (I credit Dan for introducing the great “Empty Garden”). “Little Jeannie O’Meara” ranks in my top ten favorite Elton John songs and possibly in the top five.

I suspect Elton John was at his best when he was taking drugs. Many drugs throughout the day and night. Drugs that opened his mind and helped him to socialize with other artists. How they must have laughed while under the influence of such wonderful drugs. Laughing and writing and recording – what fun. Drugs truly are amazing. Consider the state of music had there never been an influence of drugs. Beautiful, yummy drugs.

I totally agree about the saxamaphone – an instrument often recorded badly - interestingly, Paul Simon and George Harrison have achieved the greatest sax sound pop recording success in the history of our world.

6. “Midnight at the Oasis” by Maria Muldaur

First, I LOVE “Come Hither.” Oh my. This is a happy time. It could have been a Beatles movie from the early sixties and this would be someone they would meet. And she would sing them this song and the world would be warmed, but not in a climate change kind of way.

“Sing your camel to bed,” (two great humps) and “Heaven’s holding a half-moon” (and it aint no Levendusky) – all great.

And shit shit shit! “I’ll be your belly-dancer.” Does she know what she’s saying?! The French teacher we all love who dances on the side. Meet me Thursday and we’ll catch a glimpse through the curtains and if we are lucky, we’ll be invited to the dressing room. SHIT!!

I totally see the solo at 1:20 as being Mark Anderson like – yes! And “harem honey” – very nice indeed!

“I know your Daddy’s the sultan” – see that’s the whole thing. How fun would it be to be young and attending a political event, flirting with the opposite gender while parents fulfill their ambassadorial duties - the chase, the encounter behind the building, the hope that others will get the hell away.

A fun, bouncy song – why not romanticize the middle-east, god knows it needs it!

Yes – the stereotypes abound as Mixdorf points out and yet – how sad. I often cite the natural beauty of North Korea that goes unnoticed, but the same goes for the middle-east. Looming over a visit is the constant warning, instructions to avoid danger – not by a certain reptile, but the political landscape in which we exist. The beauty of North Korea is ignored. Could we just cross over and enjoy its lush greenness? That we are not allowed makes it worse. If we were allowed, perhaps we still would not go, but knowing we could is somehow very comforting. Thank you Maria for my middle-east experience.

7. “Arrow Through Me” by Paul McCartney

I love this song. It is great – I actually like the words and this song contains elements that easily make it among the strongest on this compilation. I realize that some of you might roll your eyes, knowing and thinking that I love everything the man does – not true, but yes, I ADORE Paul McCartney. He is truly amazing, and to quote from Dan, “So awesome, and so funny, at the same time.”

Paul is not only able to fully embrace the qualities of almost any genre, he is also able to take the genre to the very top of its form, while still adding a bit of McCartney to it – in other words, at once:

- he retains himself (there can be no doubt that this is McCartney)
- he claims top position in the genre (“Arrow Through Me” is the best 70s round sound type of song as “Honey Pie” clearly illustrates the best of vaudeville).
- he masterfully captures the elements of the style he approaches both in terms of sheer natural talent and flawless execution

If he announced he was going to compose a 1994 grunge song, you can bet that it would be the best grunge song you ever heard.

So, this is what is generally accepted and understood about P-Mac. Incredible, beyond description, and out-of-this-world.

I love the arrow zings placed throughout the song and the rich, deep bass tones. His vocal is so smooth that even the warted hide of Darrin Schreiber might let a few slip smoothly by. I think what he does with “zero” is fantastic. I love the space of the arrangement and the little drum effects used throughout, growing especially prominent at the end of the song.

Think Legolas – running an arrow through that orc – that is bad – and that is what Paul is talking about. Beautiful.

8. “Blue Bayou” by Linda Ronstadt

I went nuts with this song. It gave me instant sprinkles the moment she started singing. I know little of Linda – “Under African Skies” of course. I probably have heard this song, but I’m telling you – I really do not remember.

What a voice! Really – what an amazingly emotive, clear, beautiful voice. And at 45 seconds when she intensifies – wow!!! I like the little steel drum type sounds and the harmony is great – informing Cynthia Lauper (“Time after Time”), perhaps, later.

I kept repeating this song at work. The mood was right. I must have played it a dozen times in a row. Love it. Is it about a place she grew up, had a daughter (baby), and then left, but the daughter stayed? Maybe. She left for a job or a soured relationship, but time heals, the sails representing the surrender of her soul, and so she returns to where she belongs. There was depression, but now subtle elation.

9. “Sara Smile” by Hall & Oates

I remember really liking Hall & Oates, culminating in the purchase of the album, on tape, “Out of Time.” I often passed over “Sara Smile” for their harder (hee hee pee pee) stuff like “Say No Go,” “Rich Girl,” “Adult Education.” But these days I can certainly appreciate this song much more. Hall is an incredible singer – what a voice. Like a giant Rick Astley, but with a higher voice – they could have been brothers or at least cousins. Then the darker, more evil Ric Ocasek. So Dan, who would win in a fight, Ric Ocasek or Hall? Or, Hall and Oates vs. Evil Ric Ocasek and the diminutive Rick Astley?

I do like the song and think the singing is outstanding, as is the orchestral arrangement.

10. “Don’t It Make My Brown Eyes Blue” by Crystal Gayle

We all seem to know this one. It must have been hugely popular. Did she also sing the song about “Your So Vain” – about accusing someone of thinking this song was written about you. Or was this Carol King’s aim at James Taylor. What did James do to her. Good God! She still hasn’t gotten over it. Or am I thinking about someone else. Crystal does have a sweet voice and the piano was lounge-like, and I can dig on a nice lounge. The song is short and I think that works well within the context of ending.

Closing

I enjoyed the Round Sound a great deal and had fun writing up the comments and listening and reading Dan’s and other CMCer comments. All excellent.

Dan’s write-up provided an entertaining and informative guide into the Round Sound. What a time period. And, I must say, a stunning run of songs from song #5 through song #8. Wow!

BS: Blue Bayou
SIWHI: Something by Joel

A fine well put together collection – a nice nod to Dan’s occasional inclinations to the 70s!

How About that Round Sound?

2008-05-05T07:43:00.002-04:00

I will give 500,000 points to the guy who makes their comments on Dan's January album first. When I say first, I mean not being the last one. The last one gets a giant wet Willie and back slap!

Not trying to light any fires here, but I am dumping gas on you.

Listen on my friends, listen on! :)

appeal to the Czar

2008-04-09T12:05:00.003-04:00

I know I owe comments and a CD...

and they will be coming, but not right away

the CD is more or less complete, but I need to do comments for Dan, and my next CD

so Czar, I beg you not to send out your ruffians to behead me

if your majesty could hold on just a bit longer

I know your anger is great and I will offer myself up to your majesty in other ways if it allows your anger to subside, but please, let me have more time

Our Mission Statement

2008-03-05T12:41:00.003-05:00

We might need to change our mission statement to something like one CD every now and again until the rapture? What is the collective thought?

Bear's Lick on That Round Sound

2008-02-19T12:41:00.003-05:00

That Round Sound
Volume #18

After CMC's cardiac arrest last year, I thought that we might be finished at Volume #17. However, CMC has escaped from death's clutches to provide the members of this cooperative with interesting and incredible collections of music for months to come.

One of the things that I appreciate the most about CMC is the wealth of knowledge that is shared. Because I virtually know nothing about music, I have the most to gain by listening to your albums and from reading your comments. I have learned a ton so far and I am ready to learn more. I hope that I can get some graduate credit hours from all that I am learning here at CMC University. Thanks to all the members of this fabulous group for what they do!

THAT ROUND SOUND---------Wow! This is exactly what I am talking about. I had no idea what the round sound was. I heard some of these songs before but never knew that they had a name for this sound. I have always chalked it up to what lounge lizards listen to when they are kicking back with their happy hour cocktails.

Let me first comment on the album cover and it's creative features. Dan has once again delivered an album cover that is unique and colorful. The colors are great and the image is easily burned into your mind. I love it! Whenever I look down at the cd case, which rides next to my transmission stick, I can't help but to notice that Dan is down there with his mouth wide open. It's a little weird, but not unusual. I find this album cover to be one of the best.

My impressions after the first listen through were those of concern and curiosity. Why was I concerned? Well, I was thinking that Dan really set the bar high in exposing me to mostly new songs and to a musical concept in which I had zero schema. You can say that I react this way for almost every album that comes out on CMC. It is not a ground shaking event or an isolated thought identified with this one album. But seriously, I was concerned about my ability to contribute valuable comments about this music and sound. "C.F. Bear, why were you curious?" I was curious because here before me sits a collection of new songs that I get to dive into and for them to take me on some type of new ride. I was excited to see how I would feel after getting off this new ride.

I'm Not In Love: 10cc

I never heard this song before. I am always amazed when one of you guys say that you heard a song a lot growing up because it got a lot of air play. My parents were listening to 70's country in those days, thus I didn't hear much of non country radio. AM radio was the only thing we could get in our old cars. The first thing that captures my ear in this song are the a-ha's that alternate from speaker to speaker near the beginning of the song. They also repeat this feature a few times through the length of the song. Even if she is mocking him and two guys already hate this aspect, the best part of the song in my opinion is the female whispering, "Be quiet, big boys don't cry..big boys don't cry." It is a little naughty sounding to me and I find that very interesting. I love it! I also really lke the section of the song tha repeats "Ooooo, you wait a long time for me" and the minimoog action starting at about the 3:20 mark. Do I love the song? No, I find it too round. I can appreciate this song for it's contributions to the album, but I would be putting it on my i-Pod (Samsung).

Run That Body Down: Paul Simon

Once again another new song to me by an artist that I find incredible and amazing. You absolutely don't need to apologize to me. This is a great tune. Some very cool electric instrumentaton at about the 2:25 mark. Kick ass! If not for that part, I don't hear a lot of the round sound. It is almost a stark contrast to I'm Not In Love. If you asked me if this was a round sound song, I would say no. The lyrics are good and they tell an interesting tale. Imagine going to the doctor and then being inspired to write a wonderful song. Man this guy has talent. Thanks for including this song. I will include this song onto my i-Pod without hesitation.

Reminiscing: Little River Band

I guess I have to say that this song is somewhat new to me. I might have heard this song once or twice back in the day, but not more than that. In listening while I write, each song on a loop for at least 10 times, my comments, my mind is blown away again by some fantastic horn work that starts in at about the 2:50 mark. These fine horns finish the song off as it fades away. Awesome! The ending has a very jazzy feel to it and that makes the song stand out to me. The horns made me think of a Mexican band playing jazz at about the 2:50, 3:19, and 4:00 marks. What a fun sound and funny picture in my head.

Man am I jealous of Meth's time at the pool. I never swam at Byrnes or Gates when i was a kid. My mom signed me up for swimming lessons at the YWCA. Not the YMCA like most kids who don't go to Byrnes or Gates for swimming lessons, but the YWCA. My mom made me wear a queer looking yellow swim cap too. I swear it wa a woman's cap! Man was I sheltered from music that was not country growing up. What would my musical tastes be like if I was exposed to other types of music as a youth in Waterloo? What would yours be like if you grew up with nothing but country? Interesting to see what would have been. I probably would not be listening to an album right now by Dan because he would have killed himself in high school. :)

I like the song to a point, but I am not sure that I would enjoy hearing it all of the time. To fully appreciate the song, I would have to be in the mood for cocktails and the smoke filled air at the C.F. Panther Lounge. Glad to have heard it again and I will enjoy hearing it whenever I listen to That Round Sound. I don't think that I will include this one on my i-Pod.

What You Won't Do For Love: Bobby Caldwell

Not much to say about this song. It's mostly a blank for me. I have not heard this song anywhere before receiving this album. Is this a Will Smith song? I like some of the horns, but this song doesn't do much for me. I am sorry that I can't say more.

Little Jeannie: Elton John

I have heard some Elton John before, but this is another new one. Not crazy about Elton John, but he has a few darn good songs out there. Some that jump to my mind include: Your Song, Goodbye Yellow Brick Road, Rocket Man, and Candle in the Wind (the original and the tribute to Diana). The only album that I ever purchased of his was his greatest hits.

This song for me brings the round sound out of the era of avocado green appliances, mustard yelow house siding, and shag carpet to a new and upcoming big hair state. This along with Paul Simon's Run That Body Down are my kind of round sound songs.

Did you go to the Happy Joes that use to be on Washington street? There is a car dealership standing on that spot now. In fact, right where Happy Joes stood is where my Montero was sitting when I bought her two summers ago. Maybe I should call her Happy Montero or Montero Joes? What do you think?

Dan, I also like the aspect of asking someone to be your acrobat before asking them to be your lover. What a great concept if your a bold and daring man. It is a very nice song and it has been cleverly written. I will include this on my i-Pod.

Midnight at the Oasis: Maria Muldaur

Shazam!!!! I want to go to the Sands in Las Vegas right now and play slots all day. What a damn good song! I love the feel, the lyrics, and the music that this song provides. "I will be your belly dancer." That's what I am talking about. She tells you that you don't need 50 women (a harem honey), you just need her and only her. To further her bold proclamations she tells you that after a ride with her you won't need a freak'in camel to get you around.

When was the last time anyone thought that the Middle East was sexy? Maybe Dan's parents? "Come on until the evening ends!" Wow! Dan this is a big winner in my book. I am adding it to my i-Pod before I finish the rest of my comments.

(time gone: about 15 minutes)

I am sad that Meth doesn't get the same buzz from this song as you and I do. Maybe there is another song out there that get's his hive buzzing.

Dan said, "We'd all "Go out to a sand dune, real soon," given the chance, would we not?" You bet brother! However, if it is too hot just wrap me up in a cool wet sheet again.

Arrow Through Me: Paul McCartney

Not new to me since I heard it before on Dan's lost Paul McCartney album. Forty years from now we will be making comments on CMC about Dan's lost album that magically reappears. The lyrics in my opinion are bad! Paul singing ZZZEEEERRroooooO is just awful. "Run an arrow right through me " is stupid. I really get the concept of the song, but I can't get past the corn dog lyrics. This has to be one of the worst Paul McCartney songs ever composed. Sorry Dan, ut this is my least favorite song on the album.

The beginning is interesting with the moog going deep. I like the electric drums a lot in this song and I appreciate the round sound that he is trying to convey. I like Paul McCartney a lot and I think that he is a musical genius. In this song, however, he is showing that he can turn that switch on and off. There are many songs of his that I truly adore. At some point throughout out adventures in the CMC you will her a few of those. My friends, at this point I am done duscussing Sir Paul.

Blue Bayou: Linda Ronstadt

A song that I hve heard many times on that AM radio in my parent's car as we traveled to and from Osage, Iowa to see my grandma. She has strong country roots that run deep. The nice thing about some country artists is their ability to crossover. Just because you leave a bunch of country songs in your wake doesn't mean that all of your songs have to be country. That's a remarkable trait to have as an artist don't you think? It should not be viewed as a negative in any light.

Her soothing voice rocks you asleep and rubs your overstuffed shrimp tummy gently at the same time. Her vocal range is impressive and it really helps this song go from average to above average. The ending words Blue Bayou sends shivers up and down my spine. "That familar sunrise through those sleepy eyes..how happy I'd be" is just plain fantastic. I can see the sunrise and I can see those sleepy eyes when she sigs this line.

Dan found another great song. Not sure how round it is, but I like it. Yes, I predict another i-Pod candidate.

On a side note, does anyone else hear the scratchy background noise at the end of the song? It starts at about the 3:20 mark.

Sara Smile: Hall & Oats

Maybe it should be Kids in the Hall & Ouaker Oats? This song is a newbee to my ears and I can dig it for what it represents. I never really heard much of Hall & Oats before this album, or at least I never knew I was listening to them. Last Christmas we had a white elephant gift exchange and I recieved a copy of "Do It For Love". I have wanted to give myself the experience of listening to Hall & Oats, but there was always something else I would rather listen to at the time. Thanks Dan for forcing me to give them a listen.

The scratchiness is here at the beginning of this song too. Maybe it's just my copy? Not really drawn into this song. It's not bad, it is just a very similar song that sounds like 50 other songs. You are really covering all aspects of the round sound. This collection is completely rounded. You go from very round sounding to not very round like and back to round again. I aplaud your willingness to deliver to us this extra large and multi topping musical pizza. From where I sit this pizza is delicious. There are only a couple of toppings that I have to pick off.

Don't It Make My Brown Eyes Blue: Crystal Gayle

The piano is amazing. Her voice is magical and it blends in so nicely with the piano. I have not been exposed to a lot of Crystal Gayle, but I have heard enough of her on the radio to know who she is. I have known that she was Loretta Lynn's sister for a long time. When I think of her, I instantly get a picture of that really long hair. All I can think about is how does she sit down on the toilet without her hair touching anything nasty? Does she ever sit on her hair and does that jerk her head backwards?

This is a wonderful song that is a must for my i-Pod. This kind of round sound song is another one that is up my alley. I second the comment that Dan made about her telling us the fact that her brown eyes are now blue just a couple of times before the song is over. It is a short and sweet treasure.

Final Comments

Thanks to Dan I have learned something new. I never knew what the round sound was and I had no idea that this sound even had a name. The round sound to me has a variety of levels. Some of those levels I love and some of them I would like to skip right over. There are many good to great songs on this album and like I already stated, those will be added to my often listened to i-Pod. My favorite song is Midnight at the Oasis. My least favorite song is a tie between Arrow Through Me and What You Won't Do For Love.

Moog Music: Mix Reviews CMC Volume 18: That ROUND SOUND

2008-02-11T22:06:00.000-05:00

All hail the Minimoog, released in 1970, and by my thinking, the progenitor of the Round Sound. And Round Sound is a pretty perfect description, though partly for the beauty of its alliteration. This music isn’t round exactly, but it has been smoothed and shaped to remove any sharp edges. Mellow Gold (Volume Two will get you Eric Carmen – or there’s this one) is another term that was applied to various retrospectives of the songs on this volume. Most of it anyway, as there are some tracks in here that seem somewhat pointy to me.

10cc was more than two dudes, at least when this track was released. The band is named for the average quantity of semen ejaculated – which gets them some points from me for cheek if nothing else. Two of the quartet were the later MTV favorites (for a brief shining moment) Godley and Crème, though they weren’t in the band long. G&C brought us the song Cry. It was one of those two that brought that ‘electric piano’ sound to the band (all according to AllMusic).

I remember this song pretty vividly. It received wide radio airplay. I don’t have especially strong feelings about it one way or another from those memories, though it is strongly evocative of that era, whatever that era was. It strikes me now as a pleasant enough tune, hook and all, but that ‘big boys don’t cry’ bit in the middle is completely inexplicable. Is she mocking the singer for his clear denial of the fact that he IS in love? Her tone would indicate no, but the sentiment says yes. As I suspect will become apparent over the course of this collection, that ‘softened’ keyboard sound is not one I especially enjoy from any era. Call it electric piano, organ, keyboard what have you, it really doesn’t float my boat. It seems to flatten the entire song like a sort of white noise, and that may be my general sentiment of the entire genre. It might have been great in 1977, sitting happily in a bean bag chair, stoned and staring off through the beads that constitute the door to your basement bedroom, but it seems really dated today. It’s not that I find it unpleasant in any particular way, it just seems really, really bland.

This is one of the pointier songs for me on this collection. It’s not that it isn’t mellow or gentle, but it doesn’t feel especially ‘dated’ (and I don’t mean that pejoratively) like many of the songs on this collection do, and generally the arrangement employs the instruments in their ‘natural’ sound. This seems almost like a little number by a jazz combo, with some laid back dude plucking away on an upright bass, little guitar flourishes, with whatever ‘electric piano’ there is relegated so far to the back as to be inconsequential. The only part that seems to tie it into the Round Sound is the extensive use of effect on the guitar solo.

Additionally, this seems like a song that could have been written by Paul Simon last week. That’s not to say that he doesn’t have some songs that feel connected to the Round Sound era, “50 Ways to Leave Your Lover” being one that pops to mind. Maybe it’s my memories of that song that makes the connection, but it’s always had a distinctive 70’s feel to me, somewhat unsightly and unwashed. This one is new to me but seems pretty crisp, if gentle, and not especially Round. Good song.

As to the notion of the Pauls, Elton and Billy adapting well to new eras, I really don’t see that with Paul Simon. Not only does the sound of Paul Simon not seem to change to adapt whatever sound is the current one, they don’t seem to fit the current style of music very well at all. They just seem to suit Paul Simon. I think the other three tried to go along and experiment with whatever was going on at the time, but even then were such singular artists as to not get very embroiled. It wouldn’t be hard to make the case that the other three were pandering in order to sell albums and it is only their talent that kept them from becoming cartoons, and one sponsored tour away from turning them into The Rolling Stones. As it is, only Paul McCartney has continued to make new music over the last decade, with Elton and Billy occasionally trotting out their baby grands (often together) to sell some concert tickets but otherwise setting on their laurels.

I’m torn on Paul McCartney. He may actually be insane. I haven’t seen an interview with him since the 80’s that didn’t make me wince. He’s either become slightly sociopathic, or is only going through the motions required when releasing new albums. I’ll give him the benefit of the doubt, as I will with regards to his possible pandering, but he gives me the creeps.

A funny history goes along with this band, one that I would never have guessed but one I feel obligated to explore as part of CMC due-diligence. First and foremost, they are Australian. I would never have guessed that. Second, they seem to have assembled themselves entirely for commercial success. Significant band members didn’t record together, didn’t travel together while on tour, and ultimately these tensions led to the fracture of the band and Shorrock’s replacement with a guy named John Farnham, known to some of us because of his inclusion on the Grenpeace: Rainbow Warriors double CD.

Anyway, this is one of the ‘pool’ songs that seem to have drilled so deep into my sub-conscious that they will remain there forever. The ‘pool’ is Byrnes Park public pool, a block from my childhood home and the place I spent an insane amount of time at in my childhood. The PA system blared low fidelity versions of all the biggest hits courtesy of whatever radio station was big at the time (I believe this predates KFMW) and this was one. My fondest memory of a song burned into me in that venue was Let My Love Open the Door by Pete Townsend released in 1980. This song predates that one by a couple of years (1978).

As for the song specifically, it occupies a generally favorable part of my memory, and listening to it again it’s easy to understand why. Nothing about it is offensive, such is the primary mission of That Round Sound. The arrangement is far more elaborate than the one found in 10cc and as a result that ‘electric piano’ is less grating to me even when it occupies a prominent position, but it still seems to act as the great neutralizer. I’m not a fan of that drum fill, as it sounds comically artificial to me. Horns good. Strings good. Lyrics good. Overall feel pleasant. Nothing about this song or perhaps any among That Round Sound is going to make me hate them, (they are designed explicitly to do otherwise) but neither does it cause me to reminisce.

Apparently Bobby Caldwell is/was huge in Japan, and has thrown off R&B for jazz in the intervening years. Add that to his whiteness and you have quite an enigma.

This song seems familiar, and perhaps I heard it in the pool, but it isn’t stuck in my memory like so many others from this era. It also seems to be more straight-up R&B than most of the other Round Sounders, ignoring his pale skin. He could have been the opening act for Earth Wind and Fire or The Commodores at the Apollo where a very confused crowd would have eventually come around to his infectious groove.

Again, there’s little to dislike about this song, but there are few times in my life where I feel like getting into that 70’s mellow groove.

Oh boy. This is such a pool song for me that I can actually smell the chlorine and sense the evening stretching into night, the pool nearly empty, the frenzy of the day long past and only us hardcore and terribly pruned swimmers left. It’s so ingrained in my memory, and so evocative of happy memories that I have a hard time separating the experience from the song, but I shall try.

Elton is one of those artists that I’ve often appreciated but never enough to buy an album, not even a greatest hits compilation. His cartoonish behavior turned me off, crazy costumes and ridiculous glasses, but through his insanely long career (this was from his 21^st album! In 1980!!) he certainly has put out a notable number of songs, some of them just great. This wouldn’t be my favorite, it might not make the top 10, but it’s good.

So all right, the song itself….the electric piano seems to have a lighter uplifting touch than on many songs of this collection, brighter, cleaner with more distinction between the notes. That helps me. The rest of the arrangement has a slight tropical lilt to it that I think adds to my pool association, except for the fake horn sound that shows up before the chorus. That’s a little grating if I force myself to dissect it that far. The saxamaphone is bad…reminds me of the sax guy from the Tina Turner Mad Max song that later showed up with a song of his own on the Lost Boys soundtrack…along with a Roger Daltrey rendition of Don’t Let the Sun Go Down on Me…by EJ. Weird free association there.

Overall it’s a song that I can happily enjoy.

1973? A song presumably ‘inspired’ by the oil embargo and all the bad associations that developed around ‘Arabs’ in that period, but also looking back onto the weird romantic notions of Arabia coming from old Rudolph Valentino movies, this song is truly inexplicable.

There are plenty of great funky guitar riffs in here, but little in the way of Round Sound, though I’ll forgive you for including it for all the reasons you mentioned. I don’t find her voice to be ‘come hither’ in the way you do, but I do like the way she says ‘harem, honey’ and find the song to be fun generally. I have no recollections of it from age 2, but I have heard it since then, though none really stuck in my mind. It feels familiar, though I can’t say exactly why. It seems to be of no particular era in the same way that the Paul Simon song does for me, with enough unique elements to make it sort of fresh.

She apparently has continued to make albums up until the present.

Plenty of moog associated with Paul McCartney. And thanks, it’s now hard for me to get the YouTube video out of my head, waiting WAITING for the guitar solo. WHERE is the guitar solo???!!!!

Paul McCartney, especially as a solo artist and like several other musical phenomena, created lots of songs where the whole is LESS than the sum of its parts for me, and this is one of those songs. It’s plenty likable, and fun, but there are lots of things that leave me flat. The lyrics are corny. The ‘horns’ at the end are excruciating. The keyboard part that kicks off the song and sits underneath the whole things seems completely out of place (more sinister by far than the rest of the arrangement).

I sort of see solo Paul as an exceedingly (possibly insurmountably) talented guy who no longer had an equal to bounce ideas off. No one that would tell him when he’d gone too far or when he’d gone completely off the rails. He was surrounded by yes men and Linda, the worst yes ‘man’ of all. And so he was completely free from beneficial criticism and thus created lots of great songs in a sea of much more ordinary songs, simply because he had no one to tell him he was being a wanker. His talent was such that he managed to succeed and occasionally excel, but never with the degree of consistency he had enjoyed as part of a viable creative and critical group.

I would guess I’ve heard this song more than a hundred times without ever really listening to the lyrics. If I had, I might have spent the better part of three decades completely and utterly confused. The sentiment of this song and the implication of the title is the Blue Bayou is a sad place…but NO, it’s not true. Damn Roy Orbison! Playing with my mind like that. It’s not right. And what the hell was I doing the other dozens of times this song crossed my path.

‘…fishing boats with their sails afloat…’ is a stretch, if understandable from a rhyme scheme point of view. Like the sentiment of this song that particular bit of lyrical prestidigitation escaped me until now, and also for the better.

Her voice is remarkably evocative, though it would be interesting to hear the Roy Orbison version, as his voice also seems tailored to this song. I like the simple spare arrangement, though again this doesn’t seem particularly Round. They clear everything out of the way when the time comes and make room for her booming plaintive calls, and it works.

It’s hard for me not to hear the Johnny Alter song from the Al Franken Show when I hear her sing – it being my most recent association with her.

No love for John Oates! There’s got to be something to having Oates in there. For all we know Oates wrote all of the songs, in between moustache trimmings and while Hall was out brushing his luxurious hair. It’s not like Daryl Hall had a spectacular solo career. Sure, he could’ve been a crooner and released album after album of soul hits (for all I know that’s exactly what he did) but he sure didn’t make it without Oates. And vice versa of course.

Sara Smile was one of their first hits (1975) and one that I knew, but clearly not from when I was 4, so somehow I got exposed to it over the years.

Again, by the defined standard of the Round Sound, this ain’t exactly it. This is ‘blue eyed soul’ or so it is apparently called when white people sing soul. Even with the gentle singing, most of the instrumentation feels very organic, where the instrumentation in 10cc and LRB feels inorganic, and thus seems to defy my sense of That Round Sound. This song dates itself by virtue of its soul sensibilities rather than by virtue of being that mellow 70’s sound.

It’s a lovely little song, one that sadly led to the later execrable Maneater, which I loved at the time, but now look back on and wince. Clearly their 70’s hits are the ones to be sought out and enjoyed, as you say, and this one is very enjoyable.

She was hot, though her country bona fides made me struggle with that at age 7 or whatever. She was all over the airways, especially on Hee Haw as I recall, a show that my family endured to please my father. Jesus, her sister was Loretta Lynn.

This is ‘country music’ I can get behind. It has the country sentiment without resorting to cartoonish accents. It’s also not especially round. I like the tinkling keys of the piano and the rest of the arrangement, organ and all, as it all seems to work together. The organ is used in a way that doesn’t just muddy up the sound that everything sits on. It makes itself known when necessary and the recedes, as it should.

Sub-executive summary: do I know what the Round Sound is? Maybe…but very possibly not.

That Round Sound:

10cc

Little River Band

Elton John? (also below)

Somewhere in the 70’s sound:

Bobby Caldwell

Elton John (also above)

Sara Smile

Blue Bayou

Crystal Gayle

Lost in time:

Paul Simon

Maria Muldaur

I would agree that this is not some bullshit 70’s collection. It’s a generally enjoyable snapshot of an era, and maybe a sub-genre, if not a sub-sub-genre. The songs that fit closest to what I understood as That Round Sound are the ones I like the least (though still happily listen to for the tenth straight time on repeat as I write this) The others are mostly evocative of the era and also enjoyable, but different to my ears. Maybe I’m not getting the sound. Maybe I put too much into the moog. The world may never know…

BS: Paul Simon

SIWHI: something by Air Supply? (this may invite an ass kicking)

Keep up the good work. Of all the participants yours have varied the most from disc to disc and that’s a good thing.

That ROUND SOUND: cmc vol. 18

2008-01-11T21:37:00.000-05:00

Friends, the year is 1977. Or 1973. Or 1979. Or sometime thereabouts. A group of backing musicians, including an electric guitarist, a drummer, and - most notably - a keyboardist ("electric piano" they call it) stand about waiting; their unkempt mountains of hair in seeming contrast to the velvetty-blue sheen on the stage and setting, and perhaps in their tight clothes which - while perhaps a bit garish, are expensive looking and new. Finally, the lead singer appears and the whole band launches into some sort of crazy sound not heard in the decade before. The audience can't put their collective fingers on it. The lead singer's voice is a full, clear tenor, unlike the gravelly, rockin' screams of post doo-wop rock 'n roll to date. The arrangement is lush, the smooth sound of electric piano drawing the bars and various other strains of music together. Drums and rhythm section, while not remotely funky are most definitely groovy. Yes! Groove! Like the grooves on an LP! This music grooves. It curls and twists and asks you to get high with it and meet you later at the Regal Beagle. Lower your resistance, forget what you think you remember about these songs - and this period of history in rock and roll. Think this is Freedom Rock? Think again!! This is the Round Sound. Can you dig it?

1. I'm Not in Love - 10cc: This track, by a bit of a throwaway 70s band (my apologies if anyone feels otherwise), perhaps captures as pure of a "Round Sound" feel as anything out there. Indeed, this had been on my appreciation list - but in that category of 70s song where my attitude is "Man - I love the song, but there's no way I'd ever buy an album" (along with Eric Carmen's All by Myself and Carly Simon's Nobody Does it Better amongst many, many others) for many years. Enter iTunes. In this song, the electric piano isn't just present, it drives the entire melody. I've always loved the jazz chords, and the way they sort of "step" around, under the vocals. I really love the "step up" right before each "I'm not in love," passage. And the vocal: great example of a Round Sound voice. Clear-as-a -ell 70s croonin'. Unfortunately, there's a number of weaknesses in the song, and I feel I should address them, individually. The words are pretty lame, and I'm sorry for that. Worse, that ridiculous British-accented woman's "big boys don't cry" should be making the two guys in 10cc wince and cringe every time they hear it - even now, 30 years later. Man, that's bad. That's producer-driven crap if I've ever heard it, kind of like that big "shhhhhienk!" sound in U2's Unforgettable Fire. And finally - that Naked Eyes "responsoral" sort of keyboard is just too much. So - for all that - sorry. Somehow, I still feel this is the right song to kick off the collection.

2. Run That Body Down - Paul Simon: OK, I realize that there will probably be precious few "new" songs for anyone in this collection, and for that I apologize again. It's not been my modus operandi thus far in the CMC Music Factory. I know that discovering songs you didn't know before is one of the nicest benefits in this collective, and so it is in that spirit (I'm thinking, unless all of your Paul Simon discographies run deeper than I guess) that I offer this song up. Run That Body Down is a relatively little-known track on Paul's debut album, which I think shares a lot with Paul McMartney's debut, beyond the fact that they were both epynonymous. Both albums were a chance for artists that had a legendary body of work as part of a group to offer up their own intimate, more casual sounding collection of songs that, stylistically, were major departures from what their fans had come to expect. Also interesting (and bear with me as this prelude to the actual discussion of the song gets longer and longer) that Paul Simon & Paul McCartney are among this elite level of songwriter (also see Elton John, on this collection; and Billy Joel, regrettably left off the collection) who relish the opportunity to immerse themselves in the "sound of the day." Perhaps other artists whose careers span decades are willing and/or able to do so similarly, but these four guys I note particularly as having the ability to do so with great success, both commercially and artistically. They all seem to have been quite comfortable adapting their respective "sounds" as the decades rolled by. And that ability - or at least one sample of that ability - is showcased on That Round Sound. Now...about this song: this is Paul Simon groovin' in a way that nobody really guessed at before this album. Spare acoustic guitar, Paul's mellow voice which progresses into a falsetto that complements wonderfully those electric keyboard notes, while "rounding" along a lyrical work that is - on the surface - an inconsequential, repetitive sort of allegory. I love the words! I take them for face value. Paul goes into the doctor, gets an earful, then turns around and takes it out on everyone else he knows.

3. Reminiscing - Little River Band: Aftershocks (17 years into the future) of my personal feelings of being on the outside looking in in terms of sophisticated musical tastes (think: Journey vs. The Police) make me a little nervous about introducing a song by LRB into the mix. Admittedly, this is the group that brought you Happy Anniversary, Baby. They were hit & miss, for sure. But I can't run away from myself. And I can't deny to myself that this is about as good as it gets for me. I love this song. I love everything about it, and so I'll talk about lots of it. I love Glen Shorrock's voice. He was born to sing That Round Sound. Just wailing around "I wanna build my world around you!" More electric piano jazz chords in this song. Let me know if you don't get what I'm talking about. I'm not sure I'm defining them correctly, but it's sort of a dissonant (definition: sounding right, but not quite right) little chord of 2 notes. These things are used constantly in this song, under the main verses. I love the little "dingity ding" electric guitar chords that move along with the rhythm. Precursors of Prince, almost - but much more mellow. When the strings come in: Wonderful! When the horns come in after "Glen Miller's band was better than before:" Wonderful! The jazzy harmonies - especially in the chorus - are reminiscent (so to speak) of Steely Dan harmonies - but they are used to more pleasing effect, I feel. Synchopated and trailing along. And I love that little drum fill going into the chorus. And I love the little ooo - woo - ooo harmony at the end of each chorus. And I love the guitars in harmony (makes me think of how 44 - during our "dripping with art" period of 1998 - had two guitars synched up in Orphose). Listen to how they move along and ascend for the few seconds between 2:15 and 2:20. Finally, the words: Just nice. Happy, a pleasant "I had a wonderful night with you, I'm feeling kind of sleepy, and kicking off my shoes" feel to them. And the muted trumpet solo for the last 45 or so seconds: love it. Gosh, I hope you guys like this song half as much as I do.

4. What You Won't Do For Love - Bobby Caldwell: Now, the year is specifically 1978. Dishwashers look up from their dishes. Dental patients wake out of their morphined stupor and sit up. Afro-ed pickup basketballers pull up short on their jump shots, and everyone just listens. This crazy little horn refrain that sounds partly muzak, partly children's song, and partly lounge act on a cruise ship has just hit their ears. And it won't soon leave their heads. Who is that black guy with the wonderful, soulful voice? Ha! He's not a black guy! He's a skinny, bearded white guy that looks more like Chris Elliot than any r&b singer you've ever known. He can definitely belt it out. A few "jazz chords" here and there, and a pretty cool noodling-around electric guitar popping in from time to time, but what definitely steals the show is that crazy horn refrain! What were they thinking? Is it like some Manchurian Candidate trigger that failed to deliver? We'll never know. But I always loved this song, just managed to track it down a few years ago, and now it's happy to be featured as track #4 on That Round Sound.

5. Little Jeannie - Elton John: Those who know me best in the world may have already been capable of answering a multiple choice question on a quiz about me correctly, if asked what my favorite Elton John song was. That it is, and has always been, Little Jeannie says much about the place in my heart That Round Sound has. I remember hearing this song (interestingly, a sans-Bernie Taupin effort) on a jukebox in a Happy Joes in 1980. One of my earlier concrete pop memories. I loved it then, though the saxomophone may have not grated on me ever so slightly at that time, as it does now. I LOVE the idea of asking someone to be your acrobat before asking them to be your lover. And then the gall to add "...and I've known quite a few." Wow. Elton John is one of those giants of rock I referenced before, and a guy who - along with fellow "piano man" Billy Joel - was amazingly willing to trade in his signature, traditional piano for an electric piano for a few years. Anyone else find that kind of crazy? For me, it works; as does much of the rest of the song. It's 100% E.J. from the late 70s to early 80s: uncanny pop sensibility, lush arrangement, and his trademark cadre of eunuchs joining in the fun about 3/4 of the way through.

6. Midnight at the Oasis - Maria Muldaur: Ok, anyone else miss this song throughout all the years of their life? I'm hoping so (so you can have, maybe, another "discovery"). It was apparently somewhat of a hit when it came out in the early 70s, but I first heard it - by chance - only a couple of years ago, on a female vocalist collection a friend made me. What a find! A little more pep, and perhaps pushing the boundaries of That Round Sound a bit, but I really wanted this gal on here (and more gals, overall, as they've been a bit underrepresented in CMC to date). Such a sexy, "come hither" tone to her voice & delivery - you can understand why she stood out a bit in the early 70s amidst, all those ugly bastards in Led Zepplin & CCR. She just barrels happily right on through this song about (forbidden) love with an A-Rab, utilizing about every non-PC stereotype in the book - but doing so in such an innocent and libertine manner that all is instantly forgiven. We'd all "go out to a sand dune, real soon," given the chance, would we not? I love the "club" feel of this song, the arrangement in general, and I really love the electric guitar. You only get hints at it throughout the majority of the song, until a truly inspired solo at 1:20. Gibbs: would you not agree that this solo is the kind of playing Mark A. (from old 44) could have done, were he to have been more disciplined? Anyway, here's an album featuring a picture of the guy that played the solo. It all makes sense. One last thing I love in the song: the ascending piano over the last 30 seconds of the song. I wish it would have kept going.

7. Arrow Through Me - Paul McCartney: Three of the four of you have received this song from me as part of the oft-mentioned (but for all I know, still-unheard) McCartpilation. Here it is again, this time demanding a response, if just a few words. Another Round Sound song in the hands of a master. Perhaps none of the other masters is quite the master that PM is, judging by some of his forays into new & experimental styles from electronica (The Fireman) to vaudville (Honey Pie) and a myriad of styles in between. Paul went for the 70s, big time. He loved the costumes. He loved the hair. And he loved the freedom to do a decade of music that could be blamed on pot. Anyway, check this video out:

It encapsulates every effing thing I'm trying to talk about here. Not many people would disagree with me that Paul McCartney is a musical genius. Many would disagree with me in my assertion that his genius is at work in this song. The arrangement is incredible! The keyboard-driven melody, the crazy little synthesized sounds that pop in occasionally, the echo he adds on "zero," the soulful singing & phrasing, and that surprising brass section that suddently jumps in, throws you over its knee, pulls your pants down, and spanks your bare bottom. I...just...love...this...song. And on top of it all - the video, above. So awesome, and so funny, at the same time. Here is a guy that want you to think everything he does is just going with the flow but who is so insanely interested in how he is perceived that it drives nearly everything he does. This is my hypothesis. I have much ethnographic, observational study to support it. Above, the video bonus. Here, the video penalty:

8. Blue Bayou - Linda Ronstadt: Another artist with whom I have a bit of a love-hate relationship. At her best, her sweeping, beautiful voice (and hot pants in the late 70s) stir me in an amazing way. At her worst, she leaves a battered and abused trail of country & western classics in her clumsy wake. This is at her best. I remember this, as I do many Round Sound songs, as one that wafted over me in my own little world: my between-the-suitcases nest in the back of the station wagon on cross-country trips back in the day. It was in my adult years that I started to really groove on some of Linda's songs: Long, Long, Time and Maybe He's Right, among others. I love the sparse arrangement of this song. It really makes Linda's voice stand out. It also really highlights the awesome harmony (possibly done by Don Henley - who can do nothing if not awesome harmonies - but I'm not positive).

9. Sara Smile - Hall & Oates: Some legendary artists chose to adapt themselves to the Round Round of the 70s. Others could only survive within it. Happily for them, H&O managed to put together a respectable and solid array of fine music before losing their way in the early 80s. I could have taken a bit of my pick for a track to select to represent them here, but this song - not one of their super hits (or was it? I don't know), really captures the flavour of That Round Sound, with it's lazy, noodling feel and lush arrangement. I've never been able to sing like Darryl Hall did when he was really on, but man, oh man, I wish I could. Lyrics not really anything to set the world on fire, but I do love "If you feel like leaving, you know you can go/But why don't you stay until tomorrow" Hmm. It doesn't look so great, written out. Maybe it's the phrasing. Oh, and - we've all thought it, but I'm going to just say it: What's the deal with Hall & Oates? Shouldn't it really just be: Hall?

10. Don't it Make My Brown Eyes Blue - Crystal Gayle: OK, this was really an 11th hour waffling. Between Billy Joel's Just the Way You Are, which had Round Sound credentials in spades; and this one, which was more of a risk in terms of CMC popularity, but which was a song with which I ultimately felt everyone was less intimately familiar. So, another beautiful, pop crossover country queen - but this one with incredibly long hair. Though the hair has nothing to do with the song, it should be noted that - as a male - I am not immune to that special something that the female voice can add to a song. It doesn't mean I'm being unfaithful to my wife, but something somewhat reptillian is definitely triggered in me by certain phrases, inflections, and intonations by certain female singers. This song includes a few of those moments for me. To point out the moments specifically would be so intimate as to be embarassing, so I will leave that to your imaginings. I do love the jazz lounge flavor of this song, if not the rhyme schemes (blue/you, gone/long/, cry/goodbye et. al). I do love the skippy hotsticks of drumming and the piano that is used in conjunction with the electric piano. And I like that the song is short and sweet. She pretty much just gets across that her brown eyes are blue a couple of times and the song is done.

Excutive Summary: Again, a bit of a departure, in that I'm including a number of certified "hits" this time around. Most of you will likely be famliiar with 7 or 8 (or more?) of these songs. For the ones you know, of course I am hoping there will be a bit of a "hearing it again for the first time" type of feel. It would be great if there were a song here and there that you felt you could appreciate on some level that maybe you had never given a thought before. But my real hope? Is that you understand the the difference between some plain old bullshit 70s collection you could pick up on a Target endcap, and what I'm giving you here. This isn't about the decade. It's about the sound, and definitely a sub-genre within the genre. Sharon's heard me talk about That Round Sound enough and play enough songs that when I ask her "Is this 'The Round Sound?", she's right on with my way of thinking almost every time. So there's got to be more to it than my own delusional madness. Anyway - I'm just hoping you get the distinction. Let me know in your comments, if you can.

Thanks, folks.

they're coming....

2008-01-10T14:46:00.001-05:00

Colors Fading...responding to the comments

2007-12-31T23:59:00.000-05:00

It feels a bit like unearthing some old machine buried under a pile of rubble in your grandfather's basement. It takes a bit of work, some head scratching, some oil, and a lot of mumbling, but once it gets going again you wonder why it sat unused for so long. Such, at least, is my hope for this as I excavate back 8 months to respond to the the critics out there.

As most of the comments were song specific, I'll get right into those, but Dan did make one fairly important meta comment that I'd like to address.

This will probably remain one of those areas where Dan and I do not quite jive, but I think it's worth fleshing it out a little bit. The basic thought was that these collections are more "album-like" when the songs are drawn from the same genre of music (country, ambient, funk, reggae, whatever). On its face, that is hard to argue with, but while I have also compiled collections drawn from specific and shared genres, I find the challenge of assembling a collection that is not, more entertaining. Using the ten songs included on this collection as an example, I had lots of choices to select from, way more than the ten I ended up choosing, but by virtue of wanting to present certain artists and by wanting to create a flow through them, I whittled, and shifted, reordered and tweaked until I felt liked they worked together and more importantly flowed from one to the other. This is never going to feel quite like an album as it contains music from vastly different minds and even vastly different eras, but even still it attempts to be more than Now This is Music 17! Whether it succeeds is ultimately in the ear of the beholder.

On to the songs....

Track 1 - Blue Caravan
Universally liked once Stephen found his listening moment, and entirely without controversy.

Track 2 - The Skin of My Yellow Country Teeth

Dan - I dislike affected country twangs because they seem to be demanded of artists by the industry and listening public. If you don't actually sound like that when you sing, and nothing about the song is improved by singing like that, don't affect the twang. Contrast with the lead singer of Clap Your Hands Say Yeah, who while gaining some notoriety (see David Byrne, Lou Reed, Bob Dylan) for having a highly unorthodox, and possibly annoying to many, singing voice, is not singing like that because of choice.

TClog - any reference to West Virginia makes you thing of John Denver.
MT - this song was not the inspiration for the collection but found its way on very quickly.

Track #3 - Red Oyster Cult

T-Clog - yes, through puberty, as old as we are.
The Who - I'd be interested in knowing specifically what parts sound Who-lie. You too went through a rather obsessive Who stage about the same time as these guys formed their band. I wonder if they did too.
I have no real wisdom regarding the lyrics, but it you like this song, you would not be disappointed in either this album Keep it Together, or the one before Lost and Gone Forever. It's all filled with pop jewels with great harmonies and skin-based drumming.

Track #4 - Pink Triangle
Everyone likes the idea of Weezer, and MT is basically right in saying their albums don't really hold up, but they do hold enough gems like this to be worth listening to.

Track #5 - Silver

MT - I think I can recreate your memory without actually remembering the moment. Ames. West of campus. Hickory Avenue. Faith renting a room in a house out there. You were out of school. Hickory has a bit of a country lane feel to it. Faith was very into the Pixies.
Never a song I expected to blow the doors off. It did provide a good transition.

Track 6 - White Girl
I guess I'll have to work more SC into future compilations. Be-bop IS jazz. Samsung is NOT iPod. I think Dan ascribes (ascribed?) far too many negative intentions into far too many people, at least in the art community. Plenty of pomposity out there, but why assume it and ruin possible enjoyment. John Lennon could be a real pompous dick, but he made some great music.

Track 7 - Gold to Me
Also never really expected revelations from this, though MT's thoughts were interesting.

Track 8 - Green Arrow
Universally appreciated, and funny convergence with a comic book hero. A very simple song that does little with even less and still sounds great.

Track 9 - Orange Colored Sky
More appreciated than I would have expected, and happy for it. So great.

Track 10 - Olive
Dan - as far as I know the music is improvised (many and varied interpretations of that concept, especially in jazz) and he 'talks' over the top of it. Glad y'all liked it.

Wrap-up

Stephen - She's a Rainbow is one of my favorite RS songs, and would have been a lovely inclusion.
Dan - only one 'green' allowed.
MT - Purple Haze...also a good option.
TClog - glad you liked it.

And with that I pass the baton (baton rouge perhaps?).

May the new year find you healthy, wealthy and wise.

A CMC Crusade

2007-12-04T16:54:00.000-05:00

I am hoping that 2008 will be a year that is full of good music. I believe that we are all on board with the lose deadlines, but I hope we get more than one album out and enjoyed. Now that Meth is back from the land down under, (I suspect an Austrailian album coming in the future) we can get to it after the holidays. I hope that you are as excited as I am about 2008.

Here's the Sanctus: Stephen's comments on the Mix "Colors" mix.

2007-10-16T08:13:00.000-04:00

I'll spare everyone here the long apology, and go with just the short one. Actually, I'll just say that I'm one lazy bastard. Or, that I didn't want Dan to exit under the pressure of his own life. As I was considering this, it became October. I don't really know how that got ahead of me. It did help me in one regard. I was able to go back through Seventeen and listen without a deadline looming. Actually, the practical deadline of just getting it done and out there very much exists. Anyway, that's the apology. Snark aside, I really want to continue on this journey with everyone. I think in my case, the summer was far from free, as I had originally expected.

You'd think after the wait, this would some amazing shit. Well, it isn't. Part of a little problem I have is, the longer I put something off, the longer I put something off. And then, the more I think I need to perfect it, make it something superfreakydeakysublime. This is what I've come to define as a Shit Spiral. I think, ultimately, I need the deadlines. Thanks, T-Clog, for quietly kicking my ass.

“Blue Caravan”

The first several times, I listened to this song at the wrong place and time. I listened to it on the bus on the way home, during lunch, and in the car while running errands. I couldn’t connect or hear the song at all. Then I listened to the song in the early morning, while it was raining outside, and it clicked completely. I love the opening strings, the piano, and the aural creation of a far-off highway. The crescendo of the melody, and that voice. All quiet and filled with love lost, or possibly completely imagined. It was the right opening song for this collection.

“The Skin of My Yellow Country Teeth”

Pat acknowledges the heavy drums, or at least the drums that drive this song through. I agree, but then I’m partial to the uptempo thud of percussion of pop songs. Not so the singing as much, for me at least. I agree the whole song is rooted in ‘80s alternative pop… perhaps for me, not so much the Talking Heads, but somewhere south of Public Image Limited (check the “Clueless” soundtrack). I have an unfortunate bias for southern accents that sound overtly affected. Maybe I’m not able to set that aside. Yes, this guy does have David Byrne in there somewhere, just southern-fried instead of New York, especially that shriek at the end. Still, I dig this song in a big way.

“Red Oyster Cult”

Just as Dan’s pick “Love You Worst of All” from Cosmipolidan took me by surprise, so does this song, my favorite from this collection. If anything, I take the greatest pleasure in simple, short pop songs that create a complete mood and essence without too much effort. Call it the anti-“Bohemian Rhapsody”. This song goes at least three places in just three minutes: minute one, there’s that almost conventional guitar chord chime, leading into the first of two hooks. Built around that, the song would be fine on its own. The lyric “just a few drops away” takes into a quiet pause, then the final minute, which goes into a bit of ‘70s psychedelic sensibility. I agree, likely a nod to that time, and how it didn’t save us. But it sort of saved some of us, in a small way at least.

“Pink Triangle”

I should like Weezer more. With a lyric like “if everyone’s a little queer, can’t she be a little straight?”, well, where the hell have I been? Hee-hee. So, this one’s a catchy one, too. I like the heavy guitar sound, nice and sloppy. Not too sound sycophantic, but I agree with Pat that this group is nothing if not fun. Listening to this song, I seem to remember feeling the same way, or having some of the same feelings back on the ‘90s. That’s bound to happen in a large undergraduate setting. Hee-hee.

“Silver”

I had the CD Doolittle way back in that day, 1989, even before my university days began. So I have that to be proud of. I never saw them live, and still haven’t. Their reunion tour a few years back was to have come to Cedar Rapids, but low ticket sales led to a cancellation. They’ll sell out a Def Leppard reunion there, host Olivia-Newton John, but the Pixies have little fan base in cow country, U.S.A.

The Pixies had that Western image, a skewed one to be sure, until they shot into space in Bossa Nova. This song is heavy, heavy, heavy with that imagery, but this song never clicked with me. I think I get a little wary of songs that resemble novelty tunes. Listening to it again, it still hits me that way. Or rather, it misses me completely. It’s eerie, perhaps because the death knell thud makes me think of Frank Black trudging through tumbleweeds. So, maybe it kind of works.

“Soul Coughing”

This sounds like a soundtrack to an occurance that took place somewhere in the middle of the night, involving a white girl on a farm. Space aliens were involved. They didn’t abduct her, but laid before her a highway, complete with pavement, signs and traffic lights, leading her to a new world out there. At least, that’s what I got out of it. But maybe that goes on all the time in L.A., where I suspect this song was played live many times. So, trippy. Just as “Blue Caravan” works best in the blue pre-dawn light, this song is best placed at about 1:30 a.m. in a shack in the middle of nowhere, with the big city lights in the distance. Maybe a shack on Mulhulland Drive.With enough moonlight to make out some of the features of the approaching aliens. It is with that chosen imagery that I find I enjoy this song. Probably this song would work awesomely in the middle of the night in the tape deck, out on the interstate. I should try it sometime.

“Gold to Me”

From lost at midnight to sitting in the summer sun. Funky, catchy, but after those last two, almost incredibly conventional. Well, almost. Ben Harper does a good Otis Redding there, and that connects with me nicely. Nicely laid back, although the clunky lyric “It's not the kind of gold that you wear but the kind that can feel my care” threatens to puncture that mood. That guitar is strong and effortless, though, and the whole tune is never in doubt.

“Green Arrow”

Here’s another nice coupling; from the mid-day beach sun of Ben Harper to that same beach, or just a bit more further inland. The nightlife crickets make it feel extra hot, but quiet and dark, the sun almost down. I love the drums at the exit; what’s arrived? The end of day, the inevitable arrival of… night? The next whatever? As comtemplative a song as I’ve heard on any of the CMC mixes I’ve participated in thus far. I love the distant sounds heard just past the 3:00 minute mark. I really dig Yo La Tengo, and this song is no exception to that fandom. The album “I Can Feel the Heart Beating as One” is an all-time favorite. What else can I say?

“Orange Colored Sky”

Ah, big band standards. How I have loved you. For me, pure musicmanship and showmanship mixed together will never fail, and this song is as good as example of any. Actually, out of all the songs on this album, this is the song that I’d want to see live; not that you can bring NKC back, even if Natalie tried. This sounds cheesy, but the first professional big band concert I witnessed was in 1990. I played trombone in the West High jazz band but, well, that wasn’t the same. “ My then-girlfiend/now spouse bought tickets to Harry Connick Jr, who was playing in Des Moines. He was promoting the When Harry Met Sally…. soundtrack. Well, don’t mention it to anyone, but this song kicks that performance in the ass. And it was a great show.

“Olive”

There’s certainly a retro vibe that permeates this collection, and so now we land… in the 1950s? Early 1960s perhaps, where this song places my mind, at least. This one is so time-stamped that the general nature of it gets stuck in my cerebellum. I can't hear the song so much as regard it's affected grooviness. Something Hugh Hefner may have dug.

Wrap-up.

I don’t think there was a dud among any of these tunes. While the underlying theme is color, songs are not simply a Mix-mash of whatever fits that concept. A real nice pop sensibility spanning time.

Best song: Red Oyster Cult. Just love it.

Song I wished was here: “She’s a Rainbow”, Rolling Stones. Perhaps a bit too easy.

A special note to T-Clog....

2007-10-15T19:35:00.000-04:00

I was done, but now that you've mentioned it, I think I'll wait some more!!!!! HAHHAHAHAHAHAHHHAHAHHAHAHA

What's the Sanctus?

2007-10-03T21:02:00.000-04:00

Hint: it is not a hole to put your penis in

What's the Status?

2007-09-15T10:26:00.000-04:00

Dan, take all the time you need. I thought since there has been nothing said about CMC in a few months that I would just throw this out to see what kind of bites I can get. Just fishing for some info. Hope that you are getting some ideas for an album.

Fade to Black: Dan's Comments on Vol. 17: Colors

2007-07-18T21:34:00.000-04:00

So, a thing I'd thought about mentioning a cycle ago but I'll go ahead and do it now. I tend to want to arrange collections based on musical theme, so that the collection will carry through it a consistent sound. Treating it almost like an album. This may not always be my method, but for now, that's how I approach it. Mixdorf is a little more willing to go an alternate route, which is seeking out songs based on a shared trait that is not necessarily musical (other than that he likes the songs, or they're by the same artist). Anyway - no grand truth here; maybe just that - song to song - collections like that are going to be a little more hit or miss (or seem like they should be - they are for me, anyway); as opposed to a collection where the listener can say "Oh yeah!/Oh no! Ten country songs!" So, some ups and some downs for me, on this one. But more ups than downs, as I'm very glad, in the end, that these songs came my way.

1. Blue Caravan: No, no mistaking her for a man on this song. This song has a couple of the trappings of the type of song that it seemss Mixdorf really digs: an almost whispery female vocalist and an eclectic arrangement. This one definitely fits into the "soundscape" category of song, where words and music seem to work together to create a very definite image in one's mind. I'm sure the title doesn't hurt. I like the literal "Blue Caravan" interpretation; but it seem to me she might be using the "Blue Caravan" as a metaphor for the course of her life/fate. She feels it is out of her hands and is hoping against a growing hopelessness that things will turn out all right. Good & moody.
2. The Skin of My Yellow Country Teeth: Very promising beginning - the driving beat; the little bendy single string guitar strain and mid-range countermelody. God DAMN, but I can't get past his voice, which annoys the hell out of me. I suppose you could chalk that piece up as another similarity between these guys and the Talking Heads. Definitely a shame; I really do like the basics of the song, and the words are really clever, really neat. I do feel inclined to pose this question to Mixdorf: how is it that you can begrudge a country music artist with a twang, wondering if it is real or just for effect, and not have any sort of similar compunction with respect to this guy? His crazy, constantly breaking sort of wail doesn't strike me as particularly natural.
3. Red Oyster Cult: Gibbs- YES, The Who. I totally hear that, too. Particularly in the vocals. Very interesting progression of musical parts throughout the song. Has a very "local" flavor to it, like something one might hear on Flywheel Sampler Vol. 18; though I think they succeed where 98% of bands of similar sweeping musical ambition find it beyond their means to actually put the pieces together in the end. Musicially, alone, I think there's enough really interesting things going on that I'm continually getting enjoyment from listening on each pass. I wonder if they're suggesting that rock n' roll won't change the world, or a more specific subsegment of people putting out rock, which is what it maybe sounds like a little more to me.
4. Weezer: Fun, I agree and (I will add) distained by many "in the know"; or at least that was the impression I got from 1994 - 2000. But I've always enjoyed them. On one hand you could say that they haven't really matured through the years (e.g. this song could pretty much have been on their debut, and no one would have ever known the difference), and on the other hand you could say: Good! Perhaps, more bands could stand to do this. It's not like anyone is putting a gun to anybody's back and forcing them to buy the Weezer discography (at least, I dearly hope not!). But it's kind of nice to know that, having not paid much attention to new music over the past six or seven years, I could just go out and buy a Weezer album and have a pretty good idea of what I'm getting myself into. So - this song. I think it's great. I love Gibbs' "...amping up to full Weezernish." And now I'm going to say things that could get me strung up in the wrong circles: I'm going to start pointing out when I hear sexy male vocals. I'm not even exactly sure what I mean by that, but I will often hear moments (like the way Sting says "see you with another booooy" in Roxanne), when - and I don't even know if the singers are even aspiring to exactly what I'm hearing - I realize that it just makes me gush. And I don't even like guys; at least, not in that way. And in the instance of this song, it's quite ironic, as I think Weezer would probably top just about any People's Choice Awards Ceremony as the least sexy band (under the age of 50). But everything about Rivers Cuomo's voice gets me going; often when he starts hitting his higher, shouted-out notes. He'll often dive off into a little dissonance and hold the note for just a minute. Maybe one of the other geeks will chime in with a harmony; but in any event - wow. So anyway, that's out in full force in this song. I like it, throughout, musically. And how fun and irreverant, without being mean - the words. I'm dumb, she's a lesbian. Great.
5. Silver: Another soundscape song, and one that I could appreciate, perhaps, more in the context of an album. Here, standing alone, it doesn't seem to be able to do for me what it needs to do. I hear the same Western influences/parts that you do, and it's interesting, but not hugely enjoyable for me to hear.
6. White Girl: Though the mountains may crumble and the stars fall from the sky, so will Mixdorf be selectively dispersing Soul Coughing singles into our open ears. Through the years this has been, and (I believe) it will continue to be. And I hope so. I like your description of them as being at the "intersection of pop, punk, and jazz." Perhaps I would switch "funk" in for either "punk" or "jazz." Or, in this song, "bee bop." But whatever "it" is that you can have, they seem to have it. Cool in a Morphine sort of way, I would definitely like to hear more of these guys. And I like this song, though I always have this (irrational?) feeling like whenever references to Southern California are thrown into a song (e.g. "Sunset Boulevard," "The Hills," or - in this song - "Northridge & Van Ness"), it's an act of pomposity. Like, "hey, we're in LA and you're not, you fuckers!" As I suggested, perhaps it's irrational; maybe going back to mine & MT's original plan (pre-Mark Anderson) of moving out there to be in a band. And choosing, instead, to be in a band in Minneapolis and playing a gig at a garage sale. But back to this song: I like it, but it's missing some of the pop sensibility of some of their other stuff I think I've liked better. But I'm no less interested in digging into their larger body of work. As an aside: I was listening to this song on my studio headphones (my expensive, flat-response, nearly sound-canceling ones), and I can pretty clearly hear a guy yell "fuck!" in the background, right after the last "White" at 2:18.
7. Gold to Me: Not a particular fan of this song. I really liked the "Steal my kisses from you" song, which is the only other thing I'm sure I've heard of his. But this one - I don't feel like the music is paving any new ground. In fact, it seems rather like a retread arrangement & melody & progression. The whole thing actually reminds me quite a bit of Fire.
8. Green Arrow: More aural soundscape! I like both MTs & Mix's thoughts on this song. Definitely would be a great song for a night road trip, or just hanging out a night with friends or wife. Definitely puts me in the mood for peace. I offer this as one other alternative explanation for Green Arrow, though I'm not sure how you could possibly reconcile him with the tranquility of this song, unless we are to believe he retired or something.
9. Orange Colored Sky: I, too, am a sucker for a lot of those cultural hallmarks of an earlier era. This is a fun song -arrangement, piano, singing (lead & b'ground), and big band -and, though I don't have much to say about it, I'm glad you included it.
10. Olive: Wow - he's been doing this since 1957? Wow! Even liking this as much as I do, it's hard not to hold it against him (almost like finding out all that guy, Paza, did was use Nintendo sounds to remake songs). Nevertheless, the things to like in this one are many & varied for me: his low, resonate "olde tyme" announcer voice with his "didja?" and the hilarious, orgasmic "oohhh" at 0:40, it's just non-stop fun. So what - did this music exist already, and he just did the v.o., or did he arrange the music, as well?
BS: Green Arrow.
SIWHI: Green Tambourine?

The Colors of Summer; the Many Splendid Shirts of Master Mixdorf – Volume 17

2007-06-28T23:23:00.000-04:00

The Colors of Summer; the Many Splendid Shirts of Master Mixdorf – Volume 17

I understand about not committing to a theme until the eleventh hour, having done so myself on every single outing so far. I like the idea of “simple themes” and serves yet another opportunity for songs to be placed with “new neighbors,” as previously discussed. As far as the flow, I think the flow of the songs was really nice, however; I need to figure out how to play back smoothly on an iPod.

The graphics were nice and the collection of songs reveals a varied “multi-colored” friend – thus the “many splendid shirts.” He takes them off and puts them on while we all gasp like an audience viewing Karl Malone. There are people in the trees looking through telescopes hoping to catch a glimpse. Like all of us – there are versions of the same and the stretching makes it all the more interesting, even as we wrinkle.

And now…the songs…

1-Blue Caravan

I think your interpretation of this song is spot on. I like the gentleness and quiet intensity that builds and glides throughout. I would be surprised if anyone had actually thought the singer was anything but a female. Intimate voice and very effective instrumentation; almost a Peter Gabrielish type instrument adds nicely to the overall arrangement and feel.

The only thing I might add to your discussion regarding the meaning of the song relates to a conversation we had about “Pan’s Labyrinth”. It seems her journey is lonely and likely hopeless. She is either oppressed or experiencing a life event that she feels she can never escape and as a coping mechanism, has created her “ideal” lover. More or less your take on “Pan’s Labyrinth” – where I did not necessarily agree, but see it applying nicely here to the Vienna Teng “storyscape.” Moreover, the song may be addressing the imperfections of relationships in general. She boldly takes her caravan of comparisons down a lonely road, unpacking Lancelot and standing him next to Bob.

2-The Skin of My Yellow Country Teeth

Man I love this song. A definite candidate for BS from V. 17. The voice throws up at you and sustains an emotive quality amplified by the provocative lyrics. I love the guitars, drums, and bass. The harsh keyboard sound fills out this excellent tune from a band I cannot say I have ever heard of before. I may have heard the name, but have no recollection of ever hearing one of their songs.

I hear the Heads that you refer to, but I hear a ton of other stuff as well, Velvet Underground, U2, Imperial Teen (which I have gushed about before), and the best of Alt. Rock around 1993 and 1994. That it is from 2006 makes the song all the more unique and powerful. I really like how song one changes “color” into song two– a very effective transition. This is a song, that when I think of V. 17, is the one that pops into mind as the one that I would most like to listen to. Was this one of the early picks for this compilation? One that helped inspire you to proceed with this particular theme?

3-Red Oyster Cult

I have heard a few Guster songs including a couple from you, my brother-in-law, and a fellow Barnes and Noblian from the East Coast. A band that appears to be popular among classy people – a compliment to the Mix and hopefully all fans of Guster. I definitely love the skinned drums they utilize and was happy to hear them a bit in this song. I hardly ever say this, but I heard some “Who” elements in this song, melody and voices, which is fun, because I rarely hear what I would call “Who” influences in today’s popular music.

Very interesting lyrics. Are they digging at the claims of bands from the sixties who wanted to save the world but buried their attempts in a drug-induced haze? Are they suggesting that as the “Red Oyster Cult” – you make a buck singing about peace and love and then use that money to smoke yourself to oblivion? “You will never grow old, you will never grow up” – is it because you will die from an overdose. A bold song. A wild song. Somehow I think I am wrong though – just in hearing the other stuff by Guster, it doesn’t become them to sing about such an item – I cannot really call it an “issue.” It is a good song coming from a very talented band, I simply am not quite understanding it – this may be one of the rare instances when the meaning of the song baffles me to such a degree that it may be interfering with my enjoyment of the song as a whole.

4-Pink Triangle

I agree with your assessment of Weezer as a fun band with clever words. I would go further and state that they are an awesome band. Musically strong with great singing and with a comic edge, the kind that can only exist within the world of music. I have listened to one of their albums and have loved several of their songs. The album as a whole was not outstanding as it rested on the strength of the “hits,” however, I would be very interested in a greatest hits compilation. Awesome singles and maybe their other albums are not so bad… I hope that the whimsy in which they present themselves follow them to the core of the individual personalities. Probably not, but it is an ideal. In fact, had I been successful as a member in a band, I would have likened ourselves to a Weezer. Similar to the Bare Naked Ladies comparison we attempted to draw. There was always a Weezer/Bare Naked Lady component that failed to gel with our more fierce components. Perhaps. I wax. I wane. I whine. I wish. I cling?

I like the intro, a classic “amping” up to full Weezernish. Great harmonies and melody. The words are pretty good and I like the “slow-down” around 2:40. I also enjoyed the ending. This definitely gets me in the mood to hear other Weezer songs. I think the last new Weezer song I heard was from a movie.

5-Silver

Mixdorf! Work with me on this memory. When I saw that the Pixies were on Volume seventeen I again tried to visit that memory. What I would do for Dumbledore’s Pensieve! Anyway – this happened!! Possibly it was in a residential section of Ames…you and I were walking down a lane, along a stone wall. We were either headed to a friend of yours or happened along this friend of yours. Possibly Faith, possibly not. In any event, the Pixies were being enjoyed by this young woman and could easily be heard by us on the road. Mixdorf…..do you remember? A warm day, possibly spring, maybe fall. My country lane description may be enhanced due to the relative nature of a street with houses compared to the dorm life I had been enjoying.

I agree with the Spaghetti Western comparison, it definitely has a dusty, grimy, tumbleweed vibe to it. It is no “Havalina,” but I appreciate it for being included. I like the chord changes and the cascading guitar. The song is more interesting for being called “Silver” as opposed to the more obvious, “Gold,” but “Gold” could have worked on a few levels as well. As it is, does silver refer to bullets and guns?

6-White Girl

And I thought only my mom used the word, “discombobulated!”

A pet band of Mixdorf’s?” Maybe. Of all the bands he has known and I have not, this is perhaps the one that I would like to hear a bit more of most. I’ve liked what I have heard and enjoyed your summary of the band. They are pulling together some interesting musical elements and forming them into intriguing arrangements.

It may mean nothing, the song, but I am one to always believe that everything MEANS something, even if it cannot be explained. Inspiration and Motivation and Expression. The keys to art. I’ll take a stab. Meaning does not have to be complicated, often times not needing to go beyond LOVE. White Girl then, possibly a girl born as a “tabula erasa” and her journey of being imprinted upon by the world. Just growing up really. Or, maybe it’s a race theme. The “fading” of the white race. Or a white girl who feels plain and is desperately seeking an identity in an increasingly confusing world. This third possibility is the more likely of the three, at least some thoughts that I had when listening.

7-Gold to Me

A catchy blues number. A blues pop song in the vein of Tracy Chapman. Easy to swallow, smooth, and pleasant to the ear. Some excellent guitar playing, several VERY nice moments. One of the students (his name was actually Ben, and I wondered if he was in fact Ben Harper at times) at the bookstore used to play Ben Harper, I never knew what album or song I was listening to, but it sounded good and proved an able foil to the toil of long lines and financial aid issues. Ben Harper can also be surprisingly funky at times as well. I had no idea that he has been around that long, I wrongly thought he was primarily from the current century. Maybe he is like Buck Rogers.

8-Green Arrow

Yo La Tengo is fast becoming one of my favorite CMC bands – a band in which I have had no previous experience with. I love the beat of natural sounds; they get into your heartbeat. Extremely relaxing and pleasant mood enhancing. On a topic of summers and vacations, Steve recently wrote about that feeling of having no responsibility and I think this song conveys that feeling nicely. And I agree, the nature sounds do suggest a gentle night.

Nothing like the seemingly endless expanse of a summer opening up before you when school is finally let out. A feeling that I treasure and a feeling that sustains me. Before jobs take on an especially important importance and responsibilities become priorities. When the race is started for nowhere in particular – to borrow slightly from David Byrne. Am I offering this to my own child – I dearly hope so.

The title is interesting especially with how I feel about the song and Mixdorf’s comments. An arrow on one hand might suggest speed – maybe a peaceful stretch along the trajectory of our lives – passing one summer after another and another, a blur of occasional greens mixed with bleak realities – streaking by, faster and faster.

Or maybe a green turning arrow – telling us that we do not need to continue, we can turn off.

Or an arrow like a sign, guiding us to a feeling or a place or both.

9-Orange Colored Sky

Great great! Great song and great that you like it! There is something about the great voices that predate our births. NKC does have an amazing vocal quality. It is difficult to put your finger on it, but it transports you instantly into a fun, comfortable sense of contentedness. Some may say a song like this does not challenge your thinking, but I believe that a song like this poses the greatest challenge. Let songs like these challenge you to be THAT happy. Come on now – take the oldies challenge! Can you be that happy with yourself, others, and surroundings. The government. The environment. Was it simply a happier time for our whole country back then or just for the middle class?

As always, let the music transport you. Why not.

10-Olive

Oddly, Molly really liked this one. And – I kid you not – she said, “Is this Captain Kirk?”

Wow – since 1957 – I do not think I have ever heard of him. Certainly Shatner follows in the footsteps of such a “Word Jazz” artist.

My favorite line:

“By those with a nose for the new, by THE PASSIONATE FEW.” Hilarious.

Yes – the “sure does” is pretty remarkable. What a voice! Has he done cartoons?

Wrap:

Thank you – it did indeed make my life a bit more colorful!

We all knew you had many nice shirts and it is fun watching you change them for us. Fun to watch you stretch and share your Wardrobe.

BS: The Skin of My Yellow Country Teeth

SIWHI: “Purple Haze” by Hendrix

NOT Kicking the Hive

2007-06-28T18:20:00.000-04:00

In our crazy ride down the rollercoster of Hell earlier this year, does anyone know who is up to bat next? Just curious that's all. It has been nice kicking back and enjoying what has already been done.

The CMC Czar's Proclamation

2007-05-25T10:01:00.000-04:00

I declare the months of June, July, and August as the CMC appreciation season! During this summer season I encourage you to listen to something created by yourself or another member of the CMC. To kick off this summer season, I am going to start with The Beginning (CMC Vol. #1) and make my way through all the albums. Go CMC!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

ps - Welcome Back Dan!

An Idea

2007-05-17T09:56:00.000-04:00

Since there are four members in the CMC, how about we dial it down a bit and try to make it more stress free. I am throwing out the idea of sending out a cd every other month. For example, if member JOE BLOW sends out a cd at the beginning of the month he can give a write up like he normally does with his thoughts and comments . Everyone else has two months to focus on that cd and to comment.

Here is what I am thinking in regaurds to comments. Once JOE BLOW sends out his cd, other members can make comments to the cd whenever. Instead of writing up a huge comment on every song at one time, our write ups will merge into one through a series of comments. Similar to the Reform is Needed? post. It will be more of a discussion that might take different turns and make crazy twists. For example, On the thrid song I really got into the awesome guitar solo......Someone might chime in with a comment about that also and then take it a different direction with another track. The idea is to take the weight of getting comments out, and to make it more of a discussion about the songs and the album over two months time. If we finish commenting in that first month then we have a whole month to just listen to the music before another member sends his out.

Is this too much retoric? Does it make sense? Open to ideas.

CMC - Volume 17: Colors

2007-05-16T21:20:00.000-04:00

CMC

VOLUME

The first in what I may call my ‘simple themes’ collection. Basically all ten songs linked by a very common thread, in this case by having a color in their title. There’s really not much more too it than that, other than arranging the songs into an order that seems to flow. Whether I succeeded at that I’ll leave it to my reviewers to expound.

As with most collections from me this one remained one of several possible options right up to the last minute and almost wasn’t the choice if I could have gotten the graphics where I wanted them on a different collection. And this is completely different than a collection I hinted at with Dan via e-mail a week or two ago. I just can’t commit until I absolutely have to.

So onto the songs.

Blue Caravan
Vienna Teng
Dreaming Through the Noise – 2006

This song captivated me from the first listen and I bought the album on the strength of that captivation without hearing another song. I was rewarded by a thoroughly excellent album including some hauntingly beautiful songs and some very clever ones, all arranged and produced immaculately. Subsequent to me buying the album, a song called Whatever You Want got some airplay. It’s the story of a woman who after sacrificing her identity to her husband’s soulless corporate advancement decides she’s had enough and burns their house down. It’s pretty clever in its execution.

This is a very simple beautiful song. Members of the CMC diaspora might confuse some of her singing with that of a man, though I doubt it will be as confusing as Sam Phillips was in my earlier collection. At least I hope not. I also hope she’s not singing about a blue Dodge Caravan. That would be really disappointing.

No, the moodiness of this song makes me feel like she’s talking about some lonely desert caravan, traveling by night through vast stretches of empty space under the soft glow of the moon. At the end of that journey she hopes to find a long lost love.

Musically, everything is soft. Soft piano, soft strings, soft vocals; all very much enhancing the mood of the song.

Blue blue caravan
Winding down to the valley of lights
My true love is a man
Who would hold me for ten thousand nights
In the wild wild wailing of wind
He's a house 'neath a soft yellow moon.
So blue blue caravan
Won't you carry me down to him soon

Blue blue caravan
Won't you drive away all of these tears
For my true love is a man
That I haven't seen in years
He said, "Go where you have to

For I belong to you until my dying day."
So like a fool, blue caravan
I believed him and I walked away.

Oh my blue blue caravan
The highway is my great wall
For my true love is a man
Who never existed at all
Oh he was a beautiful fiction
I invented to keep out the cold
But now, my blue blue caravan
I can feel my heart growing Cold
Oh my blue blue caravan
I can feel my heart growing Cold

The Skin of My Yellow Country Teeth
Clap Your Hands Say Yeah
Clap Your Hands Say Yeah – 2005

This band may be the most successful unsigned band ever. This album was sold entirely by word of mouth – tens or hundreds of thousands of copies. They have since been signed by a label and just recently released the follow up to this album. I’ve only heard one song from their new album, and it was good.

CYHSY has a very strong early Talking Heads vibe to me, particularly based on the lead singer’s voice, but also for the drumming and general feel. Their sound is a little more full than early Talking Heads, which was extraordinarily spare, but still, there’s a connection there.

I’m a big fan of the drumming in this one. In addition to the relentless bass drum part there are a number of really great little high-hat fills.

Once - The dogs have quit their barking
"Son," - my neighbor said to me.
"Know the emptiness of talking blue
the same old sheep."
Run - I'll do no more this walking
Haunted by a past I just can't see
Anymore
Anymore

But let me tell you I have never planned
To let go of the hand that has been
Clinging by its thick country skin
To my yellow country teeth

Far - Far away from West Virginia
I - Will try on New York City
Explaining that the sky holds the
Wind the sun rushes in and a child
With a shotgun can shoot down
Honeybees that sting
BUT THIS BOY COULD USE A LITTLE STING!

Who - Will get me to a party?
Who - Do I have yet to meet?
You - You look a bit like coffee
And you taste a bit like me
How - Can I keep me from moving?
Now - I need a change of scenery
Just listen to me I won't pretend to
Understand the movement of the wind
Or the waves out in the ocean or how
Like the hours I change softly slowly
Plainly blindly oh me oh my!

Red Oyster Cult
Guster
Keep it Together – 2003

Guster is probably my favorite local band. This is far from my favorite song of theirs – mostly it fit the theme – but it does display some of their trademarks. Good harmonies, good drumming, and interesting lyrics are found throughout their catalog.

The first album of theirs that I heard anything from was called What You Wish For and had a number of songs that got radio play, at least out here, including Barrel of a Gun and Fa Fa Fa. That album featured all hand percussion – mostly bongos – and was universally excellent. This song features some of those bongos in the instrumental bit at the end and scattered here and there throughout.

Doesn't it bring you down
So many lights and sounds
Call your mom on the telephone
Tell her you're coming home
Tell her there's not a chance
You're ever going to change the world
If you want to be free, take a sip of this tea
Join the red oyster cult
If you drink the whole cup, you will never grow up
You will never grow old
Remember when you were 14
You'd paint every picture so green
Call your mom on the telephone
Tell her your muse is gone
Tell her there's not a chance
You're ever going to change the world
Just a few drops away, you're never gunna change the world
If you want to be free, take a sip of this tea
Join the red oyster cult
If you drink the whole cup, you will never grow up
You will never grow old
Call your mom on the telephone
Tell her you're coming home
Tell her there's not a chance you're ever going to change the world
Just a few drops away
You'll never have to change

Obviously this a nod to that 70’s rock band Blue Oyster Cult with a perhaps more modern sense that rock and roll isn’t going to change the world. Cynical, if you read to far into that, but as Guster keeps putting out albums there must be some sense of hope in the act of making music for them.

Pink Triangle
Weezer
Pinkerton – 1996

Weezer is nothing if not a fun band. They have remained steadfastly irreverent throughout their career from The Sweater Song on. I don’t know that they do many things musically that really stand out, they’re solid. They are all about clever lyrics, and this song fits that mold quite well. I like the ‘but married in my mind’s no good’ line particularly.

When I'm stable long enough
I start to look around for love
See a sweet in floral prints
My mind begins the arrangements
But when I start to feel that pull
Turns out I just pulled myself
She would never go with me
Were I the last girl on earth

I'm dumb, she's a lesbian
I thought I had found the one
We were good as married in my mind
But married in my mind's no good
Pink triangle on her sleeve
Let me know the truth
Let me know the truth

Might have smoked a few in my time
But never thought it was a crime
Knew the day would surely come
When I'd chill and settle down
When I think I've found a good old-fashioned girl
Then she put me in my place
If everyone's a little queer
Can't she be a little straight?

I'm dumb, she's a lesbian
I thought I had found the one
We were good as married in my mind
But married in my mind's no good
Pink triangle on her sleeve
Let me know the truth
Let me know the truth
Let me know the truth

I'm dumb, she's a lesbian
I thought I had found the one
We were good as married in my mind
But married in my mind's no good
Pink triangle on her sleeve
Let me know the truth
Let me know the truth

I'm dumb, she's a lesbian
I thought I had found the one
We were good as married in my mind
But married in my mind's no good
Pink triangle on her sleeve
Let me know the truth
Let me know the truth
Let me know the truth
Let me know the truth

Silver
Pixies
Doolittle – 1989

Two months in a row with the Pixies. Crazy. This song isn’t quite as ‘beautiful’ as Havalina, but it is similarly spare in its execution. This song sits on an album with what ‘hits’ the Pixies had, namely Here Comes Your Man and Debaser. HCYM is the only one that I ever hear on the radio. The whole album is good and worth a listen. This song feels like it should have been the closing track, but they squeezed in a slightly more up-beat track after it.

Like Havalina, this song has a strong western feel. Silver particularly feels like it could have been in one of the spaghetti westerns starring Clint Eastwood. It has a dry, dusty, salon door swinging, tumbleweed tumbling feel to me.

in this land of strangers
there are dangers
there are sorrows
i can't see this lady
it is shady
i am leaving tomorrow
tomorrow
tomorrow

even there's a reason
it's silver
it's gone
in this land of strangers
there are dangers
there are sorrows
sorrows
sorrows
sorrows

White Girl
Soul Coughing
Irresistible Bliss – 1996

At the intersection of jazz, punk and pop there was Soul Coughing. They were almost a spoken word trio if it weren’t for an infectious pop sensibility. This track is more spoken word than some of their songs though it has all the elements that make up virtually all their songs. Building on a foundation of upright bass and excellent drumming, decorated with some very quirky samples, loops and random noises, and then infiltrated by some very strange lyrics, often repeated as if they were more percussion than anything, a Soul Coughing song is created.

This comes from their second album. Their first, Ruby Vroom, is superior in many ways though my perception of it is colored by a very fun road trip I took with some college friend when it was played repeatedly. As we’ve learned repeatedly from our clogging friend, experience often cements our opinions of songs to the point of irrationality.

White Girl,
Market at Van Ness,
Heels to drag,
Discombobulated.
Air all soft around,
Hear the man singing,
Inclines and wires,
Telegraph Avenue.

Look away and she's eastbound, out of sight.

Dropped here,
By the hand of the Astronaut,
Builder of the pyramids,
The man from outer space.
Innocent farmgirl,
Raised by the aliens,
Out in Northridge,
Out in the larger world.

Look away and she's eastbound, out of sight.

The only song I can think of that makes ‘discombobulated’ work into the lyrics.

Gold to Me
Ben Harper
Fight for Your Mind – 1995

Ben Harper puts out solid slightly bluesy, rock and roll records. He usually manages some radio airplay. This one of those solid songs with some interesting guitar parts and some good lyrics.

You look like gold to me, and I'm not too blind to see.
Oh, you look like gold.
Said, you look like gold.

And you make me want to sing with all the joy you bring.
Oh, you look like gold.
Oh, you look like gold.

Like the rays down from the sun when a new day has just begun.
You look like gold.
You look like gold.

And now, look here 'cause,
I've been fooled before,
But now I know,
I've made the mistake in the past,
But now, now I know the difference from gold,
from gold and brass.

It's not the kind of gold that you wear but the kind that can feel my care.
Oh, hey, you look like gold.
Oh, now you look like gold.

Some shine when the day is new but they fade when the day is through.

But not you, you look like gold.
I said, you look like gold

Oh but, but I've been wrong before,
But now I know I've made the mistake in the past,
But now, but now, I know,
Now I know, now I know,
Now I know the difference from gold and brass.

You look like gold to me, and now I'm,
I'm down on a bended knee.
Oh, you look like gold.
Oh, you look like gold.

And I just, I just want you to know,
To me you mean so, so, so much more than all the gold.

Oh, you look like gold.
Oh, you shine like gold.
Said, you look like gold.

Green Arrow
Yo La Tengo
I Can Feel the Heart Beating as One – 1997

CMC pays off for YLT as Volume 16 finally gets me to buy a YLT album. More are likely to follow.

As a bonus to just meeting the theme criteria, this song puts me in the mood for warm summer nights. The nature sounds and the languorous music really make me want to lay on the grass and look up at the stars. And as we’re having another exquisitely crappy spring, I am ready for summer all the more.

Orange Colored Sky
Nat King Cole
The Unforgettable Nat King Cole – 1992 (originally recorded in 1950)

This song appeals to the part of me that grew up in household that watched a lot of Broadway musicals from the era that produced things like Oklahoma and Guys and Dolls. I’m a bit of a sucker for those big swing orchestra arrangements especially when done well. And what can I say about NKC’s voice. It’s smooth and used to remarkable effect.

This song, unlike lots from that era, really uses the band to great effect, and was probably written that way. All of the ‘sound effects’ really add to the punch of this very fun song. Throw in NKC singing some rapid-fire and clever lyrics and you’ve got a winner.

I was walking along, minding my business
When out of an orange-colored sky
Flash! bam! alakazam!
Wonderful you came by

I was humming a tune, drinking in sunshine
When out of that orange-colored view
Wham! bam! alakazam!
I got a look at you

One look and I yelled timber
Watch out for flying glass
cause the ceiling fell and the bottom fell out
I went into a spin and I started to shout,
Ive been hit, this is it, this is it!

I was walking along minding my business
When love came and hit me in the eye
Flash! bam! alakazam!
Out of an orange-colored sky.

Olive
Ken Nordine
Colors – 1995

This is likely the inspiration for this collection as it comes from an album devoted entirely to songs about colors. Ken Nordine has a program on NPR (in some areas) that I’ve never heard. It’s called Word Jazz and as far as I know involves him doing a spoken word thing over the music of a jazz combo. Reading now on Wikipedia I find that he started doing this in 1957. He apparently did vocal coaching for Linda Blair in The Exorcist.

Oddly, I couldn’t track down the lyrics to this (and am too lazy to transcribe them).

I’ve always like the ‘sure does’ for its inflection.

Hopefully Volume 17 will make your life a bit more colorful.

The Past Was More Than A Walk Man – More A Transmitter to The Future and We the CMC are The Fortunate Ones – Volume 16

2007-05-09T21:53:00.000-04:00

The Past Was More Than A Walk Man – More A Transmitter to The Future and We the CMC are The Fortunate Ones – Volume 16

So Steve Cummings is back. Not black. Back. Though it would be perfectly OK if he was suddenly black. Or even gay. It would be just fine. Interesting, but fine. But it is straight and white Steve, though his musical tastes and interpretations are anything but. From being locker neighbors trying to convince him to share his poetry with me, (he would not, but instead claimed to have thrown it away, which was powerful, mind-blowing poetry to me) to a musical knowledge God with, yes, Nothing’s Shocking by Jane’s Addiction. To the disappearance of the man, the occasional rumor that he was in Atlanta to the whispers behind the bushes in China Town, graduation ripped him from out of our background, inserting him into another which we can now only imagine.

I cannot piece together those years and this would not be the spot for it, instead I will focus on the songs and offer my opinion of them and some contextual information. I must note two items before continuing.

a-Usually I do not READ anybody else’s comments before writing mine – this is not the case this time, possibly due to the length of time it has taken me to reach this point of comment-making. I will not make too many mentions, but I wanted to bring that to everyone’s attention – not that it is any big deal, just a slightly different approach.

b-I found it extremely fascinating, this other slice of Iowa City. What I mean, Mark Anderson was a big Iowa City guy and though there are many many deep differences between the two individuals there are some striking similarities in FLAVOR, separated mostly only by a generation…which is cool. Bringing to light differences in the FEEL of the University of Iowa and Iowa State and then UNI and Indiana State.

I enjoyed the paper-folding and the Lennonish ‘YES’. How Yoko of you! Yes Steve is among us, a ghost no more, and it is a positive force. Fragile and human and still searching.

And now…the songs…

1-Havalina

I really really love this song. Some guitars that may have informed future Radio Head bits. Love it! And again with the Pixies. And though Mix has never responded to my memory of us walking along a stone wall and some girl that he knew or Faith knew was playing or talking about the Pixies….Mix….please…

I love the airy feel of the singing and the dreamy words. I wonder though, is it literally about a pig or is it a song about a girl whom the singer is “referring” to as a pig? One of those sweetly sick sentiments that can so nicely be expressed in music. Great song!

2-I Don't Know

I shared Dan’s view about The Replacements and Paul’s ability to inspire boners in local DJs and local musical authorities – perhaps it was only a form of jealously. Anyway, I really like this song. Though it hails well north of the Iowa City, it reminds me of Iowa City culture – or maybe on a grander scale – other large like schools. And maybe it has to do more with people who went to Iowa. More Artsy, less Aggy is really what I’m getting at here. Most colleges or universities will have an artsy component but the scale can be wildly different.

Love the horns, the responses, and the driving almost “live” feel of this song.

3-Way Down Now

The famous Green Peace compilation. I think I’ve heard this song before. Not a bad song. I wonder who would win in a fight. World Party or Stetsasonic?

“In your face, elitists!” – good for you.

Rolling Stones, Soup Dragons, it’s all good. I like the words, and always good to hear more than just ‘Ship of Fools.’

4-Futterman's Rule

Love the B-Boys. Love all the Basketball allusions in their lyrics. I saw them live once and have four of their albums and continue my search for a particular mix of Body Movin’ – it remains elusive. I consider Paul’s Boutique and Check Your Head as their best, but the others all have their charm. I think the fun began to fade just a bit with Ill Communication only because I feel their politics and religion, wonderful as they are, just didn’t translate well into B-Boy songs, but it was 1994 and that was a pretty intense year and then you have the Beastie Boys playing their own shit, and it was awesome. That pic of Mike D playing drums in the liner notes was inspiring. Intense and ferocious.

This song is cool, A Rockford Files for the nineties with a whole new lineup of awesome guest stars. One of several excellent instrumentals. The Beastie Boys are awesome awesome and at their best have and continue to be one of my favorite bands.

5-Pool

I love mysterious feelings. I had one just last night as a matter of fact. A very catchy song – Japanese – if I were to guess the language without any connection to you, I would not have guessed correctly. It sounds as if it was recorded in a home studio – which is awesome because it sounds good; it just has that non-big record label sound and feel to it.

I love the language or words at 3:23 for example – the little tripping phrase that must be characteristic of the language – very nice. The Sundays, if they sang instead, it could easily have sounded like an early Sundays song – a credit to their pop-writing craft.

6-On Earth

I like this song – an excellent “album” song from the college rock or when alternative was just becoming not alternative age or from that handful of bands with lead female singers possessing some quality of alluring beauty, at least enough to scrape up a bit of the market’s share.

I really do love her voice and also own Static and Sunday, I bought it for Trista way back when. I do not listen to it much, but enjoy it when I do or if a song happens to pop up on the ole shuffle. Speaking of the shuffle – I use it often though try hard not to let it replace listening to albums – it still excites me, when out of 4000 songs (pales in comparison to Mixdorf, but still enough to make it seemingly vast) I wonder what is next. I especially enjoy the fact that it allows for an opportunity of PURE MOOD-MATCHING. What I mean – it is impossible to articulate a “musical mood” so let me just say that when you are in a certain mood you can just skip ahead – it is pure because it is SO honest. You just skip until the mood is sated. Your mood never has to settle for a song that you cannot wait until it is over. A dangerous road to be sure, especially coming from me because I believe the “album” as an art form is nearly lost, iPods and fancy phones and mix CDs are escorting albums to their graves.

I like the brevity of the song and the ending lends itself to some interesting interpretations. The song is probably just typical alternative girl poetry, but maybe it is about the people of earth’s expectation about the eternity of our world and how that expectation is being eroded into hope, a hope losing ground like a glacier at the end of the ice age.

7-I See Monsters

Wow – your write up reminded of “The Dead” by Joyce, right at the end, actually kind of gave me shivers. Something terribly familiar about this song – not sure – maybe it is just when I first heard it months ago. Hee! I haven’t been a fan of what I have so far heard from Ryan Adams, but gee if I don’t kinda like this song. I do. Some really nice moments and the words are stirring.
I think there is something about his voice that usually turns me off. I think with this song, placed within the context of this compilation, it has been a good way for me to hear Mr. Adams in a new light. I also think I heard a couple of covers that he has done that I couldn’t stand.

Is he related to Bryan Adams?

Kidding.

8-Automatic Stop

Really neat song. I dig it. I love the faraway vocals and the words. Great! It had to end that way – there was no other way. I love the interplay of rhythms between all the guitars and the drums, really keeps the song moving along nicely.

Your: “For a song with such despair in the lyrics, I find it strangely affirming.” Is exactly the way I feel about my love for the Velvet Underground.

9-The Shadows

Funny Onion!

Neat voice – I really like this song and the melody. The slightly cheesy lyric is made up for in terms of melodic delivery, and it works quite nicely. I like the drum taps off in the distance.

At times it smacks of a 70s AM radio melody. I like the horn – a really nice touch. Great ending, love hearing her sing about the Shadows…very likely my favorite voice on the album.

I have heard of Yo La Tengo, but have NEVER heard anything from them. I would have guessed them to be a “Black-Eyed Peas” sort, but man would I have been wrong, thankfully.

10-Cleaning Windows

On Dan’s industrial accident comment…it is amazing..he isn’t the most handsome man in the world, but close-ups of his face are easily found. The VM stands for Vanity Man. More importantly, I have been kind of interested in listening to more Van Morrison – there seems to be some pretty cool songs out there with nice arrangements. Interesting, loose, garbly voice. Steve: 20 albums – wow!!

Not a bad song though a bit too “We Didn’t Start The Fire.” I do appreciate the sentiment, especially after a bullet wound.

Wrap:

Excellent collection Steve – thanks for putting it together and another warm welcome to the club.

Other:

Talking and discussing music can be such a joy and should not be rushed. We are not the CMC Music Factory.

Mixdorf: When you speak of Steve being ahead – do you mean in terms of quantity of music listened to? I felt constantly concerned that you were putting yourself down in terms of your own wonderful musical journey and thought how odd it was that you assumed a competitive tone. Anyway – I am sure there is a perfectly logical explanation…

BS: Havalina, but the Shadows were looming large

SIWHI: “Temporary Sanity” by Todd Rundgren

Reform is Needed?

2007-05-09T09:59:00.000-04:00

I suggest skipping the rest of this month to allow everyone to get regrouped. Dan can kick off the new stretch in June. I suggest that we mail or cd's out at the beginning of each month and have everyone respond by the last day of the month in which they recieved the cd. If we stay true to this then I believe that things will move smoothly. If we are too busy to respond to a cd within a months time then maybe we should rethink our memberships? Just throwing out thoughts for us to chew on. What are your thoughts?

Almost chomped by Pac-Man.

2007-05-06T17:19:00.000-04:00

Stephen's comments on T-Clog's mix.

Where the heck have I been? Oh, doesn't matter. Let's do this thing!

1. Cheers: The show was a staple of the times (I try to avoid using the word "zeitgeist"). I echo Dan's sentiment that the song is very, very hard to separate from the show. I more or less enjoyed the show. I remember watching the first show at the time of the first broadcast. NBC had some monkey show called "Mr. Smith" that came out the same year, and they were promoting both heavily... I think NBC was trying to re-create itself after taking a beating for some time. I remember thinking how cool it was going to be as an adult, if only one had such a retreat each day. Alas, bars don't resemble "Cheers" in the slightest, and I've read the reports of how many such establishments are meant specifically to promote anonymity. Yeah, shock. Anyway, nice ditty, but tied to the time and purpose as to never be considered as a song by itself.

2. You Make Loving Fun: I remember reading Rolling Stone and other music magazines in the early '80s. It was oft-written that Fleetwood Mac was one of the greatest groups in the world. Lindsay Buckingham was a sex symbol at the time, Mick Fleetwood was a genius, Stevie Nicks was also a sex symbol... none of this clicked with me as a 12-year-old, and I struggle to look back and figure it out in retrospect. I do admire "Tusk" for its sheer weirdness, all rhythm and marching bands, and I dig this song, more now than then. Catchy, sort-of sexy, I-like-you-let's-do-in-again-now vibe. Of course, I've seen Robert Towne's "Personal Best", so now I assume it's about two women, one being Muriel Hemingway.

3. Bette Davis Eyes: Swimming pool, swimming pool, break, swimming pool, break, swimming pool, ham sandwich. Hey, it was Billboard's Number One pop single of 1981, I think. Was there no escaping it? My daily summer school-break routine was soundtracked by this song. The female Rod Stewart, singing about making crows blush (I thought). Again, like "Cheers", no amount of re-learning will help me hear this song anew. We didn't have MTV in my small town (see Mellencamp), so I have no idea what Carnes looked like; I don't have any latent little-boy thing for the singer. Just thought I'd share that.

4. 99 Luft Balloons: My mom loved, loved, loved this song. She bought the whole LP. She also bought Asia's first and second albums. She was into the pop-music thing at the time. I, on the other hand, have no love lost or nostalgia for this song. Perhaps out of automatic protest against my mom's attempts at coolness. That said, it was a different kind-of song at the time, and not just because of the German lyrics. It has a pop-tune event feel, which may explain the massive popularity. It pre-dates the late Falco's success in the states, who had a similarly bombastic approach with his Amadeus tribute. I think both songs became hits because they were in frustratingly catchy and unavoidable. Falco would have been at home on this mix, but more for the "Der Kommisar" re-make that was a hit at the same time "Balloons" was. A political song, I'm told. I don't know. I still don't speak German.

5. Walk of Life: My better conscious knows that this is a perfectly acceptable pop song, and that I should like it, but I cannot, and still do not. Knofler was singing about the hard-knock life of busking, I understand. I get that. But the song is so damn happy and child-like. It passess through me like a chilly wind, and by then I've clicked past or changed the station. The chugging guitar should win me over, I love that kind of simple musicality, but the keyboards are too intrusive and annoying. A miss for me. I'm amused at Dan's observation, I'm sure accurate, of all the hair-metal dudes learning of this new Dire Straits group, only to discover an album full of really great songs that I'm sure they hated: "Latest Trick", "Brothers in Arms", "The Man's Too Strong"... any of those tunes are much more meaningful to me than this one. In fact, I may download a few of them later. Side note: Why did we yanks get a video for this song full of professional football players and cheerlearders bouncing around? Well, I can guess, I suppose. Was it hoped this would be the next Gary Glitter or Queen fan rally? Hmmm.

6. Magic. Let me say: I loved the Cars. Had all their stuff. Forgave their weak tunes and worshipped their great ones. Mix: Candy-O is not a great album, but it's got a racy cover, and it's a little more of the "odd" Cars that I think fans claim to like more. And I submit that I was a fan before "Heartbeat City". Although in disclosure, it helps to have an older sister with boyfriends who lent me some albums. From there, it only takes one Columbia Record Club application to catch up on certain groups, and start of life of wasteful credit spending. By Heartbeat City, the album, I started to get a little elitist, what with everyone seeing the cheesy videos and buying the record en masse. I began to dismiss the Cars. "Heartbeat City" was positioned as a summer anthem, for the obvious lyrical reasons. I only sort-of dug it then, but like the declarative guitar chords just as much as ever. I remember Stereo Review magazine commenting that the Cars somehow managed to appear avant-garde but sound one-hundred-percent mainstream. Makes sense. Looking back at this song and the album it came from, I stil love "Drive" from that album the best. It captured popular '80s radio for me in the most positive way for me, in the way groups like Poison represent the '80s at it's mainstream worst. Thanks, T-Clog, for not including Poison on this disk in any way.

Alas, the bassist died, the guitarist went on to play in a CCR-tribute group, and the New Cars eventually showed up with Todd Rundgren. I guess my love rests with the Cars of that time.

7. Small Town: John Mellencamp did something great here. A simple song that conveys what the song was about. This song sounds so live, so loud, and pretty much is my favorite song on this record. JM had, at the time, a great drummer, and it's that part of his music I notice a lot. I happened to live in a small town until just before this song came out. I admit I'm not as fond of that environment as Mellencamp was, so at first, I dismissed this song out of hand. (It's not as if moving to big-city Waterloo rescued me or anything; it was just different, with a record-store and movie theater, for a change). I've not been a close JM admirer, so I can't get into where this fits into the pantheon, although I was a litle dissapointed to here a recent song being used in a GM commercial. It certainly wasn't cool to like JM at the time, but I listened to the Scarecrow tape a lot, partly because of the steps he'd taken to raise awareness for Farm Aid helped focus some attention on his music. His follow-up, The Lonesome Jubilee, pretty much drowned in political rightousness (although it, too, had some decent stuff on it); by that time, I'd been run over by the so-called political consiousness of "We Are the World", that momentum heading to what seemed like countless benefit songs leading up to "Sun City", and I'd set JM aside to seek out something, oh, more punk, I guess. But "Small Town" is a song I can hear all over again, and enjoy it more now than then.

8. Every Breath You Take: My much-younger ears didn't immediately hear the fear and loathing this track was communicating. I remember Sting doing an interview, saying how shocked he was that people were playing this song at their weddings. I think that's kind of awesome, and at the time it taught me to get my head out of ass and hear the whole song. I suppose it's the price the Police had to pay for immense success. Anyway, I enjoy the song, but personally, I'd go with "Don't Stand so Close to Me" for early '80s popularity. That dirty bastard Sting, being all academic. Something to strive for, I thought at the time. Oh, I like it. But I've got a master tape burned into my frontal lobe, the ultimate iPod.

9. Against the Wind: Interesting song choice for this mix. "Like a Rock"... I know I'm gonna get it for this, but pre-truck ad, I sort of liked that song. That was five minutes, twenty years ago. Seger is not, shall we say, prolific. The constant rotation of "Night Moves" seemed to be filling the gap for Seger; maybe he just made all his money on that one damn song. I'm glad I'm not hearing that song here. This is not my favorite Seger song. For sheer childhood nostaglia, that'd have to be the song where Seger is telling his lady that someday, she'll be accompanying him. It fit well, dynamically, while I swung around in circles on a small-town carny ride at age 10. (Sauerkraut Days, Ackley, Iowa. Mmmmm, kraut.) I'm sorry to say that only echo the sentiments of others here. Seger's okay and all, I don't hate the man or his music, but this is not how I reflect on my life. For all it includes, my life has not been against anyone's wind. And if we are talking the system here, then I suspect some of the fans of this song are the ones that put into office the very entity that is now creating a lot of blowback. Now there could be song.

10: I Won't Back Down: A song so direct and simple. I remember this one just Pissed. People. Off. As in, how dare Tom Petty get away with a song I could have done? Sorry, but you couldn't have. Or, to put another perspective on it, I wish, I WISH I could have done this. At the time. I hadn't been Jeff Lynned to death; that stops with the Wilburys. Perhaps Tom Petty, who had (after all) risen from the alternative radio early days, was peaking here for the massess. I understand he's since been a huge tour draw. I had this CD and played it a lot in the fall of '89 and early '90. So did a lot of people on the U of I campus. It was the "Thriller" of the season, in a good way.

11: Take On Me: Hmmmm.. T-Clog saves the best for last? It terms of summing up the times, I'd say, yes. This song is significant in that the video is the song, the song is the video, and the young love-longing-despair vibes sits accurately with the (let me do the math again) 14-year-old who heard and saw this song. The keyboards, plotting the rhythm throughout and then trailing off intergalactically at the end, just works for me, and that's all I'd really expect or want from that time. Sometimes I wished the "me" of that time would just fly off like that synth.

12. Cheers, redux. See original comments. Boy, life sucks at the moment. I hear you, sort of. Perhaps.

Summing up: Pac-Man. My niece, who is seven, knows what Pac-Man is and explained to me the other day. She was dead on, although her knowledge has more to do with the beautiful T-Clog cover than the static birds-eye view of the '80s experience. This was a good mix, and to make clear, I like all the stuff here, to some degree. I am opposed to false nostalgia, so this was an exercise on what I thought I believed then and where I am now. I rarely "forgive" songs despite their crappiness, just because those songs were from "that time". It helps to remember a miserable childhood experience. Life aint so bad, though, not for this white, middle-class white male. So while I cannot reconcile with Kim Carnes, it's still a welcome experience to go there again.

Favorite song here: Take on Me. Suck it, Sting! These guys weren't around to get too full of it, to their betterment.

Song I'd included had I made this mix: "I'm on Fire", Bruce Springsteen. My favorite song from the radio, from that time, period.

Dan's Shadow: Comments to Shadows

2007-04-30T22:42:00.000-04:00

I've been falling regularly behind on comments and all the while starting to have a general feeling that, by spending upwards of four to six hours in commentary a month, I am engaging in a major instance of "wanking off into the void."

This month I begin a new area of scaling back on the cross-referencing of past posts (aside from the Creators'), hyperlinks, and dissecting of minutiae (which generally seem to be off-putting, as much as anything else). Forgiveness is asked of anyone that liked to read through my lengthy past posts, and payment is requested of anyone who is grateful they will now be short.

Overall:
Stephen, thanks for the personal look into your journey of the past decade and a half; one of which we've heard some general recounting but, for the most part, to which we've not been there for. As expected (and I think as Mixdorf alluded), this collection reads almost like a "who's who" of artists for which I've always felt on the outside looking in. Either that or some sort of semi-independent film soundtrack. In the former view, however, it's definitely a valuable look into these artists of which I otherwise may have remained ignorant/intimidated indefinitely. So thanks for that.

1. Havalina: Funny, that it's ultimately the name of a pig. Even if it's about somewhat exotic places, the name definitely conjures the images of seaside breezes than it does anyplace in Arizona. For me, anyway. Dreamy, almost "Sleepwalk"-like guitar beginning. Unexpected chord change at around :30, and great one as the vocals come up, around 1:20.

2. Replacements: In addition to avoiding this group for the earlier reasons (out of the loop to begin with and a little intimidated), I gotta say that I've always avoided everything to do with the Replacements just cause they have such Godlike status in the hipster review circles in the Twin Cities. It's like if someone called into Cities 97 and announced a Replacements Reunion Tour, the disc jockey's boner would come right out of the radio and poke me in the eye. And then, the post-Replacements years, GOD! Enough with Paul Westerberg!!! So, getting past all that might have been expected to be challenging. But this song was great! I can see the appeal. Just pounding it out, sounding almost like a frat party with a chorus of partiers joining in on the "I don't knows." And I just LOVE the chorus. Great sax - especially from the years where sax was used wrong so often. Relentless!!! Note: I love your appreciation of the balls it took to release "Let It Be."

3. Way Down Now: Like a couple of the other guys, I know Ship of Fools, from that same Greenpeace collection of Gibbs'; and it is a song I like. this one, I recall from radio back in the years (where Stephen & I may have actually been both setting up video equipment, unbeknownst to one another), but one that I have never listened to with an attentive ear. I certainly didn't know it was World Party at work. The song is OK - but nothing really grabs me. Even as I am not gushing over it, I can appreciate the type of music that was at work there, and how it might have stood out, given its context in time. I do know Stephen has a history of sitting up an noticing when pop separates itself from the pack. To this day, I do not really know what elevated Fine Young Cannibals' "She Drives Me Crazy" to such status, but I seem to remember something about it being "just a great pop song."

4. Futterman's Rule: Unbelievably funky and driving. WONDERFUL, and perhaps the best use of the organ in rock music since Inna Godda Vita. Bass that I can imagine having played, in my heyday. I love the elevated guitar bridge part, the fills - all of it. I also love the actual "rule." Was that from the album with "Heart Attack Man?" Beyond the freeing of Tibet, they also seem to have some sort of side mission of lowering chloresterol. On a side note: Working out to show tunes? Listening to this song must have been like the Rapture for you (like, from the lucky ones' standpoint).

5. Pool: I really like this song. Another, yet of a different style, bassline I almost could have seen myself playing. A somewhat low, subdued, masculine voice elevates itself to a pretty range right after 1:00. Catchy & lovely. A bit of a cheesy guitar solo - and also that synth part around 3:00, but probably par for the time/place. Regardless of the unkown words, just a nice pop song, overall. And I love imagining that their entire catalog is just a series of "songs about taking flight, mysterious feelings and straightforward love."

6. On Earth: Like anyone who kind of came into their own during and in conjunction with the rise and fall of alternative rock in the 90s, I knew well and loved "Here's Where the Story Ends." Wheeler's voice - remarkable, pure, and truly a gift to the world. A pity she hasn't done more (or just more I know about?). That said, this song - while not objectionable - does little for me. It just kind of pleasantly meanders along, and then ends.

7. I See Monsters: I know this is a guy that A. Johnson likes quite a bit. So make of that what you will. Pleasant guitar work - almost a little "Dear Prudence" descent, but also a quality that makes it seem a little like an arena rock departure ("Dust in the Wind"?). I like some of the lyrical phrases, though I don't totally see what he's getting at, overall. This song, too, doesn't really knock me out.

8. Automatic Stop: OK. Here's my song. This one knocks...my...socks...off. The musical progression. The musical progression. Part one, with the main synchopated guitar hits & the singing, the part two with the fuzzed out guitar that departs on a little counter melody over the main riff, then the unexpected little disco section that takes off. Brilliant! And also - if'n I may be excused for yet another Dan/44 reference, this definitely seems like the type of production upon which vintage 44 may have embarked - to whatever degree of success. A combination of fond reminisces and appreciating from a songwriter/contributor vantage working together to bolster my enjoyment of this song. Just a little "Cake" like, isn't this song? Oh, and brilliant ending.

9. The Shadows: Yo La Tengo definitely going into the same category as Death Cab for Cutie, as indie-rock warlords to whom I've never tithed (GREAT Onion article, by the way. I remember it well from when it first came out). This song was going to fall into the "pleasant, but not knocking me out" category, but has been growing on me. She has a fairly lovely voice, and the song dreamily drifts along. The muted trumpet really gives a little welcome sparkle and lift. Some unexpected & sophisticated chord changes that I may not have completely gotten my head around yet.

10. Cleaning Windows: Definitely a change of pace, here. An OK song - pretty straightforward, easygoing blues. I've never been a huge VM fan, but I can appreciate the vastness of his body of work, only a small fraction of which I've (admittedly) ever sampled. As far as being the window cleaner in this song: that's what (in some discussions over "what the hell are we doing?" conversations with Gibbs in times past) I've come to refer to as "The Danny Glover" trick. Being the window cleaner, or janitor, or shelving guy in Walgreens who was found inner peace and who dispenses knowledge to protagonists seems pretty great in the movies, but I don't recommend that route for those who are living real lives.

Overall: A couple of songs in there I am really happy are now a part of my life. I also really appreciate this unveiling of the mystery of a few artists I may have never gotten around to, and a few more fragmentary stories from the Mysterious Lost Years of Stephen. Thanks!

T-clog Sees Methman's True Colors

2007-04-30T09:58:00.000-04:00

I love the simple concept to this album. It is raw and explosive. The songs are grouped together into this album because they all have a color in their track title. Before I get into each song, I want to say that theis album is fantastic and a pure joy to listen to. Meth, you have pulled another one of your tricks out of the hat. I will keep my comments short, but know this: I love listening to this album!

Blue Caravan

I dig the wire brush on the snare drum. It gives a cool sound that fits this song like a glove. The voice is soft and soothing. I love the way it dances through the line "I walked awaaaaaaaay". Absoulutely beautiful. Great song!

The Skin of My Yellow Country Teeth

This song is definately sung by a troll. Is his name Jonathan? It is refreshing voice that is truely unique and common at the same time. It is purposefully raw and rough. It is a fun song with great lines. An example of one is, "You look a little bit like coffee". Another fun line for me is, "Far away from West Virginia". I don't know why that tickles me, but it does. I also love the buzzing sound at the beginning and the end of the song.

Red Oyster Cult

Like the solid drums a lot. The men that sing this song have amazing abilities. Have they gone through puberty yet? This is not a bad song, but one that might not make the i-pod (Samsung).

Pink Triangle

Very clever song. I love this song because.............oh, you know why. Any song that has lesbian in it can't be disliked. I am unable to play this song unless i am alone in the car. I can't play it at school or at home. Bummer! It is a song that is ewxciting and captivating. I feel for the poor guy in the song. I weep for him.

Silver

"In this land of strangers there are dangers", sounds very ominous to me from the git-go. This is a very interesting song. I think of lonely silver miners. I dig this song a lot. Get it? :0

White Girl

Sounds like the Beastie Boys. It's alright, but it won't make the i-Pod (Samsung). Know that when I say i-Pod, I will always mean my Samsung. I do really like the end of the song when it repeats it's self over and over. I do really like the end of the song when it repeats it's self over and over.

Gold to Me

A great song! It is upbeat and sweet. IF you really like gold then this would be your theme song. I kept thing of the song Band of Gold that was recorded by Payne back in the 70's I think. The dud e really likes gold. I wonder if it is white gold or yellow gold? Maybe it's both.

Green Arrow

LOVE the song. IT is greatly green and sharp. I love the crickets! IT reminds me of Everything by R.E.M. It is very soothing and peaceful. Just a flippin fantastic song. It might be my favorite song on the album.

Orange Colored Sky

Where's Frank? Another great song! A trip down the ribbons of time. Nat is a wonderful artist. Was this the inspiration for this album? What a great pick Meth. I want a cocktail and maybe some cocktail shrimp to go with it. I think that I might go out and get a Nat greatest hits album.

Olive

I LOVE IT! It is 100% pure extra virgin poetry!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Comments to Pac-Dan's Comments

2007-04-17T10:53:00.000-04:00

(what else?) Pac-DAN's response to Pac-Man's I-Pod.

The 80's: nuclear war, girls, science fiction, high school, and MTV. Certainly not in that order. Girls, certainly. Nuclear war not for a second. Science fiction? Not really so much, either. High school and MTV? Perhaps, but only to the extent girls were viewable in either medium. Yup, it was pretty much girls that consumed my every thought - and what a remarkable little I had to show for it at the end of my four years! But on to the music.

The 80's were longer than 4 years cupcake.

1. Cheers: In case anyone didn't read my comments to a later post - I think, mathematically, I could only be tied in the amount of Cheers (or Cosby Show, or Family Ties, or Night Court...or Challenge of the Superfriends, for that matter) I watched (in those years at least), not surpassed. And count me among the legions that bought into the Woody Harrelson myth. Who knows, perhaps I started it. Perhaps it was started by my prolifically lying brother. In any event, I feel cleaner now, knowing the truth. The song, itself, was always well-regarded as a solid work of music, relative to other theme songs. The poignant concept of "...where everyone knows your name," indeed, became the unofficial motto for the show. And it's OK as a song, I guess. I find it really hard to separate the song from the show and judge it as purely on its own merits. And perhaps it's not intended that I should. I liike the "aahs" quite a bit. They're used to good effect.

If you started it I vote that you get your ass kicked hard! I love the song obviously, and I would like to tally up the hours I watched the show to see how much time I wasted on the boob tube.

2. You Make Loving Fun: Not one of my favorites of their collection - but definitely one of the coolest. It just kind of slides and funks along with bass/synthesizer action. The searing guitar - the little flourishes you speak of around 1:25 - not bad. My favorite part of this song is and has always been the fast little "chicka"-guitar right after "you - you make loving fun" at 2:40. Awesome. Doesn't sound pissed off to me - none of it - as it does to Meth Mix.

Almost a contradiction Dan. Pick a side and get off the fence.

3. Bette Davis Eyes: I echo Gibbs in saying "Only Cory. Wow." She's pre-CO-cious! She's fe-RO-cious! I'd love to hear this song sung by Nico. Many, many years after the fact, I can realize that, purely on its musical & lyrical merits - not a bad song. I did hate it at the time. And MAN - but it SOOO screams "80!" The synths. The crazy "clap" effect. The starkness. The bizarreness. I can't separate it from the times and I could never. And Kim Carnes.: You're no Bonnie Tyler.

Once again you said, "Not bad, but I did hate it at the time." What the heck? Do you see the negative strands that led to the discussion over the tone and delivery? I like to focus more on the positives while writing comments. That's just me, and that's what I want to focus on. Anyway, your honesty is welcomed. IT is as we said before a hard pill to swallow sometimes. I am glad that you have come around on some of these over the years. The hate will ease in time, and from those burned ruins a beautiful city will emerge.

Screams the 80's? That's the point sweetheart.

4. 99 Luft Balloons: Wow. Did I just say that the last song screamed "80s?" Did I just suggest that the last song used synths, crazy "clap" effects, and starkness? The only song that could top this neon, 200 foot, flashing sign of the times is, perhaps, Electric Avenue. Interesting musical occurrence here: I can recognize the catchiness of the song, and yet I hate it. Is it 'cause of the unwarranted pot-shot at Captain Kirk? Is it my aesthetic distaste for the German accent? Is it the stirring up of memories from my least-favorite decade of my life? Probably a bit of all. It just doesn't give me a good feeling when I hear it.

So much hate as a young man. In our house we teach that it is okay to dislike something, but we don't hate.

If you get upset because someone says something about Captain Kirk, then your a bigger nerd then we thought. :)

5. Walk of Life: Allow me to be the third to mention Mixdorf's fascination with "Brothers in Arms." I remember him mentioning that, if he put the cassette into his Walkman (which my mom pronounced "Walk Man") for a run, he felt like he could run forever. But I digress. My own memories & understanding of Brothers in Arms, at the time, was limited to (like most folks) this song & "Money for Nothing." How many grits, after buying BiA because of the Money for Nothing guitar solo and/or the fact he says "That little faggot, he's a millionare" were disappointed to no end upon hearing the rest of the album? Plenty. What do you think about this: "Walk of Life" is to Dire Straits what "Centerfield" is to John Fogerty? To Cory, anyway. I never loved the song, particularly. I remember being struck by the somewhat underwhelming nature of the"woo-hoo"s that kick off the vocals. Listening now - I can see how the structure & arrangement are there, but they don't do a whole lot for me. I really don't like the keyboards much at all. They remind me of some sort of "4th Street Cruise"-oriented music; intended for and appreciated by guys who roll their t-shirt sleeves up a couple of inches and have calendars with ladies wearing hot pants leaning over classic hot-rods. The whole thing kind of exudes a "50s rockabilly" sort of vibe - the echo, the timbre(?) of the guitars, the keyboards. I love what Gibbs says about "the boy can play." Knofler making a plea? Is it possible he is yet another troll? Too successful as a result of this album, perhaps...Perhaps half-troll.

You may be on to something there Mr. Dan!

Perhaps 25% TROLL, 25% HOBBIT, 25% HILLBILLY, and 25% ELF?

6. Magic: Wow - now this is one song where it is almost impossible for me to separate myself from my history with the song - an intimate familiarity with it stemming from the fact that Cars: Greatest Hits was the 2nd album in my CD collection. I love Mixx's "one of those bands almost everyone had the greatest hits of and no actual albums, no matter how popular they were" (a possible wonderful topic for a freelance music magazine essay!), as well as Gibbs' "fangless vampire." Who needs fangs with an Adam's Apple that pointy? Anyway, asked before the arrival of PacMan's i-Pod, I would have said that it was one of my least favorite Cars songs, and one of which I don't have particularly endearing memories. Listening now, however, I have to say that (once one gets past the very 80s "drumming in an all metal room" sound, as well as the 80s keyboards for which I - like Mixdorf - have no particular love) it's a pretty solid song. Words not paving any new ground, though I get a kick out of hearing Ric say "all shackles and balls." T-Clog - so glad to hear that you are a "newbee fan of the guitar." I think there's some interesting little flourishes throughout in this song, and I look forward to your further discoveries in this world.

I am not surprised.

7. Small Town: I echo what the Pat's have both said in terms of my growing admiration & respect for the man & his work and will go so far as to say I recall the three of us (Dan, Pat, Pat) having a particular conversation - perhaps on a February Freeze Off - about this mutual newfound apprecations. Gibbs-yes! D, A, E! This song is no exception. Having not read anything about Bob Seger at this point of my comments, and purely out of gut feeling; I would put Mellencamp's "singing for the little guy" credibility over Bob Seger's any day of the week. Perhaps it has something to do with my hatred of B.S. (funny, huh, his initials - especially in light of what I'm about to say), but when I hear John Mellencamp sing any one of a number of songs about youth, struggles, small towns, "the establishment" etc.etc. I just hear sincerity (akin to John Denver singing about Rocky Mountains), whereas when I hear (usually only very briefly) Seger sing about similar topics, I hear a guy who's creating an image and targeting it to a very specific audience (more like Color Me Bad singing about "the street"). Icon vs. image, here, in my mind. Mellencamp would never shop at a WalMart. Seger NEEDS WalMart to in order to sell his shitty albums. Mellencamp, as I understand, is very concerned about migration of rural youth into major metros; though, as far as I can see, he's been unable to do very damned much about it. Oh, the song? Very straightforward, but in a good way. I agree with Gibbs in that there is more than meets the eye with his lyrics. Using simple words to convey meaningful sentiments (as opposed to another way of writing great lyrics: Sting's approach) is actually a challenging endeavor and one in which I think JM succeeds like few do. Early solo Paul Simon also great at this. I think the "power acoustic" chords and hard-hitting drums (his drums are always hard-hitting) are a nice, visceral underscoring of the sentiment, which is impossible to miss and very effectively conveyed.

Still so much hate. Your childhood was worse than mine?

I have 4 or 5 Melloncamp albums. Glad you guys can appreciate him. I guess I was the pioneer in the group in regaurds to JM. I started listening to him back in the early 90's.

Glad to provide you the stage for yet another Wal-Mart rant.

8. Every Breath You Take: Can't add a ton more to the likeable elements of the song than did the Pats & can't add much more to the backdrop that is the career of The Police than has been covered so far on "Undercover." I, too, like it - but it is yet another song for which I have a very difficult time separating my ears & psyche from how many times I've heard it and how sick of it I may be. Gibbsy Cottontail, I did know that The Police are getting back together for a tour, and I also know that Best Buy drove six dump trucks loaded with money right up Sting's ass and that both entities have since taken a great deal about huge blocks of front-of-stadium tickets that were only available to 10,000+ point "achievers" in Best Buy's "Reward Zone" frequent buyer program. Mixdorf likes to say the concept of "selling out" does not truly exist, but perhaps we can all agree that some artists seem to like money a lot more than others. I personally think Sting ranks somewhere between 50 Cent and R-Kelly. You can't take anything away from this particular single, however, with its already-discussed relentless, guitar-driven rhythm section, and singular vocals (which Sting could, perhaps, be "persuaded" to rename Cingular vocals). Gibbs - on your favorite line, is it possible he sometimes says, "How my fool heart aches?" I almost like that better. OK, everyone - here's a 80s flashback for you: Who's bigger, Sting or me?????

It is okay to like somethin popular. You won't become a member of the redneck idiot club for doing so. It seems like through many conversations about music, the more popular it is with the public the more you want to stay away from it.

Who's the bigger hater? Dan!

9. Against the Wind: Well, after my comments in song #7, you're probably holding your breath. But rest assured, I fall a lot closer to the Mixdorf camp of "Overcoming extreme distaste for 'Like a Rock,' listening with fresh ears, and finding something quite pleasant" than I do Gibbs' "sorry, dude" opinion. I will take Mixdorf's thoughts regarding the romantic notion of the cowboy" another step and suggest that there is a large segment of society out there - we'll call them "the good ol' boys"- that are living under some sort of constant illusion that their neverending rage against some faceless, uppity, college-types from New England is allowing them to somehow live life on their own terms. Their rage is completely misdirected, however, and only effectual in that it wins elections for who should truly be the target of their ire: the billionares who sell them trucks and Miller High Life and pull all the strings that keep them downtrodden. I offer up this brief rant as background as to why I find the "against the wind" sentiment in the song quite frustrating. In the same way I find, "Take This Job and Shove It" frustrating. Songs that become rallying cries for some sort of hopeless, false movement that really only serves to diffuse the focus of the rage. In spite of the emotions that brought forth this rant, I will say that the emotions stem purely from an intellectual evaluation of the song. In my heart, I appreciate and enjoy the playfully wistful words and piano that work together nicely. This song also falls into a crazy sort of subgenre of music from my own personal memories collection (along with the Beatles' "Something" and, of all things, "Rhinestone Cowboy," that were songs I heard over, and over, and over during multiple car trips per year across this great nation of ours (to destinations as far as Oregon, New Mexico, and Florida), nestled in the back of a giant Chevy Station wagon, amidst the luggage. Pleasant, safe memories.

I understand where you are coming from, and appreciate your thoughts.

10. I Won't Back Down: Huge MTV-era memories of this one, which I didn't care for all that much at the time; but to which I have come around in the past few years. Love it now - for the simple, fist in the face of authority message others have pointed out. Love it, in fact, to the point that I performed it in my DanSolo acoustic guitar show last May. Very Petty-ish guitar, and OK harmonies, but nothing extraordinary. Other instrumentation is surprisingly straightforward, when I listen to it closely. Definite case, for me, of a "whole is greater than the sum of its parts," I guess. Which, in my estimation, makes it a complete opposite of Peter Gabriel's "Steam."

You're killing me with this love hate relationship thing.

Wonderful news! Glad that you love it. If I had to pick a theme song for myself, it might be this song.

11. Take On Me: What 12 year old kid - hormones just emerging (our own Mighty Tom excepting), yet confused, didn't imagine himself AS the sweaty, T-Shirt-wearing Austrian being chased by pencil-drawn SS officers, and flung back and forth down a hallway in a trial of devotion, pursuing that feathered-hair 80s beauty in the diner? Count me, certainly, as among those who did. Perhaps coming to terms with this, 20-some odd years after the fact, I recently re-enacted the scene - adorning myself in a plain white t (tucked into tight-fitting jeans), dousing myself with water, and flinging myself back and forth between a set of doorjams while Sharon looked on, mouth agape (with wonder and desire, I imagine), all the while the synth-accompanied crooning of "Take On Me" blasted from the kitchen boom-box. Hard for me not to like this song. I love Mixdorf saying comprehension of the (ESL-challenged, perhaps) lyrics "always seem to be one or two syllables away." Certainly, a serious student of composition (or a Poet Laureate) might label a song like this a pop throwaway - but if it is, it is the best kind, in my opinion. Much in the way of "500 Miles" by the Proclaimers. Not paving any new ground, but irresistable. Perhaps a bit too much synth, however. This becomes particularly evident during the "synth solo."

I wonder if this is a first among CMC members? Has anyone else used another members song to set the mood for love making?

12. Cheers Theme (full version): I sort of agree with everything Mixdorf says on this; the song going psychologically where the TV theme didn't, and in that I'm not sure I needed to hear that version. I join Gibbons in asking, "what the heck is that sound after two seconds? There's something prose-y about the words and how they are presented, relative to the backing music in this version, that seem awkward - or stark & slightly embarassing (for the singer/songwriter). Reminds me of Joe Jackson.

Well you heard it and it is up to you to dwell on it or to spit it out of your head.

Shoeless Joe Jackson?

Executive Summary: No one in this group resists a little trip down memory lane! Thanks!

B.S.: Every Breath You Take; however, probably not the one I enjoy hearing the most at this point.
S.I.W.H.I.: Girls Just Wanna Have Fun

Shoot me if I ever put a song on a CMC album that has a wrestler in the video.

In the air tonight

2007-04-10T10:38:00.000-04:00

Volume 17: The Best of Phil Collins - The Disney Years coming to a mailbox near you soon.

Jeez, the commenting has been awfully slow from the MN and IN camps - it's just as well that Volume 17 is rolling out a little slow.

Frolic in the Shadows: Mix Reviews Volume 16

2007-04-02T19:07:00.000-04:00

Gone from our lives for 15 years and more Mr. Cummings returns, and for his first collection fills in the musical gap of the years that we missed. I doubt this collection exhausts his musical experience over that time, but it certainly provides a useful link back to our earlier shared experience. In some ways this is exactly the collection I might have envisioned, though in other ways it is very different. Much of both views is prejudiced by my perception of him in that earlier era.

He was cooler than me. No doubt about it. And his musical taste was light years ahead. While I was fascinated by The Cars Greatest Hits he was pulling Jane's Addiction out of his bag of tricks, complete with shocking image of freaky nudity. It would take me most of college to achieve a level of musical sensibility that he possessed in high school. It will be very interesting to see where his next collection goes relative to his musical sense. The burning question in my mind: is he still five years ahead of the curve - curves being relative.

But onto the songs...

1: 1990. "Havalina", The Pixies, from Bossanova. Release date: 1990.

Frank Black/Black Francis returns to the collection and finds comfort there once again. The Pixies have an image for me that belies their actual work - namely one much harder edged than it really is. Part of that may come from the fact that I arrived at them late, after their demise and the birth of The Breeders from their wreckage. The Breeders are much less satisfying musically, though good as 'angry chick music' if that's your thing. The Pixies are certainly edgy , but are, at their core a pop band with an unmistakable gift for hooks. I'm not sure it's fair to attribute all of this to Frank Black but he seems to have maintained that consistently through his career while the Deal sisters have proven more volatile. It is probably a sum greater than the parts issue to some extent - there are few artists/bands for which their second incarnation can be seen to be better than whatever energy created their first go at music.

You had to like the Pixies in college to be cool. Sadly, I was not. It's not that I didn't like them, they were still off my radar. I was coming to terms with the Led Zeppelin catalogue (as all college males must) and reveling in the wonders of Bob Marely: Legend. It wasn't until I was ensconced in the world of architecture (more exactly the people to be found there) that my musical mind really started to expand. It had only been a few years prior that Mighty Tom and I had sat silently on the couch listening to Madonna:You Can Dance secretly hoping that my room ape didn't return while we did so. To be fair, I pretty much hated that album, annoyed at it's complete lack of track distinction and really never the Madonna fan that MT was. It was and is a long way from there to Bossanova, or even Doolittle.

This is a lovely little song about a wild boar. Is it the pig that's walking on the plain of old Sedona, among the trees? We may never know. It may be interesting to some to know that this closes out the album Bossanova, and it is the bookend of another instrumental song called Cecilia Ann - though they are worlds apart in feel. Cecilia Ann is a rock epic, an anthem perhaps, the counterpoint to the breezy gentility of Havalina. I like this song a lot, though it holds no reminiscents (the scent of memories?).

2. 1992. "I Don't Know", The Replacements, from Pleased to Meet Release date: 1987.

Another band that determined whether you were cool in college and dammit if I didn't fail again. For The Replacements (and subsequent Paul Westerberg) I never really got there. I have no idea why. I knew plenty of people that had every note that had ever been created by them/him but I never bothered or cared to delve.

It's hard not to imagine Morphine when hearing the sax on this song. It's a fun romp, though funny if you read the review on AllMusic. Based on that you probably wouldn't expect to hear this coming out of a supposedly more singer/songwriterly Paul Westerberg. This sounds like a band having fun, though it's not entirely clear they were.

3. 1990-1993. "Way Down Now". World Party, from Goodbye Jumbo, released in 1990.

I know three songs by World Party, and I like them all. This one, Ship of Fools (from the Greenpeace double album owned by both MT and I - possibly bought simultaneously) and Put the Message in the Box (also from Goodbye Jumbo) Oddly, since receiving this collection I've heard that last one at least twice on the radio, and on both occasions it brought a smile to my face and a song from my heart. I may add GJ to my list of albums to consider buying.

World Party has a very full sound (sounds like there are like 10 band members) and seem to deal with somber issues in a relentlessly exuberant way. They seem fun. And boy, the Woo Hoos are straight out of Sympathy for the Devil - I wonder if they had to pay royalties.

4. 1994. "Futterman's Rule". The Beastie Boys, from Ill Communication, 1994.

The Beastie Boys perplexed me. I was genuinely annoyed by Licensed to Ill, having endured almost endless repetitions while running in the dreaded Pit at West High for track practice. Brass Monkey, that funky monkey, haunts me to this day.

My next taste was Paul's Boutique, in a vastly different setting, and my mind wasn't prepared for the shift, even though it was in a direction that I would come to embrace. Where LTI has given license to assholes to like the Beastie Boys, PB spat in their faces (mostly) and made you reconsider what the hell they were up to. It took a few years before I was really on the BB bandwagon, though I remain there to this day.

When I first played this collection (prior to the actual useful track listing - or my googling thereof) this track came on and I thought, 'boy, this sure sounds like a BB song.' And lo and behold it is. If they have a signature funk sound, this is it in spades. This song rocks full blast.

As to rap albums that hold up over time - I can't really speak to the album since I haven't heard it, but a couple of songs from Public Enemy seem as powerful as ever - no matter how much a cartoon Flavor Flav is.

5. 1996. "Pool", Spitz, from Namae-wo stukete yaru/I'll give you a name. 1992.

Funny, my only other experience with 'Japanese pop' comes in the form of some rather different all female bands (the names of which are lost to time). I find it interesting that people that come from a musical tradition so very different from ours (employing the pentatonic scale among other things), and whose indigenous music sounds discordant to my simple western ears, can craft a pop song so on target with western music. I've seen plenty of examples of Japanese 'cover' bands playing note for note recreations of well known western pop songs, words included, but to craft an entire song is something different.

It doesn't really float my boat but I am glad for the hearing.

I seriously considered doing the English teaching in Japan thing, though I was a few years later in the thinking (dammit! again!).

6. 2000-2002. "On Earth." The Sundays. From Blind, released 1991.

You really hit the nail on the head with voice as instrument. I have Static and Silence and feel much the same way about that, though it's not all as 'dreamy' as 'On Earth'.

This song feels at home with Havalina.

7. 2003. "I See Monsters". Ryan Adams, from Love is Hell, Part 2, 2003.

Ryan Adams exploded onto the scene with Gold, released something like 3 albums in one year, and seems to have stepped back to appraise things a bit since then. I only know him from songs that got some airplay, and from discussions among music cognoscenti on some podcasts I listen to. He seems to have been universally praised, and I see no reason to not allow him his moment.

This is a lovely little song with a true shadow lurking behind it. This is a guy who can't accept how good he has it - always seeing the possible disasters that could befall him (or anyone), no matter how unreasonable they might be. This is a glass half empty kind of guy.

I like the guitar playing in this one a lot.

8. 2004. "Automatic Stop", The Strokes, from Room on Fire, 2003.

I've got This is It, 2001 and like it quite a bit, though perhaps not enough, since I didn't check to see if they had anything new. They have a sound, that's for sure, and if you like this, you'll like This Is It just as much.

This song has some interesting instrumental bits, including some relentless metronomic drumming to jangly guitar that is all pretty fun.

9. 2005. "The Shadows". Yo La Tengo, from I Can Feel the Heart Beating as One, 1997.

I've become aware of Yo La Tengo over the last couple of years only to learn that they've been around essentially intact since 1986 and with 13 albums to their credit (the latest being I Am Not Afraid of You and I Will Beat Your Ass - a great album title).

They floated around my consciousness often being confused with various bands incorporating Spanish in their names (and usually in their songs) and as such didn't inspire me to inquire. I just wasn't in the mood to wade into a wall of brass and lyrics I'd need to decipher. Boy am I an idiot. The name is a total ruse, sonsabitches.

Now if you had been a fan of YLT in the late 80's you would have been the absolute coolest person I've ever known. Screw the Pixies and The Replacements - they're practically N'Sync compared to this band. But no, you got to them before me, though I've closed the gap ever so slightly.

This song certainly fits with The Sundays and is really lovely. I like the muted trumpet part and the generally spare instrumentation all the way through.

10. 2006. "Cleaning Windows", Van Morrison, The Best of Van Morrison, 1991 (originally Beautiful Vision, 1982).

I look forward to some more VM from your extensive collection going forward, but for now I like your take on the meaning of the song. It should be alright to happy with your place in life and not feel the relentless need to strive for more, as if more will ever be enough. I suppose it's somewhat easy given my place in the world to feel that way, and also easier from an energy expenditure point of view, but still closer to the right frame of mind than not.

I was not 'aware' of this VM song previously (though I've owned that Best of collection for a decade at least). This song never stuck, I guess. I have since gotten Moondance to experience a full album from old Van, who may remain prolific but now looks like Randy Quaid after an industrial accident.

Wrap-Up

We seemed pretty aligned musically, if this is any indication of your current musical tastes. We seem to have taken similar musical journeys, though you started with a lead. I look forward to where the journey takes us next.

BS: tough call - possibly, I See Monsters simply because it was new to me
SIWHI: it's your journey

Next month?

CMC 16: "The Shadows".

2007-03-31T21:50:00.000-04:00

"The Shadows" Something occured to me, as I dragged out the completion of these comments: on a cold listen, this stuff really needs a context.

I put my initial mix together over several months. I figured, the easiest thing to do, since I've been absent for so long, was to put together a patchwork of songs that popped up over the course of my life, the past sixteen years. I decided this was CMC number 16, so I couldn't resist the desire to do this. A chronological mix. Not the songs by date of their recording, but songs by date of where they appeared as I moved along in life. That is the only way these songs make sense together. hence, "Shadows."

These aren't the only songs from these times, of course, and they aren't always the best. I give you full permission to hate them. Several, I can only love on occasion. But I've got back to them consistently, during these years. The following is the explanation why.

1: 1990. "Havalina", The Pixies, from Bossanova. Release date: 1990.

I bought a ticket to visit my dad in California in 1990. By then, I'd purchased a new type of Walkman that appeared sleeka nd was easy to conceal on my waist. I knew he'd hate it, the tape-playing Walkman, but I was going to visit him on my own for the first time. I was 18. I was going to need the company on the plane. Also, I figured he'd be fine with the idea that I'd footed the bill for the tickets, for once. A gesture of adulthood. I'd dubbed a mix for myself, and that mix included all of the Pixies' previous album, Doolittle. I'd listened to it a milion times, and it was not the best choice for the trip. I was already sick of it by the time I was over the Grand Canyon.

For about five minutes, the plan was this: I was going to move to San Diego after I graduated high school. Dad had given full support on this one, and was willing to pay tuition for San Diego State University. I didn't get out to see the campus until the official visit, in March 1990. By then, I'd started out at the University of Iowa. By then, I'd met a girl, perhaps the right girl. Did I really believe that? It was one of the big discussions. Turned out, I was determined to be right about the girl. California was persuasive, to a point. I could live out here, I suppose. But do I want to be guy I was, at that time, living out here? Ultimately, no.

"Havalina" is a dreamy song that fits the memory of that time perfectly. When I think of southern California at that time, I think of this song, particularly the flowing guitar notes and the breezy pace. The lyrics barely keep the song from being an instrumental:

Walking in the breeze On the plains of old Sedona Arizona Among the trees

Arizona is an appropriate reference. My grandmother lives there, and I went there soon after this visit, and then stayed in Iowa. Havalina is the Mexican name for a wild boar, and if it was a song about a pig, well, I did stay in the Midwest.

2. 1992. "I Don't Know", The Replacements, from Pleased to Meet Release date: 1987.

In the days before internet, it was hell to keep up on music.

I bought the Replacements' 1984 album, Let it Be, almost entirely note unheard, because of the insane word-of-mouth about how great they were, and the fact they had the balls to co-opt the title from The Beatles. By word-of-mouth, I mean Paul Westerburg was featured in every music magazine, and if I was lucky, a song or two would appear on KUNI. The Replacements were non-existant on MTV, as they protested videos.

As it turned out, I really liked Let it Be, but I didn't really find myself a fan of the Replacements until it was just about over. The group came to Carver-Hawkeye arena, and a friend of mine had two tickets to the show. His girlfriend bailed on him or something-- they were having trouble, I heard-- and he invited me without asking me to pay for the ticket. We both lived in the University's Foreign Language House, which was the only co-educational floor on campus. I recall his girlfriend lived on the same floor. Maybe he took me to spite her directly. I don't know. What I do know was, the show was fantastic. Of course, it's not as if I'd seen a lot of live shows. But this was great, and the Replacements were known for being horrible on stage. I remember this song distinctly, which was twice as sloppy then as it sounds here.

Should we top it off? (I don't know)It's startin' too slow. (I don't know)Who's behind the board? (I don't know)They tell me he's a dope. (I don't know)What the fuck you sayin'? (I don't know).

This song appealed to me because it fulfilled the idea of banging out a song in a kind of stupor. Perhaps it really was recorded that way. Perhaps the saxophone was put in later. It wasn't there on stage that night. It also matched my thoughts on life at the time. Halfway through school, and just what the hell did I know? Later, I'd pick up the Replacements' last album, All Shook Down, and listened to it on the plane to Arizona. It's a better album in many ways, but it was more "mature". "I Don't Know" was a match for the time.

3. 1990-1993. "Way Down Now". World Party, from Goodbye Jumbo, released in 1990.

I worked a number of jobs while completing my undergraduate studies. I didn't mind working the cafeteria food line. I sort of enjoyed the video tech job, where I was sent on various field gigs, videotaping conferences, setting up gear for presentations, and monitoring the fiber optic network gear for classrooms. I met some pretty interesting professors. The job I sort of loved the most, though, was the student janitor job I enlisted in shortly after starting school in 1989. I needed the extra cash, and the openings were always posted. Nobody wanted to push a cart around an old medical laboratory for six-fifty an hour. But, it was fairly autonomous. Working the late shift (7-11 p.m.) in a virtually empty laboratory, I heard this song playing from an office radio. I was buffing the floor, and the song rolled out the mono speaker with a little more energy, a little more Rolling Stone homage than I was used to hearing in those still poppy '80s, Kip Winger days.

What I see just makes me cry
I'm way down now I'm way down now
The clocks will all run backwards
All the sheep will have two heads
And Thursday night and Friday
Will be on Tuesday night instead
And all lthe times will keep on changing
And the movement will increase
There's something about the living babe
That sends me off my feet
There's breeding in the sewers
And the rats are on their way
They're clouding up the images of perfect day
And I know I'm not alone

I knew of World Party; they had a minor hit in the late 1980s with "Ship of Fools" on the radio and "Private Revolution" on MTV, which featured Sinead O'Conner before she was known. I liked that folksy stuff okay, but I really like this Stones riff-off even better, if only becuase, well, it felt damn good to hear real instruments in a real pop song. And everybody else was addicted to Edie Brickell on campus, so I needed a respite from that, as well. And the lyrics stuck. Cleaning out one of the dirtiest buidlings on campus, perhaps I was just primed for the imagery. And the "whoo-whoo" Goats Head Soup stuff was fine by me. I was never one to dismiss the Stones, or the Beatles, for that matter. Many acquaintences at that time were against any pre-1990 "college rock". Well, this was allegedly post- 80s progressive, kind of, but it may have well been recorded in 1972. In your face, elitists! I listened to the whole album often, for several years, and at one point told my wife to make sure they play "Sweet Soul Dream" at my funeral. I'm not sure I'd say that now, especially since (as Cheri pointed out), I'm not Irish, and it would seem 'a little odd'.

4. 1994. "Futterman's Rule". The Beastie Boys, from Ill Communication, 1994.

"When Two Are Served, You May Begin To Eat."- Gene Futterman

Rap music is a funny thing. I've heard my whole adult life about the vitality of it, but very few artists ever maintain a catalog that people go back to over the years. Maybe I'm wrong. I have very few 'rap' records in my collection. Remember Run-DMC? Anyone play that lately? Even when I finally gave in and bought "Licensed to Ill" in the 1980s, it was with an understanding that I'd likely grow out of it shortly. I maintained an indirect loyalty to the Beastie Boys as a group, however, almost entirely becuase they manage to get a song or two out there every so often, which I wind up loving so much, I buy the album. I bought this album in Japan, used, at a store called the Book-Off, which was a block away from home.

Cheri and I flew to Japan in 1994, a year after we got married. We'd gone through the process of interviewing for english teaching jobs, got hired, and in August of that year, we were in our new place, a one-room the size of a dorm room, with few belongings. It was great. We also had the whole of August off, to get acclimated. We'd been informed of a gym and spa we could join that was nice. It was pretty much like any gym you could join in the States, although they still had spot-burn machines (that thing where you attach a piece of fabric around your waist and stand there while it shakes your fat). While in the U.S. you often here zippy electro-pop tunes over the speakers, this gym in Japan played show tunes. Non-stop. I think I heard the "South Pacific" sountrack fifty times. In the days before iPod, I could have just plugged in a Walkman, but we were enjoying living light. Then this song got played, totally random, out of knowhere. I wasn't aware it was the Beastie Boys, and nobody else did either; one of my first forays into japanese conversation inlcuded "What song is this?" It came in handy a lot during my stay there. Anyway, a student at one of my high schools enlightened me, as he was a Beastie Boys fan (big in Japan, they were.)

I'm sure there's an explanation out there about the origins of this song. I know the BB, after their first album, got the Dust Brothers to produce their second album. The funkiness of this song is the continuation of that separation from the snotty first record. the BB continued down a path social consiousness and spirituality ("Bodhisattva Vow" is one of the tracks). And, of course, this tune is lyric free. Perhaps it was the endorphins shooting around my system as I heard this song in the gym. Perhaps it was the smell of the Pacific ocean again, this time hitting me Eastward after the Western-blowing "Havalina". I do know I've always liked the opening sentiment: You all better get right for this time, cuz there might be no next time, y'all. I've just come to embrace that the Beasties are always going to be there.

5. 1996. "Pool", Spitz, from Namae-wo stukete yaru/I'll give you a name. 1992.

I needed to pick one song from my time in Japan. Living in the countryside, pre-peer-to-peer file sharing, it was an interesting time to pick up on local music. For one thing, most of the high-school students I spoke with loved music, but in particular, they loved Western music. I spent part of an afternooon working through the lyrics of Deep Purple's "Burn". When it came to Japanese music, the divides between "popular", "mainstream" , "alternative" and what-have-you existed as rigidly as they did Stateside in early '90s. Also, the kind of suggestions and comments I would get depended a great deal on which school I was at. Case in point: Spitz. Spitz was an established band playing incredibly hooky tunes in the '90s. Every all-girls school I visited had its fair share of fans. I was sitting in the teacher's office of one such school, eating a lunch of egg bread and rice balls (mmmm, rice balls) when this song flowed out the overhead speakers. It's common for students to produce an in-house radio program over lunch or early afternoon during cleaning. One student, whom I met for the first time later that week, lent me several of her CDs of this group. I had this experience many times, actually, and I was always appreciative of students' willingness to share music in this now outmoded way. Of course, I transposed a ton of lyrics for students in return, so it all came out even. I found myself struggling to explain Janet Jackson lyrics to one student one whole afternoon.

The members of Spitz went for a natural appearance in their music and their image, in contrast to the glam-look a lot of bands at that time seemed to be going for. And if their music was not challenging, it was certainly catchy, like this song. The airy, floating guitar sound near the end of the song conveys that misty feeling of being up in the mountains in some of the schools I worked at. I don't have the lyrics translated, but at the time I didn't understand any of the lyrics; other songs by Spitz often allude to taking flight, mysterious feelings and straightforward love.

6. 2000-2002. "On Earth." The Sundays. From Blind, released 1991.

I had decided while in Japan that I'd be heading to graduate school in the near future. In 1996 I started in earnest to study for the GRE in my small apartment, during the evening. This turned out to be a mistake because, quite frankly, I was throwing away valuable time experiencing life in Japan studying non-Japanese material. Looking back, I should have studied the language more, because I was already situated in the largest learning library for the Japanese language. The GRE was scrapped, the exam schedule in Tokyo cancelled, and I stopped thinking about school. This turned out to be wise, becuase I really didn't know what I wanted to study and it would take several years of re-acclimating to the United States before I'd know for sure.

When I finally decided what I was going to with my life, I promptly purchased a Compaq laptop and loaded it with the necessities. I also dug out a copy of The Sundays' Blind, which I'd purchased years before, when I was an undergraduate. It was an album I'd given just a few listens to before 1994. I'd bought it after being a fan of their debut CD, but perhaps life was speeding up in 1994, prior to departing the country. The disc got left behind (it's quaint, looking back, how I thought I could only take a dozen or so CDs with me.)

One of the benefits of graduate school was that I could play the part of the college student properly; at 29, I had at least a few things figured out, unlike when I was 18, and knew less than nothing. Of course, I didn't really get into a lot of was 'new' on the local college station; often I just got more into what I already had. In 2000, Blind got loaded into the laptop, and I began listening to it during marathon reading and writing sessions, particularly when I was crunching out research results. It was melodic and comforting, and filled the "college rock" void I'd missed being away.

Read between the lines
Give me something to savour
Can you do that?
cos Ill believe anything

I disclose that when it comes to The Sundays, I often cannot decipher the vocals. Harriet Wheeler has a beautiful voice, but it's all instrument to me. I'm not criticising, just saying. I only understand their version of "Wild Horses" because I'm familiar with the Stones' version. Anyway, it doesn't matter, because the atmosphere of spacy, jangly guitars here works for me. Of course, I can't althogether hear this song without thinking of being locked away in the city library quiet room, tapping out another term paper. Good times, but fortunately, well in the past.

7. 2003. "I See Monsters". Ryan Adams, from Love is Hell, Part 2, 2003.

I don't recall where I heard Ryan Adams for the first time, but I'm betting it was in a movie. It appears a lot of Adams' stuff shows up there (or on television) sooner or later, particularly from his album Gold. Adams came to Iowa City in 2001 to perform, and while I didn't go to the show, I did hear about it for a while afterwards. I picked up Gold and liked it okay, but I really got into the hyper-mellow Love is Hell E.Ps. I had just finished school the year before and was well into working at my new job. So, adult life, at 31, had officially commenced. Either I retreat for a Ph.D, which I'd agreed on vetoing prior to entering grad school, or I'd get with the program and start saving money, talking about having the children, moving into a house, the whole bit. Granted, acquaintences were already way ahead of me in many of those departments; we were still renting an apartment and living like college students. The thing was, we weren't really making the move to change any of it.

Baby, I know you cannot hear me now
'Cause you're fast asleep
But I love you now
Colors inside your head go spinning around
Like a ferris wheel Exploding and falling to the ground
Oh, people are screaming, people are screaming
My baby, she's dreaming
Oh, people are shouting, people are freaking
I'm just staring at the ceiling Waiting for the feeling
Oh, oh but when she calls, I know she's the one
Makes me want her harder Makes me want to be a little stronger
Still I see monsters

I'm always a little worried about things, but not knowing what move to make next was about as intimidating as anything I've encountered. Perhaps not what Adams was getting at, lyrically, but the mood matches.

If anything, Ryan Adams filled the spot left behind by Paul Westerburg after The Replacements broke up and Westerburg stopped putting out music as much. The Love is Hell E.Ps (which were eventually combined into a full album in 2004) is like the follow up to The Replacements All Shook Down. The mood is appropriately stark and honest, and I like the image of Adams singing to a sleeping partner.

8. 2004. "Automatic Stop", The Strokes, from Room on Fire, 2003.

The Strokes were as popular around the University of Iowa campus as anywhere else in 2001, though the initial popularity waned later. A friend gave me a mix of the Strokes shortly before graduation in 2002. Another friend gave me Room on Fire, the second album, a couple of years later. At this rate, The Strokes will be one of those groups I'll be able to collect without having to put down a dime of my own money.

Simply enough, I love this song because of the guitar part and rhythm during the chorus. For a song with such despair in the lyrics, I find it strangely affirming.

So many fish there in the sea
I wanted you, you wanted me
That's just a phase, it's got to pass
I was a train moving too fast
Didn't understand what to see
Yeah, then I got a different view
It's you...no.Wait,
I'm gonna give it a break.
I'm not you friend,I never was.I said wait, I'm gonna give it a break.
I'm not your friend,I never was.

9. 2005. "The Shadows". Yo La Tengo, from I Can Feel the Heart Beating as One, 1997.

Yo La Tengo, on the one hand, represents a traditionally "alternative"/college radio name brand that liking them is almost tantamount to poseurism. The Onion makes as much clear. So, when I started finding my way around the web to find music files (all legal, of course), it was with some reluctance that I sampled (and wound up buying) their album Summer Sun. Itunes had their other recent stuff, and before long, the last few albums were in my iPod as well. I discovered at a local vinyl store that YLT is one of the few groups that puts out all their new stuff on the old 33 1/3 format, and as I have a turntable, it was tempting to go totally elitist and buy I Can Feel the Heart... on an actual record, the first time I would do that since 1989. (I talked myself out of it, though, since I remember all too well how hard it was to keep records clean. I have no nostalgia for scratches and pops. MP3s may have limited range compared to CDs, but CDs, when mastered well, sound great, thanks.)

Scold me, that's all you've got to say
Coldly hurt me and turn away
You say I'm not sorry that
I'm resolved to what is next
I head for the shadows
Hold me, taking it back in tears
You've told me, slowly confessed your fears
But I've got myself to protect
It's too soon for me to forget
I wait in the shadows

The sheer sensitivity and preciousness of the lyrics here make it almost too easy to dismiss YLT. But the last few records really grew on me, and the lyrics here match the atmosphere of the song. So, I gave in and became a fan. And, I wound up buying a new Tom Waits album on vinyl, just do see what it was like. Predictably, the experience was as I expected, and I wound up downloading the album for security purposes.

10. 2006. "Cleaning Windows", Van Morrison, The Best of Van Morrison, 1991 (originally Beautiful Vision, 1982).

In a bit of a cheat, I've pulled the song I'm most familiar with, an album I bought in 1989, Van Morrison's Greatest Hits. It was a simple matter at the time-- I realized I liked a few Morrsion songs, most of them on the compilation record, and then twenty CDs later, I have a little more background on the guy. I haven't picked up the last few CDs; Van Morrison continues to be prolific, putting out about an album a year, but I've been going back to the old stuff.

I heard leadbelly and blind lemon
On the street where I was born
Sonny terry, brownie mcghee,
Muddy waters singin Im a rolling stone
I went home and read my christmas humphreys book on zen
Curiosity killed the cat
Kerouacs dharma bums and on the road
Whats my line? Im happy cleaning windows
Take my time Ill see you when my love grows
Baby dont let it slide
Im a working man in my prime
Cleaning windows...

This song was playing at the moment I was taking this photo in the pharmacy down the street. I was putting the final bits of this mix together, and I got a little worried that I'd be ending it on an "old Fart" note, I kind of rebuke of modern stuff in favor of something rather middle-of-the-road. But I got over that. I want to be the window cleaner in this song. In a way, I am, sort of, although I haven't read any Zen books. Simply, it gets at a simple peace of mind about life. And it a way, working a eight-to-five job and having most of my weekends to myself, I think I'm already there. And in seeking more peacefulness this year, it seemed like a good place to strive to be.

I Hear Your Shadow, thus Spring is Here!

2007-03-30T09:30:00.000-04:00

Havalena: What a great and fun song. I really enjoy the high pitched havalina fallsetos(?) throughout the song. It is a magical song that is attempting to hypnotize me. I think of New Mexico and Arizona when I hear this song. I lived in New Mexico for three summers from 1991-1993. Wonderful environments and culture. I have never been to southern California, but I would like to one day. My favorite lines in the song are....Walking in the breeze on the plains of old Segona...Arizona...Among the trees...Havalina.

I Don't Know: Flippin love the laughing at the beginning. This was not my favorite song on the albumn. Sounds a little too much like a dirty garage band playing for the first time at Cattle Congress. Some interesting horns in the song made it alright for me. I also liked the I don't knows after the lead singer's questions.

Way Down Now: I like this song a lot. The parts that I like the most are the lyrics and the flow of the song. The whoo whoo's are a nice touch as well. From your comments I learned that you use to work of the technology resource department. At ISU, I did the same thing. I cleaned equipment, checked equipment out, video taped conferences, lectures, guest speakers on campus, and reviewed tapes for damage. I never had anything to do with fiber optic cables thank goodness. I didn't like that job becasue I had to be there early in the morning. To avoid a gruff comment from Dan, I will say that it was not as early as when he had to get up to operate the chyron machine at WHO-TV.

Futterman's Rule: Flavor FLAVVVVVVVVVVVVVV!!!! I never got into rap and I usually despise it. It makes my skin crawl. I like a lot of different types of music, but rap is one avenue I stay away from. I guess, to me, it is not music but just a bunch of words set to a rediculous beat. With that said, the Beastie boys are not your typical rap group. I am not a hatter, but I am not a fan either. This song has a very urban sound which fits the Beastie Boys to tee. The funky guitar works for me. The heavy instrumental is another factor that works for me. Of all the Beastie Boy songs that I ahve heard in my life, which is not much, this is the best one. I am glad that you put this on your album. I appreciate being exposed to this song and group again. This is one of those moments that stand out because it is what the CMC was designed to do. I ahve been exposed to something good and new. Thanks Steve!

Pool: Really enjoy this song. I am glad to hear someone else adding a non-English song to their album. It is peaceful and relaxing. The title of the song makes me think of the Monkee's album titled "Pool It".

On Earth: Another wonderful pick Steve. Love the Sarah lines. Probably because my wife's name is Sarah. The singer has a wonderful voice that carries you to the edge of your bed so that you can enjoy her voice as you fall into a transentental state of mind. The background singers are also an aspect that helps give this song it's power of suduction. One of my favorites on this album.

I See Monsters: Probably my favorite song on the album. The lyrics and the melody is fantastic. This is just an all arounf good song. Ferris Wheel exploding paints a violent and exciting picture in my head. Good Lord, how does a Ferris Wheel explode? The kicker that gets too me is But oh, oh but when she calls I know she's the one. Also love the acoustic guitar in this song. Great one Steve. I too see monsters, but they are mostly not in my dreams.

Automatic Stop: The guitar section does indeed rock brother. Some very good instrument playing. The vocal track is distorted a bit. I don't understand their reasoning for making the vocal track sound like bad tape. What ever trips your trigger Stokes. This song is enjoyable and one that I look forward to when I listen to this album.

Shadows: A descent song to listen to while working on other things. It didn't grab me, but it was not bad at all. It fits nicely into the mix of this album. Sometimes songs just feel nice without being ground breaking moments in time. I have enjoyed this album as a whole and I will continue to enjoy it.

Cleaning Windows: This song has a blues feel. I am enjoying blues more and more these days. I am not listening to any one musician, but I am becoming more interested in that form of music. The part about when he mentions Muddy Waters. Fun and enjoyable song. You started off on the right note Steve. A fine album from someone who resides in Iowa City. :)

Final Comments: I am trying a quick and easy format to responding to a member's album. We are all feeling the burn to respond and to make comments. Even if there are those out there who might not agree that they are stressed to produce comments of gold, the stress is there. I am going to make the effort to respond before I get the next album each time. My comments will propably not be platinum or gold, as is the standard, but they will at least be bronzed. I feel that it is important to give some type of feedback to the creator of the album. Quick and easy equals little to zero stress for me. Even if the album sucks, it deserves comments in a reasonable time. I just want to be respectfull to the one who puts in so much time creating these albums. Peace Out!

(what else?) Pac-DAN's response to Pac-Man's I-Pod.

2007-03-23T21:13:00.000-04:00

The 80's: nuclear war, girls, science fiction, high school, and MTV. Certainly not in that order. Girls, certainly. Nuclear war not for a second. Science fiction? Not really so much, either. High school and MTV? Perhaps, but only to the extent girls were viewable in either medium. Yup, it was pretty much girls that consumed my every thought - and what a remarkable little I had to show for it at the end of my four years! But on to the music.

1. Cheers: In case anyone didn't read my comments to a later post - I think, mathematically, I could only be tied in the amount of Cheers (or Cosby Show, or Family Ties, or Night Court...or Challenge of the Superfriends, for that matter) I watched (in those years at least), not surpassed. And count me among the legions that bought into the Woody Harrelson myth. Who knows, perhaps I started it. Perhaps it was started by my prolifically lying brother. In any event, I feel cleaner now, knowing the truth. The song, itself, was always well-regarded as a solid work of music, relative to other theme songs. The poignant concept of "...where everyone knows your name," indeed, became the unofficial motto for the show. And it's OK as a song, I guess. I find it really hard to separate the song from the show and judge it as purely on its own merits. And perhaps it's not intended that I should. I liike the "aahs" quite a bit. They're used to good effect.

2. You Make Loving Fun: Not one of my favorites of their collection - but definitely one of the coolest. It just kind of slides and funks along with bass/synthesizer action. The searing guitar - the little flourishes you speak of around 1:25 - not bad. My favorite part of this song is and has always been the fast little "chicka"-guitar right after "you - you make loving fun" at 2:40. Awesome. Doesn't sound pissed off to me - none of it - as it does to Meth Mix.

3. Bette Davis Eyes: I echo Gibbs in saying "Only Cory. Wow." She's pre-CO-cious! She's fe-RO-cious! I'd love to hear this song sung by Nico. Many, many years after the fact, I can realize that, purely on its musical & lyrical merits - not a bad song. I did hate it at the time. And MAN - but it SOOO screams "80!" The synths. The crazy "clap" effect. The starkness. The bizarreness. I can't separate it from the times and I could never. And Kim Carnes.: You're no Bonnie Tyler.

4. 99 Luft Balloons: Wow. Did I just say that the last song screamed "80s?" Did I just suggest that the last song used synths, crazy "clap" effects, and starkness? The only song that could top this neon, 200 foot, flashing sign of the times is, perhaps, Electric Avenue. Interesting musical occurrence here: I can recognize the catchiness of the song, and yet I hate it. Is it 'cause of the unwarranted pot-shot at Captain Kirk? Is it my aesthetic distaste for the German accent? Is it the stirring up of memories from my least-favorite decade of my life? Probably a bit of all. It just doesn't give me a good feeling when I hear it.

5. Walk of Life: Allow me to be the third to mention Mixdorf's fascination with "Brothers in Arms." I remember him mentioning that, if he put the cassette into his Walkman (which my mom pronounced "Walk Man") for a run, he felt like he could run forever. But I digress. My own memories & understanding of Brothers in Arms, at the time, was limited to (like most folks) this song & "Money for Nothing." How many grits, after buying BiA because of the Money for Nothing guitar solo and/or the fact he says "That little faggot, he's a millionare" were disappointed to no end upon hearing the rest of the album? Plenty. What do you think about this: "Walk of Life" is to Dire Straits what "Centerfield" is to John Fogerty? To Cory, anyway. I never loved the song, particularly. I remember being struck by the somewhat underwhelming nature of the"woo-hoo"s that kick off the vocals. Listening now - I can see how the structure & arrangement are there, but they don't do a whole lot for me. I really don't like the keyboards much at all. They remind me of some sort of "4th Street Cruise"-oriented music; intended for and appreciated by guys who roll their t-shirt sleeves up a couple of inches and have calendars with ladies wearing hot pants leaning over classic hot-rods. The whole thing kind of exudes a "50s rockabilly" sort of vibe - the echo, the timbre(?) of the guitars, the keyboards. I love what Gibbs says about "the boy can play." Knofler making a plea? Is it possible he is yet another troll? Too successful as a result of this album, perhaps...Perhaps half-troll.

6. Magic: Wow - now this is one song where it is almost impossible for me to separate myself from my history with the song - an intimate familiarity with it stemming from the fact that Cars: Greatest Hits was the 2nd album in my CD collection. I love Mixx's "one of those bands almost everyone had the greatest hits of and no actual albums, no matter how popular they were" (a possible wonderful topic for a freelance music magazine essay!), as well as Gibbs' "fangless vampire." Who needs fangs with an Adam's Apple that pointy? Anyway, asked before the arrival of PacMan's i-Pod, I would have said that it was one of my least favorite Cars songs, and one of which I don't have particularly endearing memories. Listening now, however, I have to say that (once one gets past the very 80s "drumming in an all metal room" sound, as well as the 80s keyboards for which I - like Mixdorf - have no particular love) it's a pretty solid song. Words not paving any new ground, though I get a kick out of hearing Ric say "all shackles and balls." T-Clog - so glad to hear that you are a "newbee fan of the guitar." I think there's some interesting little flourishes throughout in this song, and I look forward to your further discoveries in this world.

7. Small Town: I echo what the Pat's have both said in terms of my growing admiration & respect for the man & his work and will go so far as to say I recall the three of us (Dan, Pat, Pat) having a particular conversation - perhaps on a February Freeze Off - about this mutual newfound apprecations. Gibbs-yes! D, A, E! This song is no exception. Having not read anything about Bob Seger at this point of my comments, and purely out of gut feeling; I would put Mellencamp's "singing for the little guy" credibility over Bob Seger's any day of the week. Perhaps it has something to do with my hatred of B.S. (funny, huh, his initials - especially in light of what I'm about to say), but when I hear John Mellencamp sing any one of a number of songs about youth, struggles, small towns, "the establishment" etc.etc. I just hear sincerity (akin to John Denver singing about Rocky Mountains), whereas when I hear (usually only very briefly) Seger sing about similar topics, I hear a guy who's creating an image and targeting it to a very specific audience (more like Color Me Bad singing about "the street"). Icon vs. image, here, in my mind. Mellencamp would never shop at a WalMart. Seger NEEDS WalMart to in order to sell his shitty albums. Mellencamp, as I understand, is very concerned about migration of rural youth into major metros; though, as far as I can see, he's been unable to do very damned much about it. Oh, the song? Very straightforward, but in a good way. I agree with Gibbs in that there is more than meets the eye with his lyrics. Using simple words to convey meaningful sentiments (as opposed to another way of writing great lyrics: Sting's approach) is actually a challenging endeavor and one in which I think JM succeeds like few do. Early solo Paul Simon also great at this. I think the "power acoustic" chords and hard-hitting drums (his drums are always hard-hitting) are a nice, visceral underscoring of the sentiment, which is impossible to miss and very effectively conveyed.

8. Every Breath You Take: Can't add a ton more to the likeable elements of the song than did the Pats & can't add much more to the backdrop that is the career of The Police than has been covered so far on "Undercover." I, too, like it - but it is yet another song for which I have a very difficult time separating my ears & psyche from how many times I've heard it and how sick of it I may be. Gibbsy Cottontail, I did know that The Police are getting back together for a tour, and I also know that Best Buy drove six dump trucks loaded with money right up Sting's ass and that both entities have since taken a great deal about huge blocks of front-of-stadium tickets that were only available to 10,000+ point "achievers" in Best Buy's "Reward Zone" frequent buyer program. Mixdorf likes to say the concept of "selling out" does not truly exist, but perhaps we can all agree that some artists seem to like money a lot more than others. I personally think Sting ranks somewhere between 50 Cent and R-Kelly. You can't take anything away from this particular single, however, with its already-discussed relentless, guitar-driven rhythm section, and singular vocals (which Sting could, perhaps, be "persuaded" to rename Cingular vocals). Gibbs - on your favorite line, is it possible he sometimes says, "How my fool heart aches?" I almost like that better. OK, everyone - here's a 80s flashback for you: Who's bigger, Sting or me?????

9. Against the Wind: Well, after my comments in song #7, you're probably holding your breath. But rest assured, I fall a lot closer to the Mixdorf camp of "Overcoming extreme distaste for 'Like a Rock,' listening with fresh ears, and finding something quite pleasant" than I do Gibbs' "sorry, dude" opinion. I will take Mixdorf's thoughts regarding the romantic notion of the cowboy" another step and suggest that there is a large segment of society out there - we'll call them "the good ol' boys"- that are living under some sort of constant illusion that their neverending rage against some faceless, uppity, college-types from New England is allowing them to somehow live life on their own terms. Their rage is completely misdirected, however, and only effectual in that it wins elections for who should truly be the target of their ire: the billionares who sell them trucks and Miller High Life and pull all the strings that keep them downtrodden. I offer up this brief rant as background as to why I find the "against the wind" sentiment in the song quite frustrating. In the same way I find, "Take This Job and Shove It" frustrating. Songs that become rallying cries for some sort of hopeless, false movement that really only serves to diffuse the focus of the rage. In spite of the emotions that brought forth this rant, I will say that the emotions stem purely from an intellectual evaluation of the song. In my heart, I appreciate and enjoy the playfully wistful words and piano that work together nicely. This song also falls into a crazy sort of subgenre of music from my own personal memories collection (along with the Beatles' "Something" and, of all things, "Rhinestone Cowboy," that were songs I heard over, and over, and over during multiple car trips per year across this great nation of ours (to destinations as far as Oregon, New Mexico, and Florida), nestled in the back of a giant Chevy Station wagon, amidst the luggage. Pleasant, safe memories.

10. I Won't Back Down: Huge MTV-era memories of this one, which I didn't care for all that much at the time; but to which I have come around in the past few years. Love it now - for the simple, fist in the face of authority message others have pointed out. Love it, in fact, to the point that I performed it in my DanSolo acoustic guitar show last May. Very Petty-ish guitar, and OK harmonies, but nothing extraordinary. Other instrumentation is surprisingly straightforward, when I listen to it closely. Definite case, for me, of a "whole is greater than the sum of its parts," I guess. Which, in my estimation, makes it a complete opposite of Peter Gabriel's "Steam."

11. Take On Me: What 12 year old kid - hormones just emerging (our own Mighty Tom excepting), yet confused, didn't imagine himself AS the sweaty, T-Shirt-wearing Austrian being chased by pencil-drawn SS officers, and flung back and forth down a hallway in a trial of devotion, pursuing that feathered-hair 80s beauty in the diner? Count me, certainly, as among those who did. Perhaps coming to terms with this, 20-some odd years after the fact, I recently re-enacted the scene - adorning myself in a plain white t (tucked into tight-fitting jeans), dousing myself with water, and flinging myself back and forth between a set of doorjams while Sharon looked on, mouth agape (with wonder and desire, I imagine), all the while the synth-accompanied crooning of "Take On Me" blasted from the kitchen boom-box. Hard for me not to like this song. I love Mixdorf saying comprehension of the (ESL-challenged, perhaps) lyrics "always seem to be one or two syllables away." Certainly, a serious student of composition (or a Poet Laureate) might label a song like this a pop throwaway - but if it is, it is the best kind, in my opinion. Much in the way of "500 Miles" by the Proclaimers. Not paving any new ground, but irresistable. Perhaps a bit too much synth, however. This becomes particularly evident during the "synth solo."

12. Cheers Theme (full version): I sort of agree with everything Mixdorf says on this; the song going psychologically where the TV theme didn't, and in that I'm not sure I needed to hear that version. I join Gibbons in asking, "what the heck is that sound after two seconds? There's something prose-y about the words and how they are presented, relative to the backing music in this version, that seem awkward - or stark & slightly embarassing (for the singer/songwriter). Reminds me of Joe Jackson.

Executive Summary: No one in this group resists a little trip down memory lane! Thanks!

B.S.: Every Breath You Take; however, probably not the one I enjoy hearing the most at this point.
S.I.W.H.I.: Girls Just Wanna Have Fun

Spring Break - Internet Break

2007-03-08T09:48:00.000-05:00

I will be away from the internet starting this Friday at 3:45 until Monday the 19th. The reason I am posting is because I am hoping that Meth or Dan could snail mail me Steve's album comments if they are posted early next week. If they are not up early next week, I will just wait until I get back to school. Thanks!

Comments to Meth's Comments

2007-03-05T12:31:00.000-05:00

There is a part of me that wishes that I knew you guys more while I was in high school, but I would think that we would not be friends today if I did. I was, and at times still am, difficult to deal with when my emotions run crazy.

I remember the song Luka very clearly. I had it on 45. I really liked that song, and I will try to get it with my i-tunes card. You might see it again on the CMC circuit.

Cheers
It would be interesting to know which of us watched more Cheers. Was it Dan or was it T-clog? The next time I come out to see Meth, I would like to go to the bar. I know it doesn't look the same, but it is just something that I need to see and experience.

You Make Lovin' Fun
I am sad that it was not amongst your favorites. I am also sad that this song gets you to think of breakups and heartache. It is odd how this song gets you to think of why it was written, while EBYT gets you think of more of the music and not why it was written. Just a curious observation.

Bette Davis Eyes
Not sure if you liked this song or not. It was not clear. I am assuming that you thought that it was ok. Funny how you thought that it said proplush. I thought that it was crow blush. Speak clearly Kim!

99 Balloons
Interesting info in finding a build your own bomb shelter. I guess I have no idea where you lived while in high school. Can you tell me your address and I could drive by it sometime? Sorry that the keyboard reeks of the 80's. It is an 80's album after all you goofball. :)

Walk of Life
Tough man to please. You have the album, but it is not a favorite of yours on that album. What is your favorite song? Brothers in Arms? I am interested in getting that album at sometime in the near future. You make it sound great. I would be a fool not to add it to my collection.

Magic
Strike out! Meth is a hard man to walk the right cord with. You are not very clear, but I am thinking that you really didn't care much for the song. I get the vibe you are sending out, but sometimes it is easier to just read that it really was not your cup of tea. Straight to the chase and then to your reasons would make my brain hurt less.

Small Town
Didn't know about the cougar thing. Good info there guy. Glad you came around to this song. I was thinking, "Great another artist he is not into.", but at the end of your comments you said, "Good choice Clog." Thanks.

Against the Wind
Wow, Meth likes it. Good news for me to hear. What is EP?

I Won't Back Down
I agree with you about the stars aligning themselves for Full Moon Fever. I do get jazzed and that makes everyone happy.

Take On Me
Undersdtan where you are coming from. However, I love it and will probably always will.

Cheers 2
Are you devistated by hearing this extended version? I will be very sad if I ruined something that was originally good for you.

In regaurds to the SIWHI: Good God I hate that song. Thanks for the good comments.

Comments to Mightytum Yum Yum's Comments

2007-02-27T14:37:00.000-05:00

Very nice my outstand friend. Glad that you enjoyed most of the album. Thanks for the props on the album cover.

In regaurds to the ghosts jumping over the dividers on the album cover.

MT: But, couldn't you just hop over the dividers?

TC: Yes, but none of them are that smart.

I have a question for you MT. You wrote that you were in a body cast in the first paragraph of your comments. Was the body cast from your sledding accident on suicide hill at camp? If so, were you with your good friend Brian Lawry?

In regaurds to the Pac-Man cartoon.

MT: I was a Pac-Man freak for awhile. My famouse Pac-Man Birthday-Pac-Man single, cake, Atari 2600 game cartridge, T-shirt, remember the cartoon?

TC: Remember the cartoon? I created the cartoon. I loved it! Do you know what I love more than the cartoon? It was the lunch box that I had. My mom threw it away. Don't know why.

Question from MT. T-clog, you mentioned that you like to whip out some cardboard and bust out some dance moves, would you be interested in doing that in the nude someday?

TC: Yes, but you will have to pay me.

The theme song was never written or sung by Woody. That is just a stupid urban legand. It's like saying that the bird in the forest where the tin man lived was a munchkin hanging himself. Silly, absolutely silly. This is what I found online:

"Cheers" -- This theme, written by Judy Hart Angelo and Gary Portnoy and sung by Portnoy, is as much a part of the series as the communal cry of "Norm!" or Sam's legendary luck with the ladies.

Interesting to hear you describe bands or artisits into tiers. Tom Petty was up there for me back in the late 80's and early 90's. Mostly because of Full Moon Fever. Speaking of which, I bought this weekend on cd. I only had the tape version and it has been digging at me for a long time now. So I just bought it because I wanted it real bad. :)

Brian Lawry and I went down to Iowa City to Carver Hawkeye Arena to see Tom Petty. We almost didn't make it becasue Brians love van was breaking down every 20 miles. Well we finally got there and had a good time. I almost got into afight with a guy because he was smoking grass infront of me. Dan, do you remember those silly days when I got so mad at you when you asked me about grass?

Question from MT. Do they refer to balloons as "air balloons" in Germany?

TC: No, they are regular balloons.

MT: ...there is a harmonica thing that I never liked....

TC: Get over it! Harmonicas should be embraced by other instruments. They can do a hell of a lot more than an egg shaped shaker!

MT: Congratulations to The Police, and did you guys know - they are getting back together for a tour, not sure if they'll be recording or not.

TC: Yes I knew that they were going to tour. I have no idea if they will make new music together.

Thanks MT for you comments and whether you liked it or not. It really helps me to understand more if you tell me if you like the song or not.

Wokka Wokka Wokka - Mix Reviews Volume 15

2007-02-19T21:15:00.000-05:00

Ahh, the 1980's. Without it, this collective would not exist. Those were formative years, when Dan's form was perfect, my shirts were green, Stephen was the next Kurt Loder, Mighty Tom was one insatiable step away from calamity, and TClog...well, he was in east Waterloo. Those ten years certainly set my musical direction without freezing it in time there. They included the best of times and the worst of times, though not even really the best. Good times.

Weight lifting and boxing in the Central gym late at night.
'Fishing' on the Wapsi.
Laser tag and tracer disks on Alpine Drive.
Basketball at Irving.
Field of 64.
and many more...

And through it all there was music.
Disco drew to an end, as did punk. Rock and roll reemerged in several forms, from the early gritty hair bands like Night Ranger and their ilk to New Wave and the earliest inklings of something that would come to be known as alternative. At the beginning of the decade I would have been seen as a disco fan, digging The Bee Gees and ABBA. The middle of the decade would have found me riding the MTV wave wherever it led me. And boy did it lead me. Other than Yo MTV Raps and Headbanger's Ball I enjoyed most of what it had to offer, though I certainly resisted the pull of the hair bands and their later glam rock children. I was a New Wave child to be sure and was later absorbed whole heartedly into alternative, but even still I knew the top 40 as well as anyone and radio had not lost its allure.

I remember clearly 107.9 (KFMW?) playing Toni Basil's Mickey ten point seven times in a row. I sat through them all for some reason, though other than the novelty, I can't imagine why. I was a huge Dr. Demento fan through a chunk of the 80's, making room in my schedule for three hours of listening on many Sunday nights. I endured several summers of detasseling, and no song brings back the sense of that experience than Luka by Suzanne Vega.

To this day I can tell you what year (within one) that any particular hit from the 80's came out. These songs fall comfortably within that sweet spot.

Song Zero - Cheers Theme (short version)
There are only a few TV theme songs with lyrics that ever really made an impact for me. The Greatest American Hero theme is probably at the top of that list, particularly from that era, but the Cheers theme is solid. Interesting to have an extended version on this collection. The short version is the one that we all know, and it was wisely chosen over the long form version which goes some places emotionally that the TV show wasn't really trying to get. Everything about this version is pleasantly nostalgic. Cheers was a show that I watched plenty of, though perhaps not as much as Dan. And I've seen it recently, on TVLand or whatever channel it exists in syndication. It holds up pretty well, though having moved to the area, no one in the show really seems like they would be from Boston. Cliff has an accent, but it's one that I've never really heard from any real life person, and the rest of them seem completely devoid of the Boston accent, no matter the level of their education.

Song One – You Make Lovin’ Fun

Lots to things to like about Fleetwood Mac and this song combines signature elements for them, but it is not amongst my favorites. By my understanding this song was a total fuck you to John McVie from Christine McVie after they broke up/divorced. She was now singing about her new guy and giving it to John in as nasty a way as she could manage. He apparently, no longer made loving fun.

Some interesting stereo action with the drums on this one and some funky guitar – like really funk guitar. The bass seems to march through the song as a pissed off guy stomping out of the room, or perhaps I’m reading too much into this.

Song Two – Bette Davis Eyes

After 20 plus years I’ve finally resolved the line that always perplexed me, and without turning to the internet to do it.

…she knows just what it takes to make a pro blush…

as opposed to what my 10 year old ears heard

…she knows just what it takes to make a proplush..

Subtle I know, but my young mind couldn’t get there. I suspect I really didn’t know the word pro in this context and possibly not really why one would blush. So naïve.

It has a very 80’s keyboard sound to it, but the drums are solid, and the bass is workable. The lyrics are pretty well worked out even if the subject matter doesn’t interest me or grab me. Her voice is her signature, 3 packs a day and all, and it works, even if you know that Kim will never be the girl with Betty Davis eyes. Phone sex maybe.

Song Three – 99 Luftballons

Ah Nena, you could join running Lola in the pantheon of idiomatic German chanteuses. You were there first regardless of her fast running, but of course you were far behind Marlene Dietrich and even Lili Von Schtup. Still, your place will remain inviolate until those 99 luftballons find their way home.

This song is 80’s all the way. I do like some of the drumming though the keyboard reeks of 80’s, and even in German her voice is pleasant enough. And amongst the German one hit wonders including Falco and The Scorpions, I’ll take Nena any day. Thanks in some small part to all of them, the cold war ended without those air balloons causing any trouble.

I don’t recall drilling for nuclear Armageddon, just tornadoes. At the schools I went to I think everyone had come to the realization that putting your head between your knees was just going to be an awkward position to be found dead in. When we moved out of the house I grew up in we did find a Build Your Own Bomb Shelter pamphlet clearly from an age when that seemed like a good idea.

Song Four – Walk of Life

Truly one of those classic ‘inside baseball’ rock and roll songs, with all sorts of possible references to some glory day of blues emergence. Short of a reference to Clarksdale this song has it all. It comes from a pretty excellent album even if you’d happily die without hearing Money for Nothing ever again. Lots of good tracks and ending with a song so poignant and moody it’d almost make you cry (the title track – Brothers in Arms).

This track follows the aforementioned post-modern Money for Nothing with a straight back to rock and roll riff asking nothing of the listener but to sit back and enjoy. No irony, no jabs at the appliance industry, or even MTV, just a little romp and the likely sequel to Sultans of Swing.

A good track this, though not my favorite from the album. And to agree with Mighty Tum Tum, Mark Knopfler is an excellent guitarist, though this doesn’t show him at his most excellent.

Dire Straits Greatest Hits is filled with good tracks including songs like Down to the Waterline and Telegraph Road.

Song Five – Magic

From the weird boys of Boston, as opposed to that other Boston group, the bad boys of Boston, and well, Boston. The Cars are one of those bands that almost everyone had the greatest hits album and no actual albums no matter how popular they were. Stephen may break that streak – I’m hoping he has some insight to share since I only know what everyone else knows, other than perhaps that they’re from Boston.

Candy-o is supposed to be a great album. Anyone heard it? Why?

For me, particularly in that time period, The Cars were well represented on radio and on MTV and that’s about as deep as my musical exploration went. It was really after this era that I got more interested in plumbing the depths of a band’s catalog. Who knows, a deeper understanding of The Cars might offer up some bounty. Rik was certainly literate in a way that would appeal to my sensibilities, but I suspect The Cars will remain hidden from my view.

As to the song….other than Drive this is really what I think of when I think of The Cars, correctly or incorrectly. And that makes me think of very skinny Rik perched over a pool, and a cartoony fly, for of course they were video pioneers. It’s got a very 80’s vibe and TClog and I will have to agree to disagree on that 80’s synthesizer sound. In most cases it doesn’t really endear itself to me. There are some interesting guitar effects, some good harmonies and some solid drumming with some tidy little fills.

Song Six – Small Town

I recently learned that JM didn’t choose Cougar for himself. The first he saw it was when the album art for his first album was presented to him. The record company thought Mellencamp was too German. He may be talking his way out of a bad decision, but for me the whole Cougar thing really started me off with a bad taste in my mouth. I hated Jack and Diane. There was clearly more to it than the Cougar and most likely it was his complete contrast with Flock of Seagulls, but we all grow and I have grown to respect his musical talents. His latest song incorporated into a sickening Chevy ad may undo much of that good will, but we’ll have to see how that plays out. It did knock Bob Seger off regular commercial play, and there’s something to be said for that.

When this song first came out I was still mostly annoyed by JM, though I have since come to appreciate its sensibility relative to the way he seems to live his life. It was however the era that had an MTV contest where your house would be painted pink and JM would perform in your back yard. To this day I clearly recall the ‘paint the mother pank’ (spelling intentional) tagline of the advertising. God I hated it.

I like the song now, as I have come to like Pink Houses even, appreciating its straight forward rock and roll sensibility with seemingly heartfelt lyrics. My favorite JM remains ‘I Saw Her First – Key West Intermezzo’. There’s something about the hook in that song that totally floats my boat.

Good choice Clog – no synth, just some organ. Hopefully for TClog, since there can be only one, it is he.

Track Seven – Every Breath You Take

In the hands of a less gifted songwriter and set of musicians this song would risk coming across as annoyingly repetitive. But, these are The Police, and they pull it off. From the Sting dominated era of The Police and the last tremendous gasp before they passed the baton, this remains the most well known song from an almost universally great album. Only Mother puts a dent in its greatness. It is sublime, even if the lyrics occasionally go where no man has gone before – possibly following lemmings back into their shiny metal boxes.

Clog (or Allmusic) is right that the song requires simplicity to work, but without gifted musicians it would probably have sucked. Great bass and drums with the guitar finding its way in at the edges and few piano plinks at the chorus. Just great. It is relentless and beautiful, like no stalker you’ve ever known.

Track Eight – Against the Wind

Much of my opinion of Bob Seger stems from an unbelievably strong dislike of Like a Rock. God I hate that song. It makes me wince.

But, I will not hold that against Bob and I will listen to this with as fresh ears as I can manage. And for the most part these new ears find what they hear to be pleasant. I like the piano part quite a bit and for the most part the lyrics seem to come from an authentic place. The metaphor is an interesting one though I get a little lost in the end with the cowboys and the young man. The romantic notion of the cowboy maybe running counter to the pull of society, but the reality of the cowboy lifestyle is no more resistant than dozens of other jobs that seem unchanged through history. And even those of us working ‘modern’ jobs, many of us are fighting the natural flow of society, the wind that I sense he is generally referring to.

A Bob Seger Greatest Hit for me, and possibly only as part of an EP.

Track 9 – I Won’t Back Down

Almost inexplicably Full Moon Fever dominated the radio during our (sorry Clog) freshman year in college. Even as an album I enjoyed a lot, looking back I simply can’t explain it. And that’s no offense to Tom, he’s pretty much been making the same album for 25 years, unapologetically and without pretense. But the stars aligned and made FMF into a freak of nature.

Straight ahead rock and roll, with lyrics to match, it’s hard to be too critical. Of Tom’s songs like this one I prefer the energy of American Girl more, but this is a good song to get one pumped up, and TClog asks for little more.

Track 10 – Take on Me

Truly a mind blowing video and much gratitude is owed them for that. This song is pure 80’s. Clog loves his synth and he gets a full dose here along with a full load of computer generated sounds. And man, that falsetto. Impressive.

I’m not sure whether the lyrics are challenged by the song’s construction or the writer’s grasp of the English language. Comprehension always seems to be one or two syllables away and other than what seems to be a challenge I can’t quite grasp what he’s after.

Track Zero point Two – Cheers Theme (full version)

It’s fairly obvious why they never used this version. It goes places psychologically that the short version does not and would have been more appropriate for the movie version like the song Suicide is Painless is for the MASH movie versus the TV show. This is not quite the feel good bar fly version.

This version is also far more garishly produced, including something like a clarinet or possibly an oboe really wound up. I appreciate the fact there is more to this song than just the TV ditty, though my memory will likely be permanently affected by its hearing. The TV show may not be the same again.

Conclusion.

The 80’s were the decade where we all began to come into our own, some of us faster than others. I count myself in the middle of the pack in terms of figuring myself out. And from that decade sprouted the friendships that are the source of this musical co-op, among many other things, and for that there can be no sufficient amount of gratitude. We all have our individual memories of that decade, but it was also the decade where our memories began to converge and thus holds a significant place in our collective experience. We would not be where we are today with those ten years and its music holds a special place in my heart.

BS – hard to compete with Every Breath You Take

SIWHI – on Pac Man’s iPod? Ghostbusters – Ray Parker Jr.

Bring on the shadows.

The King Will Have My Head!

2007-02-19T12:44:00.000-05:00

Volume 14: King George (Mighty Tom, November/December, 2006)

when giving an overall grade to each song, I use this rubric: Best song EVER! = 10, Loved it = 9, Liked it = 8, Not bad = 7, Could take it or leave it = 6, Uninspiring / boring = 5, Didn't like it = 4, Hated it = 3, Worst Song EVER! = 2, You're an idiot for putting this on a CD = 1.

Number of new songs to me on this album. King George
1 2 3 4 5 6 7 8 9 10

1. How this song rates on the T-clog scale of likeability. Rocking Chair in Hawaii
1 2 3 4 5 6 7 8 9 10

1. This is a song that has many great parts. I enjoyed some great lines, instruments, and musical components in this song. The appearence of Hawaiian instruments are clear and refreshing. While in Hawaii, why not dabble in the pineapple?

The beginning of the song is very blues like. I don't picture too many New Orlean's blues artists sipping out of a pineapple in a smokey bar. I thought that it was a cool start to the song.

This song paints a relaxing picture in my mind and I can totally see George sitting there next to the river in his rocking chair. My favorite line is when he tells you that "if you love a woman then don't be shy." Man, forget the games, just ask, date, and love. The line is great, but at the same time it is a kick in my pants. It is a kick in the pants because I was shy and missed many girl opportunities while in college. The vail of ignorace is heavy and difficult to remove. Many things really are more simple than we make them out to be. George knows a lot, and one could learn a lot from listening to his music.

2. How this song rates on the T-clog scale of likeability. Skiing
1 2 3 4 5 6 7 8 9 10

2. Kick ass jam! Love the guitar!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! I totaly dig this tune in it's entirety, but I don't know how much sitar I could listen to before I stop listening. I know that the Beatles had been influenced by their visits to India and they have done a number of songs that have the sitar in them, but it is generally a music appreciation that I have not yet developed. The Indian influence might have been more impacted upon George and John, but I am not certain. Once again, frickin' LOVE this song!

3. How this song rates on the T-clog scale of likeability. How to Know God
1 2 3 4 5 6 7 8 9 10

3. Very relaxing bongos(?) being played in the background. The English accent is always nice and calming when the person speaking it is not killing you. I appreciate the wise words of that inwhich she speaks. What's on pages 129 and 131?

4. How this song rates on the T-clog scale of likeability. Wah-Wah
1 2 3 4 5 6 7 8 9 10

4. This song rocks much more than some of the others on this collection. The tempo is stronger and it fits in well with the Wah-Wahs as they are stretched out. I find it to be an interesting component. The drums are soft, but they are noticable. I would like to hear them beating a bit stronger and louder until the Wah-Wahs. It would give the illusion of throwing a tantrum. Did I hear sheet metal being waved in the background?

I find myself turning this song up loud in the monster truck while driving to work. I must be thinking about kids and their Wah-Wahs. I don't want to hear your Wah-Wahs, but King George can sing it whenever he wants. Good song choice Gibbs!

5. How this song rates on the T-clog scale of likeability. Pisces Fish
1 2 3 4 5 6 7 8 9 10

5. Love this song! "Canadian geese crapping along the bank" is a great and hilarious line. "The chain is wrapped around the crank" and "Mad cows being burned" are also very interesting lines.

I find that the chorus is one of the most captivating components to this song. I can't help but to sing along with ole George. The river runs through my soul too brother. Great pick!

6. How this song rates on the T-clog scale of likeability. Party Seacombe
1 2 3 4 5 6 7 8 9 10

6. Not sold on this pick. I appreciate it, but it really leaves me flat. I keep waiting for good ole George to start singing. There are some good and groovy instruments that stand out. One being the tamborine. I remember the white tamborine that Timedidyankus had vividly. It is a fine and important instrument. In the words of Randy Jackson from American Idol, "It was just alright for me dog."

7. How this song rates on the T-clog scale of likeability. All Things Must Pass
1 2 3 4 5 6 7 8 9 10

7. This is a nice treat to stumble upon. It is a somber and mello song. We all learn, grow, move, and impact the world around us. If we are to do good in this life we have to change. Status quo is unacceptible. All things do pass, and if we think about it hard enough, we know that it is truly for the better. Our friendships have been able to adapt and remain great because we all understand this simple truth.

I like the gentle beat and the rather slow tempo of this song. I notice a fabulous old electric slide at about the 2:10 mark. A very Every Which Way But Loose sound dancing it's way across the air waves. Love IT! I hear it again at about the 3:26 mark. "Right turn Clide!"

8. How this song rates on the T-clog scale of likeability. George on Ringo
1 2 3 4 5 6 7 8 9 10

8. What a great interview pulled out from his ass. This is flippin' hilarous. "Why shouldn't the Ringo do it?" What the hell is that? Funny and brilliant addition MT. Country and western tune??????? I would buy any country and western album that George would cut. I really dig the record scratch attempt at the ending too.

9. How this song rates on the T-clog scale of likeability. When We Was Fab
1 2 3 4 5 6 7 8 9 10

9. Great song! This is the only song that I heard before this album was sent out. I have always liked it and I still do. It is a wonderful pop tune that just gives the listener pure pleasure. I think that it is one of his most popular tunes and it did alright as I recall here in the US.

"Long time ago when we was fab" rings out to me. I cherish the thought of being fab. I strive to be fab to those around me. When I look back at all of the fab times in my life they overflow my mind. They all rush towards me at once. I reach down in the steady stream of fab moments and pull up countless memories. I hope to add many more years to that stream so that it one day becomes an overflowing river of fabness.

10. How this song rates on the T-clog scale of likeability. Between the Devil and the Deep Blue Sea 1 2 3 4 5 6 7 8 9 10

10. The Hawaiian mini guitar (ukala) is wonderful! Initially, I thought that this song would get a 6, but the more I listened to it the more I liked it. At about the 1:36 mark the piano goes wild. Love it man! The lyrics are very good and also very fun. "...I wanna cross you off my list, but when you come knock'in at my door fate seems to give my heart a twist.." Great work George on taking an old ice cream parlor sound and giving it an update.

I want to mention that tubba at the 2:19 mark was a fab addition.

11. How this song rates on the T-clog scale of likeability. On the Bed
1 2 3 4 5 6 7 8 9 10

11. Very nice instrumental song. I dig all of the instruments. Does anyone else think of Crocodile Dundee when they hear this? I know Party Seacombe was not high on my list because it was all instrumental, but this one has a different reaction inside of me. I like it a great deal. It sounds to me to be more aboriginal, earthy, and solid.

12. How this song rates on the T-clog scale of likeability. Isn't it a Pity
1 2 3 4 5 6 7 8 9 10

12. A very slow and gentle song to wrap up the album. I guess that this is like the moonlight at the Black Hawk Rollerdrome. Thanks Gibbs for asking me to go with you on this exciting musical date!

This song really doesn't stand out for me. It is a fine song, but I won't be skipping ahead to hear it. However, it does allow you to reflect back upon the album and to remember the many great picks that this album has to offer. A nice long goodbye was in order.

Great collection of George songs Gibbs!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Mightytum Yum Yum – Volume 15

2007-02-18T16:30:00.000-05:00

Mightytum Yum Yum – Volume 15

What a cover! Bringing Pac Man into the OOs, like the eyes of the ghosts seeing into the future before they are chased down and swallowed. But, couldn’t you just hop over the dividers? “We all thought about nuclear war, girls, science fiction, high school, and MTV.” - Very true. We all were captivated by MTV, and I for one can clearly remember laying in bed in the middle of the living room, the sounds of cooler people partying across the street, immobilized by a body cast, my bed pan emptied and clean and ready to go thanks to mom, my legs itching with deflated balloons hanging out my ankle openings, my towel refreshed and allowing easy access, and my fingers feverishly pushing “8” over and over and over again, filling the green led display of a prize calculator, thinking hard about nuclear war. Why “8”? Eight supplied the maximum amount of nuclear green color to help illuminate my horrors.

“Time to put the calculator away Tom,” the mom would order from the nearby bedroom.

Dang, she must be able to detect the greenish glow he thought, “OK, just a second,” Tom replied, and then muttered, “She’ll be seeing more than a greenish glow once the missiles launch.”

And then I would continue to punch in “8” over and over again. Worried. Very worried. Horrified. Could I be Buck? Can’t I please be Buck? Won’t somebody send me into the future, after the horror? I would occasionally pause; look away from the green, towards the little round window in our door, looking at the bright, pure light of the stars, tears streaming down my face. Why can’t I be Buck?

And as for girls and science fiction, well they were one and the same. Buck had that figured out too.

I was a Pac-Man freak for awhile. My famous Pac-Man Birthday – Pac-Man Single, cake, Atari 2600 game cartridge, T-Shirt, remember the cartoon?

Clever name Cory – “Pac-Man’s iPod” – very nice idea! There is no doubt that music from the Eighties will be forever impressed upon the brains of the CMC club.

Question: Cory, you mentioned that you like to whip out some cardboard and bust out some dance moves, would you be interested in doing that in the nude someday?

1-Cheers Theme Song

A short little theme to a TV show. A TV show that I never got into. The episodes I did watch always seemed funny enough, but it never hooked me deep. I remember being blown away whenever Dan mentioned who wrote and sang the song, Woody, right? Still kind of blows me away. Is it true? I ask for different reasons now than I did back then. Back then I was not fully aware that an actor might sing without being seen singing.

This song reminds me of the Simpson’s episode and it reminds me of Cory. I know Cory has long-loved this song and when I hear it, it reminds me of him. The man loves this song.

Look for further discussion under Song #12.

2-You Make Loving Fun

A fine song. Sounds real good. Tape used at its best. Drums, bass, guitars and of course the vocals. Very nice. I see what you mean about the guitar at 1:25, in fact that whole guitar solo is pretty darn good.

Fleetwood Mac, for me falls into a category of bands including Tom Petty and the Heartbreakers. I like much of their music and in fact have some of their music. I can dig some of their music, but not quite to the point of certain Rolling Stone songs, which is a band right above this tier, and only because SOME Rolling Stone songs I really really love. Mac and Petty are far above the Grateful Dead who are easily 3 or 4 tiers below.

Fleetwood Mac and Tom Petty and the Heartbreakers: fine musicians, some good song writing, some unique characteristics, definitely needed in order to fill the gap between the really great music and the really bad music, does it make them boring, sometimes. Would the world miss them if they were absent from existence, yes.

3-Bette Davis Eyes

Only Cory. Wow! Bette Davis Eyes. You know that Kim Carens is Rod Stewart before his second sex change, right? “Pure as New York Snow” – good line and she really holds onto the eyes…. It is an exotic voice – but mostly makes me think of someone who smokes too much. Is it “all the boys think she’s a spaz”? Not a bad song.

I used to say “he got Benji Davis Eyes.” To protect the innocent I will not go any further. Bette Davis, like Angela Lansbury were HOT HOT HOT in their day – wonder if they ever got into a fight. I definitely remember hearing this song in Waterloo and as it was a hit, remember being somewhat “into it” at the time. I have heard it from time to time, enough to hold on to some of the memories while riding along near Crossroads and Byrnes Park, thinking “yes, this song is great.” The memory continues thanks to Vol. 15 and Cory Levendusky. Interesting info supplied by Cory – I knew nothing about her, in fact I did not even know who sang the song - I seriously thought it was Rene Stewart.

4-99 Luft Balloons

This is an interesting pick. I credit this song for my first headphone stereo experience. Around the holidays in the same room where the body-casted boy lay, I received a lipstick red personal stereo complete with black headphones. I plugged in the phones and tuned into Nena. At about half a minute the stereo effect rocked my world. The adjective that I have long associated with this first listen to stereo was “sparkly.” Wondrous, encompassing, and very personal; it was simultaneously warm and cold, probably due to the very nature of the driving synths. With its syncopated funky guitar and exotic accent, my imagination was sparked. At 1:46 we have the great Captain Kirk mention. My first listen was likely the English version, but the accent was still clearly evident. So on a cold winter night this alien woman was singing intimately across great distances about air balloons and Captain Kirk – wow – for a moment I could forget about nuclear war and abandon myself to Nena’s world.

Thank you for the information Cory. I chose to address the Cold War in my intro; however, I am pretty sure I did not understand the true meaning of the song back then with my lipstick red personal stereo system.

There is a standard of what the 1980s were all about in terms of pop music, it is rather unfortunate that often the most unique are held up as symbols of the 80s music scene– along with “99 Luft Balloons” I am also thinking “Sweet Dreams” – both unique but more than a novelty. Novelty music from the 80s can be quite bad and I know it can be argued that “99 Luft Balloons” is nothing but a novelty, but I think that is only based on the fact that it is a work from another country, a form of Pop Music Racism. Really, Americans cannot accept that there is good pop music from other countries besides England and the US. Now “99 Luft Balloons” may be the only example, but…

On a radio mix tape that I still have, I recorded “99 Luft Balloons” and at the end the local DJ cut in with, “there it goes,” referring to the video and the release of the balloon. At the time I was disappointed, but it is quite funny now and that remark lives on – the famous DJ and his excellent timing and wit.

Speaking of Captain Kirk; it could have just as easily been Buck. In interviews Nena confessed she found Buck irresistible, but Captain Kirk fit in with the flow of the lyrics better, plus Buck had plenty of girls, Kirk had only one lady that he could ever really care about and her name was “Enterprise.” Nena was quick to add that Kirk was quite yummy as well.” OK Nena, I think you had better leave it at that.

Do they refer to balloons as “air balloons” in Germany?

Let them Fly Nena, Let them Fly.

And always, Fleugen Flein.

5-Walk of Life

You mentioned Mixdorf. And I will mention Mixdorf. “Brothers in Arms” was an album that Mixdorf, in his own way, would promote, and for good reason – good stuff. Dr Mark Freuder Knopfler is a fantastic guitarist. Beautiful songs such as “Why Worry” and the song from “The Princess Bride” – beautiful – really nice. I have “Why Worry” on my “Green Peace” compilation and the PB song from the DVD – I do not often use this word, but the guitar playing is “gorgeous.” Mixdorf had the tape, with that shiny silver guitar on the cover – did you buy it at Target in Waterloo, and was I present? I do not want to say too much about the band or Mark as I am much more interested in reading what Mixdorf has to say about the subject.

Great beginning and build up, a classic beginning to a very good song. Very Rock’n’Roll, allusions to oldies, Johnnies, heroes, finding your own way. The musical structures themselves, more complex perhaps, but very rooted in good ole Rock’n’Roll.

1:12, 1:57, 2:52 “the boy can play” – I have wondered, if on some level, Mark is asking the world to notice. Many of his songs have lines about “playing guitar.” The Knop CAN play, no doubt, but only his peers really know it – the people do not necessarily know it, except for “I want my MTV, which is associated with Sting anyway. Not a huge deal, he is great, if never attaining Pop Star Status as a guitarist. I just wonder if underneath it all (No Doubt) Mark wanted a little more than validation by his peers.

6-Magic

Love the spooky beginning and the song as a whole. Summer love spells at work.
“I see you under the midnight,” nice evidence of Ric’s fangless Vampire, exiled by the Goths, and embraced by the middle-class.

Mechanical Pop – interesting tag, makes sense. The songs have very clean arrangements, many hooks, and often are extremely catchy. I always thought it odd, their song “Drive,” an obvious, literal connection to Cars, but the one song that was the most un-Cars like. Anyway, I owned the Cars greatest hits and had “Hello Again” taped from the radio – anybody else remember that video – that cleavage. Hughes liked “Shake it Up” and so I thought the hardcore party good at basketball crowd really dug Ric, which IS EXTREMELY IMPORTANT!

It is possible that the song had something to do with us naming our dog, but I am not sure. I remember loving the video too – Ric walking on water, dressed in black, that hair, the Adam’s apple, the shades – reminds me of Summer stuff for several reasons – some obvious, some not so, some nutso.

You are most welcome for any musical memories; I do remember listening to that song down in Elliot. Great song!

7-Small Town

I appreciate you sharing your experiences of family in small towns. I LOVE your “instant aid” comment – hilarious! The best of both worlds is elusive. John was a classic presence on MTV and the radio. There were songs that I liked and songs that I didn’t like. Around 2000 or 2001 I “acknowledged” John and confessed that I did in fact like him and actually LOVED some of his songs. He wasn’t as up there with Prince, U2, or Peter Gabriel, but I really did love many of his songs. I have one album and will likely purchase a compilation at some point, or at least gather about those songs I really dig. In ’95 the tree climbing Tupa referred to “that fuckin’ beat” as he tapped some ciggy ash into a yellow McDonald’s wrapper. The song blaring out of the dash in a truck with six wheels, interestingly, “Magic” was also cranked. I was there with my cooler full of red pepper slices and a corn-cob pipe with tobacco spilling out all over in a lame attempt at fitting in. The smell and sound is very memorable.

“Small Town” is not necessarily my favorite John song, but I do like it, I used to hate it. “I cannot forget the people who love me,” part of that excellent bridge around a minute and a half. Dan and I often would comment on the chord structures used by Mellencamp, D-A-E, or slight variations – I do not know if a pop artist has been more successful. He isn’t bashful about using them, part of his greatness. There’s the guitar – solid, recognizable and let me give the Tupa some credit – Mellencamp’s drum arrangements are really really solid with a strong driving beat. Mellencamp’s words are fairly simple but they usually incorporate a deceptively clever twist which I think is lost on most listeners. He is exciting and passionate and like other greats from the time period, did it his way, from the ground up.

“People let me be just what I wanna be” – interesting line that is a bit loaded. I will return to this with another Buck comparison, but later. For now, in what way do “people LET you be?” And that will be OK if you are a certain type of person, but much of being let alone depends on the persons handling of the perception of the others letting you be. Letting you be hungry, poor, ill? Are there limits imposed on what you can aspire to be?

Not to pick on Mellencamp, (because he only uses it for a tiny portion of the song) but there is a harmonica thing that I have never liked and it happens here, in this song at 2:47. Any acoustic arrangement in any size town in any part of the country you will here these trios of notes. I believe it is a cop out, a simple thing to do, and for some harmonica players – the only thing they know how to do. I do not know if Mellencamp did this intentionally to highlight what he thought was a small town musical device – maybe, in which case it was effective, but it is a musical pet peeve of mine

Good to hear Mellencamp in the CMC. When you put all the pieces together you come up with quite a little bundle of greatness. The act of listening to Mellencamp is enjoyable – I say that because when you read the words on paper or think about him as a vocalist or visualize the man dancing – ok – but the sum of his parts….often excellent.

8-Every Breath You Take

I think, with “Every Breath You Take” and Mixdorf’s Police compilation that all of the Police albums have been represented by CMC. And why not - Great band and great songs, including EBYT. Congratulations then, to The Police, and did you guys know – they are getting back together for a tour, not sure if they’ll be recording or not.

This song has been played many many times. Sting once said he was sick of it. You can hear remakes of it, samples, and on multiple radio stations offering a diverse range of formats. The song is popular, possibly the most popular song on this compilation. One reason, despite all the play, it really is a great song. I LOVE Every Breath You Take. The drums are excellent, and Andy’s guitar seems to be the culmination of his style – excellent excellent guitar complete with squeaks and squawks, Sting’s bass perfect and underrated (especially live) and a great Sting vocal. The synthy orchestra arrangement is a nice touch as well as the use of other keyboard elements.

“How my poor heart aches” is my favorite line both in terms of delivery and the words themselves. Great bridge, lyrics and the pling plings leading into the transition at 1:44 is masterful – wonderful song. I’ve gotten sprinkles from this one. The 3:56 "I’ll Be Watching You” is especially nice – very Stingy (ooh isn’t that funny).

Great great song – all elements working really well together. I thought the video for the song was quite nice – possibly informing future U2 videos. I think I must have been listening to Every Breath You Take – The Singles and Sting’s Nothing Like the Sun quite a bit, maybe eighth grade, while reading The Lord of the Rings – Sting’s voice always takes me back to our living room on Easton, comforting and terribly exciting.

9-Against the Wind

I am really glad that this song has a positive affect on you and the life that you have had so far and I appreciate you sharing.

That said, I am not a fan of this song or Bob Seager. I know that many real men like Seager, but I have never been a real man. Too many clichés. Too much cheese. He can ride his Night Trains Against The Wind only so many times. At 2:26 though, it is funny, “A little something against the wind” like he farted or something. Hee Hee. Sorry dude, just not into this one.

10-I Won’t Back Down

Great song. This album made quite a splash in college. I can remember listening to it with Mixdorf on that famous CD player of his – he had the CD and I made a copy onto tape.

“I Won’t Back Down” is a great idea – stand your ground, believe in yourself and your abilities – all good stuff.

Buck epitomized these sentiments. If he felt it better to operate the ships manually then he would disengage the auto-pilot no matter what the directive was. And you know what – he saved lives, he didn’t back down. Buck believed in himself, had a spine, and did what he felt was right.

11-Take On Me

This guy had to be a heartthrob in the Netherlands, which is north of Belgium and west of Germany with a huge border on the North Sea and is indeed part of Europe. Wonder if he ever broke it in the movie or soap opera business. I like the song and the associated video.

One of my favorite Cory lines, from his comments : “Early MTV was good programming.” Great!

And speaking of Great Programming…Buck Rogers, astronaut from this very era – 1987, blasted into the 25th century to mingle with Col. Wilma Deering. We all know how good looking Gil Gerard and Erin Gray are – VERY VERY SMOKING!! But there was also Pamela Hensley who played Princess Ardala, (by the way I love the way Dan talks about the Princess, something about the way he pronounces Ardala) -there are scenes that even today, will take your breath away. She was unbelievable! And tan!

To go back to what Cory mentioned, The 80's is a time when we all thought about nuclear war, girls, science fiction” – well that’s Buck. He left us in High School in the 80s, went to the future after the nuclear that we feared had actually happened, to hang out with beautiful women – that is science fiction in a nutshell.

12-Cheers Theme Song (Extended Version)

Classic piano opening.

What is that weird sound at two seconds?

I like this version of the song better than the version presented as number one, an edit for the show. The extended version seems to be a more fully developed song. Woody again? Alarming horn towards the end and a very abrupt ending. I like the line, “Mr. Coffee’s dead” a nice touch – as if Mr. Coffee WAS one of the people that he hung out with or knew his name. Ultimately very sad – your life having to revolve around the people that know you at a bar, in a bar scene. I know there is probably more to it than that and for some, circumstances may necessitate such an existence in order to have human contact, but sad nonetheless.

Lessons from William Buck Rogers

Buck was unique and loved for being simply himself, a benefit of being propelled out of time, a variation of the Crocodile Dundee Syndrome. If I find that prize calculator, I will bury it, forever. Buck was found both amusing and talented by his future peers- but he was always himself. What was he like in the 80s? Was the space accident the greatest thing to happen to him?

Thanks Cory for Vol. 15 and the trip down memory corridor!!

BS: Every Breath You Take

SIWHI: “Suspension” sung by Kip Lennon written by Larson/Phillips. Not sung very well, but sweeping emotional effect. Look for it in your e-mail accounts.

"The Shadows" are coming.

2007-02-18T15:20:00.000-05:00

Probably by Wednesday.

Stephen's "King George" comments.

2007-02-04T22:04:00.000-05:00

A lot of people my age looked to their parents to bridge into the Beatles catalog. If you are 35 or younger, you can have no memories of the Beatles, just a collective cultural education of them, their relevance to their times. And if you're lucky, nobody crammed the relevance of the Beatles down your throat, and you could discover them. If that happened, then the Beatles became your music. After all, the music didn't die. The recordings, whether on vinyl, tape, or AM or FM, were always there, as they were in the beginning, and forever shall be. Liberating, in our case, as the history of the times need not saddle all those songs down.

In my case, it wasn't my parents who introduced me to GH It was my sister's boyfriend at the time. He had a double-cassette box of The White Album. And really, all he did was leave it on the tape deck in the living room. Doing one of my multi-hour sessions of listening to random tape and vinyl, I played through tape one several times. Then tape two. A rarely have music epiphanies, and... well, I didn't have one then, either. It was only when I played the tapes at night when "While My Guitar Gently Weeps" (and, for what it's worth, "Rocky Racoon" and other WA staples) sunk in. The whole White Album plays best at night.

Anyway, the songs continued to survive, the Beatles were forever canonized, and the members went on. George made All Things Must Pass, which I do associate with my mom, who loved the triple-vinyl. I went on to hear George on the radio for years, then "Cloud Nine" came out in 1987. Then the Traveling Wilburys. By that time, I was eschewing "old farts" for the trappings of college pop. (Well, sorta. I wound up getting a Van Morrison bug in 1990, but I'd all but forgotten about TW Vol. 1, which I bought a mere six months and a lifetime before). Morrison often sings out the same complaints VM does: the music business is full of shit, and I'm just a humble carpenter. Nice work, could I get it? Call it Garth Brooks-level bullshittery; Brooks once stated that all his ('90s) fame allowed him to cash his checks more easily at the local grocery store. Oh, I bet it did. Sometimes I think all famous recording artists are sort of dicks. Like me. Save for nazi sympathizers and perpetrators of violent crime, it usually comes out in the wash. Sometimes.

1. Rocking Chair in Hawaii.
Right off, I'm sensitive about the Electric Light Orchestra. That is, the Jeff Lynne influence. I assume Tom Petty wanted to sound that way after TW in the 1990s, when he learned to fly and all that, and I also assume George was a-okay with it, as well. Perhaps I'm just hearing that production value. I can't say I liked that "new", tweaked up, buffed-down sound. The image TM connects here is very fitting. Knowing George died before this was relesaed, knowing he was dying while he was recording this.. that's makes what sounds like a quiet, unoffensive track like this a little more poignant, I suppose. Poignant is a way overused term, but I'll use it here, just this once.

2. Ski-ing.
Ahhhhh, here we are. Can't get any more pre-Lynne than this! My favorite George Harrison guitar work is right fromt this era, and some of it is right here. I bet...heck, I'd like to think if George had more influence as a Beatle, this would have been side 2, Track 1 on Sgt. Peppers. Or extended to 20 minutes for album three on the White Album. I suppose no living soul will ever be able to divorce this song from the iconography of the time. Not a revelatory track, nor was it meant to be, I suspect.

3. How to Know God.
And we're flying through. Kind of like falling asleep during the recording of track 3 here and waking up in 2001. Maybe 3 could cross-fade into 4. Keeping with the sensibilities of the artist, who did not have the answers but still searches, three decades on. Of course, I'm assuming that Harrison is sincere about that. The line" How to know God, page 130" could be a comment from a syncophant following dilligently, or someone selling the concept. Maybe at 40 secods, we would have known the answer.

4. Wah-Wah.
I, too, hear this one as something of an extended jam, and I love it when the horns show up, and then the horns come around and interplay with George's guitar. If in fact the lyrics are a dig at McCartney, then I can be okay with that, because otherwise I could really have just erased them all out. It's just a sentiment the song's loud, driving guitar and horns already make blaringly clear.

5. Pisces Fish.
Gotta scrape out the memories of the Crash Test Dummies doing some similar mmm-mmming in their one song that was on the radio that one time. Mmmming is just a tricky thing to do, I think. I didn't care for that song but I do like this one, even if I have some of the same reaction PM has to the use of the word "crap". But, is there any other way to get that image out there? "Crap" is unfairly maligned as a verb (or noun, for that matter) in our culture. I say, if we're going to infuse a little Gaia philosophy in a song that probes one's mortality, then crap is a fact. Have we time to sort all of these things out? Indeed, good question.

Some times my life it seems like fictionSome of the days it's really quite serene
I'm a living proof of all life's contradictionsOne half's going where the other half's just been

So maybe that's just crap, but I refuse to think it's just a throway lyric.

6. Party Seacombe.
So much like "Magical Mystery Tour" it could have been a leftover from that time. Or bits and pieces that George took to the studio and topped with some new guitar or something. So if we can get "Love" and have it be the new Beatles album, maybe this just demonstrates the futzing was always happening. Apparently these sessions included Eric Clapton and Peter Tork (at least, so says IMDb). I like it, but it does sound like something that accompanies an image. I do actually think it's a bit eerie, with that organ, which sounds like an empty children's park in the rain.

7. All Things Must Pass.
So far, the CMC mixes I've heard have at least one song I go back to when I'm done, or look ahead to when I'm playing the disc through. This is that song for me here. And while the message is a simple one, it's the way the music comes together, not in resigned acceptance, but in hope. Maybe it's that skippy guitar (steel guitar, I think), or the declaritive horns (gotta love the horns again). Love it.

8. George on Ringo.

Chit-chat gone trippo. Enough said.

9. When We Was Fab.
Given its airplay and MTV rotation from 1987, this is absolutely the song with which I'm most acquainted. I don't know why the chorus sends a chill through me, but after twenty years, it still does. Maybe it's the obvious, the imagery of the Beatles and the time and all of that. And how it's all over, baby blue. Agreed, whistful, but not sad. The music does the evoking. Dan: I guess the question is, do many people remember "Captain of her Heart"? I guess so. I heard it in Muzak form the other day.

10. Between the Devil and the Deep Blue Sea.
She's just stalking you, George! Don't make light of it! Just kidding. Yes, I find this a light song about big things. I hope things worked out okay.

11. On the Bed.
With a title like that, what images come to mind? I like this, particularly in the context of the other instrumentals from way, way back. Dan really loved this one, which encouraged me to go back and listen to it more closely. Looking at my original notes, I said something like GH being commissioned by the BBC to write the music for the evening news. Or something snarky like that. I heard the horn but not the buildup. Still, I'm less into it that the group, perhaps.

12. Isn’t it a Pity.Along with "All Things Must Pass", the other track here that I love the most. Maybe it's that simple acknowledgement of humanity. Ugly, flawed, beautiful people we tend to be. And again, the music does the work. Hey Jude, you had such a nice extended flow, we'll borrow it.

Favorite: All Things Must Pass Away.
Song I wish were here: Hell, I love "What is Love" so much. But it's hardly a "deep cut".

Volume 15 - Pac Man's iPod (condensed)

2007-01-31T23:59:00.000-05:00

Song #1 - Cheers Theme

Raise up your glass of your finest beer, sit back, and enjoy a collection that takes you back to those okward years known as the 80's. This is an album where everyone knows your name and where all our troubles are the same. The 80's is a time when we all thought about nuclear war, girls, science fiction, high school, and MTV.

Cheers to you and remember that the proper thing to do when playing Pac-Man is to put down only two quarters at a time just above the joystick. So if your hungry, pack your Pac-Man lunch box and listen to this album. Afterwards, you will be ready to spike your hair with aquanet and bust out your old tapes. Becareful not to hold your boom box too close to your head or you will damage your 30 something ears.

P.S. One of my favorite things to do while listening to Pac-Man's i-Pod is to find an old piece of cardboard and break out some dance moves with it. I also enjoy reading the Pac-Man companions guide as to learn the moves to succed at the game (kidding Dan).

Song #2 - You Make Loving Fun - Fleetwood Mac

From Fleetwood Mac's Greatest Hits comes You Make Loving Fun. This song was not born in the 80's, but man it was heard by these ears many times throughout the 80's, thus has a home as the lead-off man here on Pac-Man's i-Pod.

Greatest Hits is a great overview of Fleetwood Mac's hit making years. Fleetwood Mac continues to utilize the harmonic blends within the group especially Lindsey Buckingham's voice. Lindsey buckingham has made an appearence once before in CMC. Dan actually introduced us to the musical talents of Lindsey on DanPR. In You Make Loving Fun, Lindsey was not involved with producing the song. However he is active all over Greatest Hits. With an outstanding rhtyhm section combined with great vocals, You Make Loving Fun is one of the 70's finest pieces of pop.

"You make me happy with the things you do" is a very cool line and transends great lyrics. It finds it's way into deeper conciousness of love and defines an awesome way of communicating to your lover. If you hear those words you will be very happy and silly with love.

There is some very good drum and guitar work in this song that nicely binds the song to the lyrics. Beautifully played song Fleetwood! There is a great guitar piece at about the 1:25 mark that you can die for. "Oooohhh you make loving fun" says it best.

Song #3 - Bette Davis Eyes - Kim Carnes

This is the only song on my Pac-Man collection that I didn't already have on an album. I had to get it off of i-Tunes. Kim Carnes has a great voice and I like to hear her sing, but she is not allowed to stand near me if she are puffing on a cancer stick. How do women get voices like that? Smoking? Genetics? It is unusual and I dig it greatly.

Bette Davis Eyes spent 9 weeks at the top of the Billboards in 1981. It won Grammys for Song of the Year and Record of the Year. After that brief success, she could not follow it up with anything worth while and returned to her country-folk roots. She moved to Nashville in 1994 and is concentrating on songwriting.

In this song you will hear a gentle and flowing tempo that is caressed with the sultry voice of Kim Carnes. I find the lyrics to be clever and telling. Imagine those eyes watching you or giving you a nasty look from across the room. It would tear through your head man like a powerful laser and destroy all that you are. "Her hair is hollow gold" sets the stage for what kind of girl Kim is singing about. "She will roll you like dice" tells me that she is going to hypnotize you and then take advantage of you. To recap, I most of all love the voice singing those clever lyrics. When I was a kid, I thought that it was Cathryn Hepburn singing. As we all know it was not, but that's what I thought many moons ago. Bette Davis had eyes that were like that of the snake from Disney's Jungle Book movie. Stay away from women like that.

Song #4 - 99 Luft Balloons - Nena

To start, I know Dan hates this song and to him I apologize for nothing. I must include it because this is my collection not his, and because it is one that I dig a ton from the 80's.

After only a year as vocalist for the band Stripes, Nena Kerner created a new band in Berlin called Nena. The band's debut single Nur Getraumt became a number one in German speaking countries. Their second single, 99 Luft Balloons was huge success in the US. What was unique about 99 Luft Balloons is that the German version was more popular than the English version in the US.

I have to admit that their is something incredible about hearing her sing in German. It is exotic and something that I don't get to hear very often. Maybe it is one reason why I like it so much. I very much like the synth. action because it makes this song work. I could hear just the instruments and I immediately know that it is 99 Luft Balloons. Another aspect to this song that I always loved was the mention of Captain Kirk. Who could hate a song that mentions the greatest Starfleet Captain ever? Dan, that's who. Sorry Dan for busting your chops on this one.

The song is about cold war anxiety and it tapped into the fears of a nuclear apocalypse. At the time of this song Germany was split into East and West. 99 Luft Ballons also tells a tale about how balloons that are being mistaken for incoming missles. a very deep and scary song to me. As one who worries about everything, I was always carrying around a lot of anxiety about nuclear war in the 80's. Do you remember practicing drills for bombs? I still remember thinking, "What the hell is a desk going to do for me when the insane heat and blast comes from the explosion?" Did you guys ever see the old films in class about nuclear bomb safety precautions? One amazing thing that songs do is that they are able to take you back into time if you so desire. I LOVE it!

Song #5 - Walk of Life - Dire Straits

From my days of watching MTV as a kid, to working at Philmont, to riding in the back of Mixdorf's truck Dire Staits has been there and had a small impact on me. I distinctly remember the videos and the powerful songs that was transmitted with them. Even though Money for Nothing was mocking MTV it played all of the time. However, the song that stands out more for me is Walk of Life. I really like this song and I marvel at how catchy the song remains. I hum or sing it and I am doing it all day. The up-tempo drives me forward and helps me walk the good life.

Ooooohhh, the sweet synth / keyboard is like a giant banjo minnow dancing infront of me daring me to grab it. Like a fat bass, I lunge for it. I LOVE it! More than he lyrics the music is what really makes this song for me. Walk of Life is sometimes more like a crazy spirit than a walk, but we all have to take it in stride and enjoy the path we are on.

While working at Philmont, I listened to a Dire Straits album that I borrowed from a coworker and it was great. I don't remember the album, but there was one song on there that was superior and it stuck with me since the summer of 93'. That song I believe was called Trail of Tears. It is a great song about the Cherokee people and their horrific journey they took across the south at gun point. It is on my next i-Tunes order.

I want to say the Mixdorf is a fan of Dire Straits or he use to be. Once, while driving up to Minneapolis one wintery break we listened to them. I was riding in the back of his brown Chevy S-10 while listening to Brother in Arms. This is one of the albums from which this song resides. I should mention that Mixdorf's Chevy became mine in the summer of 95'. Steve is probably the only one to be without that usless trivia, but not anymore. I remember enjoying that album and the songs that are on it. Some of the songs from that album include: Money for Nothing, So Far Away, Ride Across the River, and Why Worry. A great album that stands in a distinctive light within their own catalog. In England, Brother in Arms was the biggest selling album in the 80's. Listen to it, love it, and enjoy it!

Song #6 - Magic - The Cars

The Cars were the most successful American new wave band in the late 70's and early 80's. What is known as mechanical pop / rock, the Cars music captured the top 40 many times and many of their albums became platinum.

The first time I heard this song was when I was in Eau Claire, Wisconsin visiting my cousins. Todd and Shawn were a few years older than I was and they always did cool things. I think that I was about 13 and very impressioable. They listened to a lot of Scorpion, which I didn't like, and the Cars. The line "twisted on the sideways down" has been in my head since that vist, and the Cars have too. The band has a great and unique sound. The lead-in is one aspect to this song that I find powerful and intriging. As a newbee fan of the electric guitar, I have discovered new aspects to this song that I never really appreciated before. There are some great representations of awesome guitar work throughout this song.

I also remember hearing this song while at Camp (WSR). I have to guess that it was Gibbons and the Eology Staff that brought forth these tunes and played them generously for those visiting the area to enjoy. Thanks Gibbs for great memories and music at camp.

In my collection, this song comes from The Cars Greatest Hits album. Even though the song sold over an infinity of copies on 1984's Heartbeat City, many old-school Cars fans thought that it was too much of a bubble gum pop tune. bubble gum I think not! It is more like those warm and wondrful mini donuts from the state fair for your hungry ears. I flippin' love this song and it had to be included on this album. The word magic is mentioned someplace else on this album so listen carefully. did you find it?

On the cover of mt greatest hits album there are little toy cars. I once had one of those little toy cars, the blue one, and it came with a camper that it pulled. Clearly a 50's toy, it was made of metal and so was the camper. How time has passed. The days were you pulled a camper with your car are over. Who does that anymore? You are mocked if you are not pulling your camper, trailer, boat, yard debris, or horses without an oversized monster truck made by Ford or Chevy. Sorry Gibbs. Just a bit of fun info for me to share.

Song #7 - Small Town - John Mellencamp

The album from which this song was birthed is called Scarecrow. The producers to this album are Little Bastard and Don Gehman. Small Town was written on April 17th, 1985 at 12:00 Noon. This is just one day after Gibbons 14th birthday. Did John Melloncamp attend Pat's birthday party or did he just hold off a day to show reverence to our little Indiana buddy?

John Melloncamp is another heartland rocker that could fit nicely with your Bob Segar collection. Two Americana rockers that love to sing about the little guy and the hard life. John has never been known as master lyrics writer, but in the songs Rain on the Scarecrow and Small Town capture the meat and potato intrests of the poeple in America's Heartland. One could easily stand John Melloncamp, Bob Segar, and Bruce Sprinsteen up on a stage and you would have created an instant aid concert for the average out of work blue-collar and red-blodded American.

What I like most about this song is that it talks about his love for the small town. I have a lot of great memories of small towns. I lived in chatfield, Minnesota for a year and it was a great place to live. The tight knit community was something that I greatly admire. I looked forward to getting my haircut by the same guy each month. We developed a small relationship where we would ask each other how projects were going, how family members were, and what plans we might have in the coming week. It was nice to share more than just the superficial bolonga that you pertake in at Cost Cutters. Playing basketball at the only elementary building in town with town officials and local leaders at 5:30 in the morning every Tuesday and Friday were highlights to living in a small town. After work, I would occassonaly decide to go downstairs and around the corner of the block to get myself a pizza and a movie from Hummdinger Pizza. The store logo was a cowboy pizza maker twirrling a pizza while riding a horse. Brilliant! A ton of great memories made in small towns. The best was meeting my wife when living in Chatfield!

The line, "No I cannot forget from where it is that I come from, I cannot forget the people who love me" sparks my root cap (the part of the root that busts through the soil and rocks to allow the tree to dig deeper into its biological purpose) and it gets me thinking about my family and how it is my purpose to be the glue. Holidays and family events are held at my house because it is neutral ground (kind of like a church in the Highlander movies). I love my family and want them to see that we are all here for just a little while, and that the trival things should be forgotten. My sisters and mon remain bitter towards one another and it's a tough rock to crack. However tough it is, I will continue to fight to be the familt glue that leaves the light on for them. It still amazes me how we all came from the same Small Town and how we remain to be close friends even though nobody lives in that Small Town anymore.

Song #8 -Every Breath You Take - The Police

If you don't like Pac-Man's i-Pod then I will stalk you down and shove it up your pie hole. Kidding. Every Breath You Take is a brilliant song because it is so simple both lyrucally and musically. Sting wrote this song and its simple nature was totally intentional. The stalker that this song is about needs to keep things simple so that he is not discovered. When you add a lot of complexity to this stalker song, things could get messy. Originally, this song was to have a synth-driven instrumental section. It didn't fit the overall feel of the song so it was cut. When things get messy, stalkers get caught. "Every move you make, I'll be watching you." This line sums up exactly how creepy this song is if you really think about it.

The opening drums and bass to this song set the stage wonderfully. Who could not recognize the opening to this song? It is very distinct and incredible. The eighth-not pulse in Sting's bass line is steady and simple. Don't really know what I just said, but Allmusic has been very helpful. Every Breath You Take was #1 for eight weeks and was the biggest hit single in 1983.

I remember listening to this song all of the time because my pop recorded it off of the radio. He played it in his tape deck a lot when we traversed the metro area looking to play Pac-Man and Donkey Kong. We went to Shakey's Pizza, Showbiz, and Sears to get our game fix satisfied. I guess we took the occasional break to play Centipede and Frogger. Once we got back into the car we heard my pop's mixed tape again and looked forward to playing foosball and pool in the basement of his west side home. By the way it still smells like Methuen's stinky ass!

Every breath you take
Every move you make
Every bond you break
Every step you take
I'll be watching you.

Every single day
Every word you say
Every game you play
Every night you stay
I'll be watching you.

Oh can't you see
You belong to me?
How my poor heart aches
with every step you take.

Every move you make
Every vow you break
Every smile you fake
Every claim you stake
I'll be watching you.

Since you've gone I've been lost without a trace.
I dream at night, I can only see your face.
I look around but it's you I can't replace.
I keep crying baby, baby please..................

Every move you make
Every vow you break
Every smile you fake
Every claim you stake
I'll be watching you.

Every move you make
Every vow you break
Every smile you fake
Every claim you stake
I'll be watching you.......

Song #9 - Against the Wind - Bob Seger

Bob Seger started off as a Michigan garage rocker with a band trio called the Decibels. Bob Seger has a distinct American sound and maybe a poster child for something that I call Americana rock. He is definately a blue collar musician who sings about the common man. Against the Wind became Seger's first number one album in 1980. This poor man has gone through a million and one bands. Is he hard to work with or does everyone he hooks up with fizzle out on him? Something to explore I guess. After the Decibels he was involved with the Town Criers, Doug Brown and the Omes, the Beach Bums, solo stuff, Silver Bullet Band, and then more solo stuff. His latest album was released in 2006 and is called Face the Promise.

A song about turning against the grain of life, and to use the metaphor swimming upstream says it all. Sometimes in life people choose the more difficult path of hard knocks. However, on that path we get some of our best life lessons and experiences. Many a songs and even a music genre or two have come from the path of hard knocks.

This song gets me thinking about how hard my life has been at times. I was thrown a lot of roadblocks in my young life and I guess the easy path would have been to accept the hand that was delt to me and to be happy with that. My internal operating system doesn't allow for me to work that way. I saw a challenge and thus found a way to win. The path to success is a narrow one, while the road to folding is wide and heavily used. What I am saying is that sometimes you need to go against the wind. This song is a constant reminder to me that I need to keep challenging myself and not to become complacid.

This gentle song with it's gradual beat gets my musical pulse in rhythm. I really like the lyrics. Bob Seger in the liner notes states that he never liked the line "Wish I didn't knoe now what I didn't know then" and it bothered him for a long time. However, everyone that he ever talked to about it loved the line. Thus, he left it in the song. The original thought was to have a piano solo. Glenn Frey of the Eagles had an idea that Drew Abbott, the guitarist, should play along with the piano solo. Bob Seger and Glenn Frey then sang the background vocals together. "Well those drifter days are past me now" really hits home. Great lines throughout. At the end of the song you will hear the line "Let the cowboys ride!" This line sets for me a strong punctuation to the end of a great song.

It seems like yesterday
But it was long ago
Janey was lovely she was the queen of my nights
There in the darkness with the radio playing low
And the secrets that we shared
The mountains that we moved
Caught like a wildfire out of control
'Til there was nothing left to burn and nothing left to prove
And I remember what she said to me
How she swore that it never would end
I remember how she held me oh so tight
Wish I didn't know now what I didn't know then

Against the wind
We were runnin' against the wind
We were young and strong, we were runnin'
Against the wind

The years rolled slowly past
And I found myself alone
Surrounded by strangers I thought were my friends
I found myself further and further from my home
And I guess I lost my way
There were oh so many roads
I was living to run and running to live
Never worryied about paying or even how much I owed
Moving eight miles a minute for months at a time
Breaking all of the rules that would bend
I began to find myself searching
Searching for shelter again and again

Against the wind
A little something against the wind
I found myself seeking shelter sgainst the wind

Well those drifter's days are past me now
I've got so much more to think about
Deadlines and commitments
What to leave in, what to leave out

Against the wind
I'm still runnin' against the wind
I'm older now but still runnin' against the wind
Well I'm older now and still runnin'
Against the wind
Against the wind
Against the wind

Still runnin'
I'm still runnin' against the wind
I'm still runnin'
I'm still runnin' against the wind
Still runnin'
Runnin' against the wind
Runnin' against the wind
See the young man run
Watch the young man run
Watch the young man runnin'
He'll be runnin' against the wind
Let the cowboys ride
Let the cowboys ride
They'll be ridin' against the wind
Against the wind ...

Song #10 - I Won't Back Down - Tom Petty

I have been on the fence for awhile with this song, and have just recently allowed myself to place it into this album. What I mean is that I can easily throw this song into three or four albums that I want to put together. Full Moon Fever is an awesome album. There are few albums out there that I buy because all of the songs are gems. Usually, especially in the old days, you have to buy the entire album even if you liked only a couple of songs. Those days are over thank God. I bought this album back in the 80's when I only had a cassette player, thus it is not played any longer. I am very tempted to look for it online in the cd format. I have a greatest hits album that has "I Won't Back Down", my favorite Tom Petty song, so I guess that's why I have not gone ahead and tracked down the album on cd.

In my opinion, the music and lyrics are very explosive on this album. "There ain't no easy way out ...But I won't back Down" is a theme that underdog lovers flock towards. I love flexing my discernment muscle in the blind eyes of corrupt authority. I won't back down either. The beat in this song marches strong and it's simple structure makes it easy to tap my foot to. At about the 1:50 mark you will hear some outstanding guitar paired with the steady drum beat picks me up to new levels of feeling it. This song broke into the top 20 in 1989, and has been my top 100 ever since.

1989 was my first year on camp staff. Was that the year all of us except Methuen worked on staff, or was it 1990? I remember hearing it and playing it at Elliott.

Well I won't back down
No I won't back down
You can stand me up at the gates of hell
But I won't back down

/ Bm A D - / / Bm A G - / 1st /

No, I'll stand my ground
Won't be turned around
And I'll keep this world from draggin' me down
Gonna stand my ground
And I won't back down

... / Bm A D GD /

{Refrain}
  I won't back down
Hey baby, there ain't no easy way out
  I won't back down
Hey I will stand my ground
And I won't back down

/ G D A D G - A GD / G D A - Bm A D - / Bm A D - /

Well I know what's right, I got just one life
In a world that keeps on pushin' me around
But I'll stand my ground and I won't back down

{Refrain thrice}

No, I won't back down

Song #11 - Take On Me - A-Ha

A-Ha formed in the early 80's. From this formation of musical talent came one of my favorite 80' hits. "Take On Me" hit number 2 in the UK in November of 1985. The song did one better in the US mostly because of it's creative video which was played on MTV over and over again. The video fused animation with real-life action which was a new technology / concept in the early to mid 80's. The album from which this song played from was called Hunting High and Low. This cohesive album carries the same energy and synthesizer pop fix that "Take On Me" provides.

As a kid growing up in East Waterloo we didn't have a lot. However, the one thing that we did have was MTV. I watched that damn channel all of the time. Early MTV was good programming. The song "Take On Me" became an 80's hit for me mostly because of the video. I remember being floored by the flow of animation and live-action in the video. The song it's self is an interesting story told best by Wikipedia.

The saga of the video begins as a blonde young woman (played by actress Bunty Bailey^[1]) is in a coffee shop (London's Kim's Café), reading a comic book about competitive motorcycle racing.

Bunty Bailey and Morten Harkett in the "Take on Me" music video.

After winning the race, Morten Harket (who plays the winner of the race) winks at the girl; she raises her eyebrows. He then reaches his black and white cartoon hand through the comic book pulling the girl into his animated world with his band in tow. Through a creative effect they both view each other through a comic frame which shows them (and the band members) alternately in live-action and animation.

The waitress, coming back for the bill, angrily crumples up the comic book in retaliation for what appears as a stiffing and throws it into the trash. As this happens, two of Harket's competitors in the race come back for revenge. One, wielding a monkey wrench, smashes the comic frame. Harket punches one of the henchmen, and retreats with the girl down a maze created by the crumpling. Harket tears a hole for the girl to escape through, as he faces the two. The entire coffeeshop peers over the counter at the heavily newspaper-print stained girl lying next to the waste-paper basket. The startled girl grabs the crumpled comic book and runs out of the coffeeshop to her room, where she tries to smooth out the creases.

One of the panels shows Harket lying unconscious, and she begins to cry. Harket then comes back to life - appearing in the girl's room - smashing himself against the wall as he flashes back and forth between animated and live-action. Eventually, he becomes the latter, and the girl and Harket embrace.

What I like the most about the song are the synthesizer and poppin beat that is carried throughout. The levels that he rises his voice to are incredible. His testosterone levels must be very low or he has not yet gone through puberty. Singing that high is a WOW factor for me. A-HA is from the Netherlands and which I think are apart of the European Union? Europeans have embraced the synthesiszer and have gone wild with it. I applaude them and their efforts for doing that. I believe that I would have a great time hanging out in Europe listening to what that continent has to offer. I am a solid fan of the synth, and feel that it is hard to have too much of it. Take On Me........................Take Me On!!!!!!!!!!!!!!!!!!!!!!!!!!

Talking away
I don't know what I'm to say
I'll say it anyway
today's another day to find you
Shying away
I'll be coming for you love O.K.

Take on me
Take me on
I'll be gone
in a day or two

So needless to say I'm odds and ends
But that's me, stumbling away
Slowly learning that life is O.K.
Say after me
It's no better to be safe than sorry.

Take on me
Take me on
I'll be gone
in a day or two.

The things that you say
Is it live or just to play
My worries away
You're all the things I've got to remember
You shying away
I'll be coming for you anyway

Take on me
Take me on
I'll be gone
in a day or two

ad lib to end

Song #12 - ?

CMC - bookkeeping

2007-01-31T13:43:00.000-05:00

I propose (and have done) several minor technical things relative to how posts are dealt with.

I propose that the current month's entry get posted as if completed on the last day of whatever month it is offered so that it remains at the top of the list - it will require looking at the list of previous posts on the left to see if something new is in since they will show up just below the original post. This may get muddy as months bleed into one another.

I have condensed TClog's Volume 15 into one single post with links to the originals, both for personal preference and as a general request of Dan. Hunting down the write up for song 11 is annoying when it was archived 10 days ago. Half the posts show up in recent posts, the other half do not, for now. Soon all will be off the list. Not good.

Anyone else have recommendations?

(this post will remain at the top until there are some responses - sine it was written far into the future)

Have You Been Gobbled Up Yet?

2007-01-23T15:17:00.000-05:00

By now you all should have it in your little hands. It has taken me forever to get the comments up, but they are there and done. I posted each song seperately for two reasons. One, you can read something while you wait for the rest of the comments. Secondly, as an experiment, you can choose to comment on each song seperately or you can create your own write-up that covers the entire album at once. It is your choice and you are welcomed to do what you prefer.

Response to Dan's King George

2007-01-20T22:12:00.000-05:00

Thank you for your comments and thoughts regarding the compilation titled “King George.” And yes, the ideal King- Arthur, Richard or otherwise, seems to be embedded into the collective psyche of the British. Probably has a great deal to do with their ability to adore and maintain a royal line. And isn’t it wild, how America has come to develop their own since of royalty – be it a discussion of the tie worn during a speech, the first lady’s blouse during a ceremony, or the recent, “amazing” media coverage of G. Ford.

I find it difficult to compare evils and find it nearly incomprehensible to compare evils committed against entire peoples. It is much easier to generalize about large numbers of people than to consider the effect of evil upon an individual. That focus zeroes into a shared existence, “why couldn’t that have been me.”

I am not sure about your insistence on repeating the Mark Anderson quote, only an indication, I guess, that I continue to evolve and grow as the years go by- which I believe is a good thing, unless you do not like me at this moment for some reason. I’ve retained much, recaptured some of the good as I reach a new year or phase in development and attempt to endlessly blend the new with the best of the old.

You may be pleased to know that I still attempt to enter “Narnia” and believe that under most conditions, a hole CAN be cut into a dashboard to allow a tape to be played. Actually, the best way to sum this up is to reiterate a very strong belief that I’ve had since Johnson Street - anybody could wake up in the morning with a long, thick, purple nose. There is no reason that I can think of that would NOT allow this to happen.

Interesting, some of this may be more “bloggy” material, but it is fitting well enough. A funny quote that I may never live down with the ladies at the bookstore (a slice if you will – like bread to share)…two customers walk in, I deal with them, and send them up to the cashiers, customer one says, “that guy was funny.” A pause and then customer two adds, “yeah, in a weird way.” It is a very interesting time, being on the college campus and taking classes – it has given me much to reflect about. I wish I had on video some of the wildest bookstore situations to share.

Speak for yourself why don’t cha.

Rocking Chair: without a doubt I knew “celebrity” would be addressed. I was a little surprised at the “fuck you” given to George based on something you read that may or may not have been true and based on circumstances that you likely do not completely have all the facts for. It is certainly your right to take action and to vocalize your opinion and your interpretation of art and celebrity.

This idea of art and celebrity is confusing and has been discussed a bit before and may even be worthy of a blog post down the road, but loving the art is one thing, loving the artist is more difficult. I’ve experienced heartbreak when my idealized version of the artist was suddenly shattered or altered. I try not to fall into those trappings these days and feel reasonably comfortable with loving the art without necessarily knowing the artist. How can we? How can we believe anything presented to us by the media? I would love to feel as though I KNOW the artist based on my relationship with the art produced and could therefore love the artist as I would the art itself. This cannot be true. I tend to take comments such as, “I like The Killers,” to mean I like the art created by “The Killers” if spoken by friends, co-workers, or even myself. Paul McCartney. An artist that Dan and I have listened to and discussed for years. From the Beatles, Wings, solo years, and through our mutual discussions and listens to his music, reading of information, facts about his life, it seems that a rather DEEP relationship may have been formed. There is no doubt a relationship exists, but it is 100% one way, or I suppose 99.9% - he MAY have seen or heard us at his concerts, but do we KNOW Paul McCartney, sadly the answer is no. I know MORE about Paul McCartney than James Cook, but I MAY NOT KNOW Paul McCartney MORE than James Cook. It’s like doing a report on Woodrow Wilson in the fourth grade. I know many facts about Paul McCartney, but would still need to cite the sources.

Ski-ing: I have a feeling that all of us may have had an easier time hanging with George, but as stated above – we really do not know – maybe it would have been John that would have been the easiest, even though it SEEMS he MAY have been the most difficult. Interesting to think about, but impossible to know.

How to Know God: Glad you liked it, especially the page number part!

Wah-Wah: I can see your Hollies connection and your very late 60s/early 70s comment made me laugh, because, well, that’s exactly the time period for the song. I am glad you see/feel the joyous romp bit.

P-Fish: I love your take on this song. If there was a song that I would of hoped that you would have liked, it would have been this one. I did not know that you like zodiac stuff!!! You’ve got to be kidding – that is so cool, unless you are pulling my leg! Yes, high five on the zodiac!!

“Any connection to the transcendentalism & so on?”

I think so, see your bit below – you describe it perfectly

“I think I do like it better, listen by listen.” Me too!

“The topic-like he's hit upon what stirs him & makes him tick and now knows how to approach the rest of his life.”

I, too , love the low soul.

Party Seacombe: I thought you would like this one more than indicated. I do not think the context of the album would improve your view of this song, however.

ATMP: I like your take on this one and calling it George’s “Imagine.” I can see that.

G on R: Yes, yes, and YES!! I think I said the very same thing in my comments to Mixdorf’s comments.

When We Was Fab: I was pleasantly surprised by your comments to this one.

The Devil: Yes – and I forgot about the Smokey song, nice connection!

On The Bed: Thanks for the comment on the little story. Back at cha with your giant eagle bit – and I just saw “The Lady in the Water” so it had a particular resonance.

I knew you would like this song and am happy that you in fact, LOVE it. I obviously love it too, a real gem. Really LOVE it! It somewhat reminds me of Peter Gabriel music that you once used in your Humane Society video, or at least some of the feelings are the same, something from “Passion” – I wanted to wait until after your comments before I mentioned this. Do you see that at all?

IIAP: Isn’t it A Pity.

“Here Comes the Moon” was strongly considered, the trilogy from Wonderwall likely bumped a few off.

It is BECAUSE of the psycholgical damage brought on by post traumatic stress disorder that all the old men are in the pubs and all the young people are on drugs. This happened AFTER the Cromwell bit, it wasn’t that the English simply conqured a green land full of drugged youth and drunken elderly.

Entitlement and expectation and a sense of superiority – Europe – ahead in time, needing to take over, inlcuding the Irish, because they were like the rest – LESS. Dangerous ideas that have permeated the US – the Slave Trade, possibly the worst manifestation of such ideas. Ideas that are reaching new levels in government officials and upcoming generations. “We are entitled to a certain life style because we deserve it” “we deserve money for not working” “we deserve entertainment and food whenever we feel like it.” I think “feeling superior” to your fellow human beings leads directly to the MOST dangerous acts on our planet. I do not think it is human nature. I think it may be European Nature, and like a wave, it may destroy the earth.

For those that survive, it’ll all be captured on YouTube, until the very last human dies from being entertained to death. God may then decide to disconnect the internet for all time so that his/her friends won’t be embarrassed.

“And if there ever is gonna be healing
There has to be remembering
And then grieving
So that there then can beforgiving
There has to be knowledge and understanding”

SO

“Can you believe the news today
Try as you may you will not be able to make it go away
How long must we sing this song”

E TU

“…falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead”

JJ

During a race there has to be hope
Even faint and remote
The heart is pumping
Pumping against possibility
Content with its top performance
Without eyes it pumps
It may not give up
And it really doesn’t matter

The brain is with an eye
Hope here is not a lie
The mind can imagine sitting down for a good think
And work it all out
Computations and more
It cannot help but to reveal a possibility
The proof is irrefutable
Send the logic down and strengthen the spine

PG

Response to Mixdorf's King George

2007-01-20T11:35:00.000-05:00

Thank You! for your thoughts and comments. I am glad that you recognized the mix between presentations of facts and the smatterings of fiction. I will address only those items that you brought up so as not to spoil unknowns or retread that which might be known.

Allochronic. The use of this word may not be entirely correct in a grammatical sense (I really don’t know, it isn’t a common word at all), but I am so intrigued by this idea. A concept that I attempted to explain with “their sense of superiority and their need to dominate the “children” of the world”… More than just England, it is often attributed to most of Europe. An idea that suggests that many Europeans believed that they are, as a people, farther along in time than so-called third world, non-white, countries. This “concept’ helped to set up the need for colonization. Not so much a point, as an interesting backdrop to the later discussion concerning the “mess” left post-colonization. I admit it was an odd word to use early on, but I really felt that it supplied the underlying foundation for everything else that I planned to discuss regarding British and Beatle colonization. Wasps to Beatles. Cook to George, James Cook who, by the way, served a King George. Anyway, much more could be said with regard to this sense of “being ahead in time.” One last thought, the Irish were never included as part of this superior European Club and suffered greatly because of it. I wish to learn more about this and plan to do so fairly soon.

The British were discussed because of obvious reasons, but I certainly did not mean to suggest that they were the worst. I feel if a baby was dashed against a sharp rock by one country – that cannot be compared with the dashing of another baby on another sharp rock by another country. Spanish were probably more brutal, but there are so many examples of evils throughout history that to compare would be endless. Kahn. Hitler. American Slavery. Romans. Not good. I would argue that the British were still pretty awful and their abilities to bend to local cultures depended on individual situations. Some missionaries were ok, could even be considered kind, but many of them, if resistance became too great, would call upon their military to back them up – this usually resulted in the destruction of a village (or the deaths of thirteen Irishmen). Again, comparing dashed babies can be difficult. The British left much more than trains. They left altered races reeling from brand new sets of problems and cultural challenges.

Rocking Chair: well we both liked the “sideway glances” and the “shoulder and the thigh.”

Funny Droopy Dog connection, I can totally see it.

Ski-ing: Looks like I like this one a bit more than you, but I just love you discussing George and the Beatles – it kinda turns me on.

How to Know God: just a bit of Georginess

Wah-Wah: sounds like this one went on a bit too long for you. So you didn’t agree at all with my interpretation of the lyrics, or at least the bit I highlighted?

Pisces Fish: I found the lyrics in the beginning set up a nice little scene, just walking along. Reminded me of Minnesota football fields.

Party Seacombe: again – just wet from hearing you discuss the Beatles and George.

All Things Must…: no, not truly sad, but there is that weight, which I believe is a form of sadness – like growing up and leaving concrete things behind – what I mean – the time when you could not drive a car – well you can’t very well go back to that – kinda sad…

G on R: Yes – total BS answer – in fact he really wasn’t explaining the lyrics just REPEATING them – hilarious!!

When We Was Fab:I am glad you like the song, and your continued discussion of George and the Beatles has me sweating

Devil and Deep Blue: He had a place on the Islands, but I am not sure as to the specifics, but yes…

On The Bed: it’s where you got me now Mixdorf

Isn’t It A Pity: I really really enjoyed your take on this song. Very Nice.

Wrap: yes, isn’t it a pity about the dolphins

Great comments – thank you!!!

Dan's Comments on King George

2007-01-17T13:09:00.000-05:00

I can't really respond to intro in a much more thoughtful way than did Mix. I, too, echo the idea that history may look back at Colonial British as bastards and fops, but significantly less so than they will the Spanish. Also-it would seem that Britons regard, above the mythical King Arthur, the real King Richard the Lionhearted as their true "ideal king," perhaps if somewhat undeservedly so.

Thanks for the background info on Easton. I think we all have fond remembrances of this young, idealistic, and daydreaming PG. And I still recall the words Mark Anderson (44) spoke in the early 90s, giving voice to what was a fear of all: "I'm not sure I like this new, knowledge-based Pat. I'm really going to miss ignorance-based Pat." I am lucky to have known you through some evolutionary years to your current state, which is a pleasant blend of the two. But the old, PG...the one who asked out (and go shot down by) only girls he knew were already dating, thought if he cut a hole in his dashboard he could stick a tape in there and it would play, and tried numerous times to walk into Narnia via his bedroom wall...THAT is the Easton Gib, and the one for whom we all have a wistful eye back upon. To know (not that we couldn't have guessed) that your appreciation of King George dates to those days-and is influenced by the youngGib colored glasses-well, it puts it in some nice context for me.

1. Rocking Chair in Hawaii: I can appreciate the picture to which you refer, and this sort of natural Hawaii appreciation by meditative George. However, it's tough for me to get past a story I once read about how George, alone of a whole collection of wealthy Hawaiian beachfront owners, was unwilling to let the public access his stretch of shore. So, let me get this straight: you want to share your love of this wonderful spot of the world through song, but fence off your beach? Reminds me of that lyric of his I always hated, "Didn't want to be a star/just wanted to play guitar/in this cockamanie business." Well, GEORGE, I got news for you. Lots of other people would "just like to play guitar," too. And being a star is what got you your little slice of paradise. Fuck you. It reminds me a bit of some sort of vapid wife of a CEO, showing off the size of her wedding ring, just really plain not realizing how good she's got it (financially) or how completely apart from the rest of the struggling world her existence really is. Rant done. As far as the song, I like the lyric you (and Mixdorf) point out, but I'm not a huge fan of the music. Seems pretty straightforward blues. I kind of like the lazy harmony. I can appreciate what you love about this song, and how it makes you feel. And I hope my negativity on it doesn't ruin anything for you. I'm sure it won't.

2. Ski-ing: This may not be the last time I say this in my comments but...this sounds like something you could have recorded, Gib. Something tells me you could have been a really good friend of George. Like, moreso that with any of the other Beatles. Hanging out and having a good time, but also recording together. Sorry that won't happen. But all the different guitar fuzz & exploration & different strains, AND the Indian instrumentation. It's SO Patty G! Fun to see him rocking out here.

3. How to Know God: Wow-now this is a BEAUTIFUL little aural departure. Fits with the (Indian?) accented voice and the simple, yet deep conceptual words which, though I don't necessarily reflect my perception of God, are a very interesting way of looking at things. I LOVE this. And the "page one hundred and thirty" part: how fun! What a great end!

4. Wah-Wah: Does seem a bit of a joyous romp to be too cynical of a dig at a person. A pretty fun rocker, but I get nothing approaching the sprinkles you get. A little like Ski-ing (and like many PGibby recording sessions) I picture George in the recording studio working on, I don't know, a 64-track recorder and using all tracks. Like, he could never listen to a recording he's made and not say, "hmmm...I could add another guitar right there." A lot happening, sonically. I like two of the chord changes quite a bit. Right off the bat-at about :29, right when he says (I think) you're giving me the wah-wah." A very late 60s/early 70s thing. Something that reminds me of The Hollies. Also, halfway through each "wah-wah" refrain, when it goes "up to the next level."

5. Pieces Fish: Very interesting words, and some quite funny. I've always been fascinated with zodiac stuff. Was George into that? Any connection to the transcendentalism & so on? I wouldn't think so. I think I do like it better, listen by listen. The topic-like he's hit upon what stirs him & makes him tick and now knows how to approach the rest of his life. Kind of like "CS&N"'s "Southern Cross." Very relaxing. Good to hear George "go low" on "through my soul."

6. Party Seacomb: Hey, Wonderwall. Magical Mystery Tour called, and it wants "Flying" back. Seriously, if not modeled after that earlier song, this song was certainly inspired by it. Beatle (Hammond?) organ going on in the later part. Sort of sonic cacauphony taking over towards the end, also in that same vein. I like it OK, and especially the little noodling guitar that is recorded quite starkly against the somewhat mushy soundscape of the rest of the song. But I don't think it could ascend above a "Blackberry Jam" status for me as a nice piece to a greater whole of an album. I take it that's not how you view the song, but for me it would help to hear it in the context of the rest of the album.

7. All Things Must Pass: Seems like this is sort of George's "Imagine." At once, a bit of a crowning achievement, musically, and also some kind of summation of his post-Beatles philosophy. Of course, he's "Dark Horse," so it never really totally caught the same sort of commercial wind. But I like your description of the hope in the song, for "a day, a season, a storm, a conversation, an illness, a relationship, a cycle." And I like Mixdorf's placing of it in Bhuddist context. Interesting that, despite it's hopeful message of acceptance, it's of a bit of a melancholy plodding nature, when his "attack on Paul McCartney" was the joyful romp. Perhaps that's how the Bhuddists do it.

8. George on Ringo: All the while echoing Mixx's "he shouldn't have to defend Ringo" sentiment, I can find the humour in it that Gibbs does. My favorite part: "People say, 'oh, that's just Ringo,' or 'haha.'" My other favorite part, when he's "dissecting the meaning" is when he explains the line, "We could be warm, beneath the STORM." Oh, thanks, George! I guess I never really quite thought of it that way!

9. When We Was Fab: I like Mixx's encapsulation of a retrospective that does not wish to necessarily relive the past, but appreciates it. And I like Gibbs placing us in our own "Fab" context. Not that George, who was taken to court over "My Sweet Lord" really needs this, but in hearing the piano in this song, was anyone else thinking of Double's "Captain of Her Heart?" The "weehee haaa" may have been the same "weehee haaa" from "I am the Walrus." I love the descending harmony during the "and when you're in this world/the fuzz gonna come and claim you" parts. I like the song; always have.

10. The Devil and the Deep Blue Sea: A great choice of a song for a cover. A nice version, with the Uke, and the tuba. "I should hate you, but I guess I love you" IS heavy stuff. A little like Smokey Robinson's "I don't like you, but I love you."

11. On the Bed: LOVE IT!!!! Like some sort of John Lennon experiement circa Revolver mixed with only the best parts of Manheim Steamroller (of which I now acknowledge there aren't many). The loops of - what - flugelhorn? The buzzy Indian intonations on couple of guitar layers. The moment of drums kicking in. Beautiful! A masterwork, really. That's what I thought upon first hearing it. Danbient, no. Because everything is so visceral and real sounding. Perhaps loops, but nothing synthesized. Sounds like certain members of a brass band were lifted by a giant eagle and carried upwards through the clouds. I do love your story, by the way.

12. Isn't it a Pity: I echo the appreciation of the lyrics, and his general ability to convey a substantive take with relatively simple words. I like the music and arrangement, though perhaps not quite as much as either of the Pats. I'm starting to sense some Jeff Lynne here, that most insidious of little devils on George's shoulder. His Own Gay Yoko/Linda.

Conclusion: Yes, it IS a pity what the English did to the Irish, but the Irish deserve some blame for what they've done to themselves. Look at all their old men in the pubs. Look at all their young men on drugs.

BS: On the Bed. A Triumph! Close second: How to Know God.

SIWHI: Here Comes the Moon: Looks like a brother to the sun/Or mother to the stars at night/And here it is and here it comes... /Here comes the moon the moon the moon the moon Moooooon.