Posted November 22nd, 2014
I’ve written about Steeleye Span and the concept of a “second generation of electric folk” before, that time when bands like Steeleye, Mr Fox, and The Albion Country Band took folk roots and went in hundred different directions. Ten Man Mop, Steeleye Span’s third album, isn’t a new direction but a continuation of the stark, haunting style they developed on their second album, a personal favorite. While the “more of the same” element can get a little weary on the ballads, the “same” for this incarnation of Steeleye is welcomed.
I’ve read that Ashley Hutchings quit the band after this album because of the Irish songs on this recording. The reels and jigs are strong – better by far than the group’s previous instrumentals, which were often busy, loose, and flat in contrast to their clear and emotive vocal arrangements. So I’m left wondering whether the highly skippable “Four Nights Drunk” was the hair that broke that camel. It’s a variation of “Seven Drunken Nights,” and Steeleye do not quite sell the humor.
- Gower Wassail
- Jigs: Paddy Clancy’s Jig / Willie Clancy’s Fancy
- When I Was on Horseback
- Captain Coulston
- Reels: Dowd’s Favorite / Ten Pound Float / The Morning Dew
- Wee Weaver
Posted November 15th, 2014
Among other classical/traditional East Asian forms, Beijing and Cantonese opera had been on my listening wish list for a long time. I don’t have the knowledge to comment on this album’s place, so I’ll refer you to a site which has made this album available.
Though moments of this opera are engaging, the 14-minute tracks of this release don’t quite cut it as casual listening. In the future I may need to track down a compilation of highlights – however barbaric that may make me.
- Emperor Ming Peers into the Imperial Bathhouse
Posted November 15th, 2014
Less recommended. More that I realized I only had a few songs from this album on my MP3 player, despite considering it a favorite of its era.
Chairs Missing is one of the reasons I’d rather think of The Snarks as a ’78 punk band than ’77. Not that the scene hadn’t been weird and diverse before any one in England had heard of punk, the Sex Pistols split seemed to free punks in the immediate aftermath. In their departures from what The Ramones or the Sex Pistols established, few of the best ’78 albums sound anything like the others, but that diversity was hard to hold onto. Punk of the ’80s became largely monotonous and insular and appeared to shut out influence from those with affection toward synths, weird chords, clean tone, and anything outside of a cheap guitar plugged straight into a Marshall.
More than its oft-forgotten place in punk history, Chairs Missing should be remembered as an instruction manual for writing a second album: Wire explored new territory that expanded upon the sound and vision they’d established on Pink Flag, between the longer forms (“Mercy”) and the general exploration of new tones (few guitars parts feature the driving buzzy fuzz of the year before).
- Practice Makes Perfect
- French Film Blurred
- Another the Letter
- Men 2nd
- Sand in My Joints
- Being Sucked in Again
- Outdoor Miner
- I Am the Fly
- I Feel Mysterious Today
- Used To
- Too Late
Posted November 15th, 2014
It’s strange now to think how any producer saw the connection between Radford’s desolate, impoverished, and hushed 1984 and the lush, energetic music of Eurythmics. I don’t envy the editor of the “Sexcrime” video, forced to assemble such disparate elements, much less Radford or the studio-appointed editor of the film.
(And the award for Most Embarrassing Use of a Fairlight CMI goes to…)
Yet this soundtrack, however disavowed by Radford, doesn’t disappoint. It’s refreshing to see the two Eurythmics toss aside the often-unremarkable soul covers and stretch their abilities, despite the misses (“Doubleplusgood”). The Eurythmics had a strong, singular aesthetic despite how many synthpop tropes they embodied (producer/singer duo, robotic R&B grooves, androgyny in looks and lyrics). Lennox’s muted soul act lends itself toward more complex subjects than love and loss and other safe pop lyrics with which she contented herself as writer and performer. Musically, the soundtrack adds evidence that the magic of Sweet Dreams had little to do with the duo’s isolation and other limitations, that fame, pressure, and a bigger budget wouldn’t reduce their creativity.
- Sexcrime (Nineteen Eighty-Four)
- For the Love of Big Brother
- Ministry of Love
Posted November 15th, 2014
For Popmatters, Thomas May writes:
Who is Carla Bozulich, Sandro Perri, or Eric Chenaux? It wasn’t so much that one was forced to imagine answers to these questions than it was that any attempts to find such answers seemed, essentially, beside the point. The mystique was in the unknowing. The music, the cryptic album artwork, and Constellation’s own perfunctory written statements all provided signposts, a skeletal framework of understanding, yet they always withheld far more than they ever revealed. As such, these artists, and Montreal itself, were realised in my mind only in the abstract, as a messy assemblage of potentialities. And despite their haziness, these vague figures were never wholly absent; indeed, they framed my every contact with these records. The separation of these sounds from the time and place of their production had thus served only to bring forth a host of other spectral forms from the fissure.
May explores John Cage’s assertion that records are postcards, taking it in a positive turn. I know the feeling well – following a physically or chronologically distant scene.
Read more of New Landscapes From the Ruins: The Mystique of Buying Records.
Posted November 13th, 2014
Over the last year and a half, I been consistent about making car-time new-album-time as well – albums new-to-me, those recommended to me through various sources. I’ve decided to start writing some notes on these as they cycle out of my car and a few tracks find their way onto my mp3 player, a collection of my 3,000+ favoritest songs (currently).
First up: Joni Mitchell’s Hejira (1976).
For me, Joni Mitchell is that oddity of a songwriter whose talent I recognize yet feel no need to emulate, much like – perhaps not coincidentally here – Ani Difranco. Like every folkie, I love Blue unconditionally (it’s a 6/10 in my favorites system – high). It took me a few years to appreciate Court and Spark (5/11) largely because of the I’m-A-Jazz-Singer voice that Mitchell affects. I wasn’t surprised then to find that despite the high critical praise accumulating around Hejira, my reaction has been tame if not detached altogether.
The loping, slow-growing song structures on Hejira won Mitchell critical praise for eschewing pop’s verse-chorus-bridge pattern, but the songs largely fail to work for me. Given these structures, the listener is required to hang on every word of the story-song, but my attention drifts easily over the repetitive, easy-listening grooves. Musically, there are few surprises beyond the first verse on many of these songs, and that makes me tune-out altogether rather than give the lyrics a closer listen.
I feel the rock world views Mitchell’s jazz collaborations as evidence of her brilliance a little too uncritically. For example, reviews of Hejira highlight the presence of the late Jaco Pastorious, but though the Weather Report bassist plays melodically here, there is little of the flash and virtuosity that made his work influential.
- Song for Sharon
Posted August 31st, 2014
I was considering chimey guitars for a Snarks song, so I decided to learn a thing or two from the master. I’d been a while since I’d searched for Smiths guitar stuff on YouTube. Quite happy to find the mixed-down guitar tracks from “This Charming Man.”
Posted August 25th, 2014
Following up on my recently acquired synthpunk obsession, I recently discovered Mark Ryser of The Units has a Vimeo page. Like Devo’s similar films, the Unit Training Films as above feature that forgotten, cut-up aesthetic. Montage as social critique. With the ease of video editing, copious archives of disposable commercial films like the source materials here, it’s interesting that this approach hasn’t seen a revival.