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Archive for the ‘David Mitchell’ Category

42SOUNDTRACK: IRON MAIDEN-Iron Maiden (1980).

Steve Harris was on That Metal Show recently.  Harris is the baimssist and primary songwriter for Iron Maiden and has been since their first album in 1980.  When I was in high school Iron Maiden was my favorite band hands down.  I had all their albums, I had all their singles, all their hard to find British vinyl 12 inch singles, even a few pictures discs.  Wonder if they’re valuable?

Every album was an epic event for me–I even played “Rime of the Ancient Mariner “off of Powerslave to my English class (not telling anyone it was 13 minutes long).

And then, after Somewhere in Time, I just stopped listening to them. Almost full stop.  I did manage to get the first four albums on CD, but the break was pretty striking.  I actually didn’t know that they’d had personnel changes in the ensuing years.  I’d vaguely heard that Bruce Dickinson  left, and that others followed, but I don’t think I quite realized that they were back to their big lineup these days.

Anyhow, Harris was so earnest and cool that I had to go check out some of their new stuff. Which was okay.  I’d need more time to digest, but then I had to listen to the first albums again.

And wow I had forgotten how much the first Iron Maiden album melds punk and prog rock into a wild metal hybrid.  There’s so much rawness in the sound and Paul Di’Anno’s vocals, not to mention the speed of some of the tracks.  And yet there’s also some epic time changes and starts and stops and the elaborate multipart Phantom of the Opera….  Wow.

The opening chords of “Prowler” are brutal.  But what’s surprising is how the second song “Remember Tomorrow” is a lengthy song that has many ballad-like qualities, some very slow moody sections–although of course each chorus rages with a great heavy riff and a blistering solo.  On the first two albums Paul Di’Anno was the singer.  He had a fine voice (it was no Bruce Dickinson, but it was fine).  What’s funny is that Bruce does the screams in “Remember Tomorrow” so much better in the live version that I forgot Paul’s vocals were a little anemic here.

However, Paul sounds perfect for the rawness of “Running Free” a wonderfully propulsive song with classic Harris bass and very simple metal chugga chugga riffs.  And this has one of the first real dual guitar solos–with both players doing almost the same riff (and later Harris joining in on bass).

“Phantom of the Opera” is the band’s first attempt at an epic multi-secton kinda-prog song.  It opens with a memorable, if slightly idiosyncratic riff and some wonderfully fast guitars/bass.  There’s a great slow bit that morphs into an awesome instrumental soloing section with bass and twin guitars playing a wonderful melody.

“Transylvania” is an instrumental that is challenging but probably not one of the best metal instrumentals out there, although again when Dennis Stratton and Dave Murray play in synch solos it’s awesome.  This track segues into “Strange World” a surprisingly trippy song (with effects that seem like keyboards but which aren’t).  It’s slow in a “War Pigs” kind of way, but it doesn’t entirely break up the album, because there are other slow bits on the disc.  It is a little out of place though.

Especially when “Sanctuary” blasts forth.  True, it wasn’t originally on the album (in the UK), but man, blistering punk or what!  “Charlotte the Harlot” was always one of my favorite songs (it taught me what a harlot was after all), it’s quite proggy, with a lot of stuttered guitar work and a middle section that features some loud and complex bass.  The disc ends with the by now almost immortal “Iron Maiden.”   A great raw riff opens the song, a harmony guitar partners it and the band blasts forth.  Who even knows what the lyrics area about, the song just moves and moves–There’s even a great chaotic bass/drum break in the middle.  And listening to the guitar noises in the solos at the end.  Amazing.  It’s quite the debut.

[READ: June 7, 2013] McSweeney’s #42

I have made it a point of (possibly misguided) pride that I have read every word in every McSweeney’s issue.  But this issue has brought that to an end.  As the title states, there are twelve stories in the book.  But there are also sixty-one authors writing in eighteen languages.  And there’s the rub.  One of my greatest (possibly misguided) shames is that I don’t speak any other languages.  Well, I studied Spanish and German, I know a few dozen words in French and I can read the Greek alphabet, but none of these would help me read any of these stories.  So, at least half of this book I didn’t read.

But that’s kind of the point.  The purpose of this book is to make a “telephone” type game out of these stories.  Stories are translated from one language to another and then re-translated back into English.  The translators were mostly writers rather than translators and while some of them knew the second language, many of them resorted to Google Translate or other resources to “read” the story.  Some people read the story once and then rewrote it entirely, other people tried to be as faithful as possible to the original.  And so what you get are twelve stories, some told three times in English.  Some versions are very similar and others are wildly divergent.

I normally write about the stories in the issues, but that seems sort of beside the point as the original stories were already published and were selected for various reasons (and we don’t even see any of the original stories).  The point here is the translation(s).  So, in a far less thorough than usual way, I’ll list the contents below. (more…)

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bookpeopleSOUNDTRACK: PEARL JAM-Vs. (1993).

vsTen was a solid record, and although it had diversity within it, overall the sound was pretty consistent.  On Vs., Pearl Jam mixed it up sonically and otherwise.

It opens with “Go,” a track that rocks harder than anything on Ten but which retains a great Pearl Jam chorus.  “Animal” is also loud, with Eddie’s voice sounding incredibly rough and raw.

It’s on the 3rd track that PJ begin to really mix it up with their first ballad: “Daughter,” their first acoustic track.  It’s catchy, and really works with Eddie’s voice.  I can never listen to the next track “Glorified G” without thinking of my college roommate who spoiled it for me.  And I’ll spoil it for you because every time you hear the chorus you will now think “glorified version of a pelican.”  It’s not my favorite song anyway, as the chorus is kind of weird, but the verses are really strong and do redeem this track.

“Dissident” and “Blood” continue the great rocking vein.  Although they are quite different from each other, (“Blood” being much harder) they both showcase Pearl Jam’s excellent rock aesthetic.

The track between them, “W.M.A.” is the other track on the disc that shows Pearl Jam’s experimental side.  It’s percussion heavy and seems like a rambling track…it works much better live, actually.

“Rearviewmirror” on the other hand is PJ at their best, a fantastic rocking (but not too heavy) song with a great chorus, and excellent vocals by Eddie.   Its complement is “Elderly Woman…” which highlights the other end of PJ’s spectrum: a sort of ballad that rocks more than you might think.

“Rats” and “Leash” are two rough, almost punk songs that continue to mix up the tempo and tenor of the disc.  “Rats” seems to get ignored a lot even though its chorus is a good one, and “Leash” is another angry song that’s, again, enjoyable live.

“Indifference” ends the disc and it’s a song that I wasn’t all that excited about initially.  However, again, after hearing the live versions, I gained a much better appreciation for the song and now I really enjoy it.   All in all Vs, is a great step forward for Pearl Jam, strangely enough pulling them away from arena anthems and into more intimate areas.

[READ: April 16, 2009] The Book of Other People

I discovered this book by searching for A.M. Homes in our catalog.  I was surprised I had never heard of it.  The premise of this collection, put out by McSweeneys and benefiting 826 is that each author was asked to make up a character.  The requirement was that the story would be named after the character.  There were no other rules.  And as such, you get a wide variety of stories about all different characters: people and otherwise.  In fact, it’s surprising what a diverse collection of stories have arisen from this rather simple concept.

bookpeople2Zadie Smith is the editor and she wrote the introduction.  I like to cover all of the written pieces in the book, but there’s not much to say about the introduction except that it fills you in on the details of the collection.  She thanks Sarah Vowell for the idea but I gather that the rest of the work was done by her.

I’m not grousing about the different covers this time, I’m just showing the UK one.  It has the same basic set up, including pictures by Daniel Clowes, but as you can see, it’s slightly different.

And check out this roster of talent that has written (or drawn) a story: it’s like a who’s who of contemporary young writers. (more…)

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