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Archive for the ‘1984’ Category

SOUNDTRACK: JOHN LEGEND-Tiny Desk Concert #320 (November 16, 2013).

Recently John Legend acquired some humorous publicity when his name was misspelled at the Golden Globes.  But his career has been pretty impressive up until now.  He has impressive collaborated with Jay-Z, Kanye West, and The Roots just to name a few.  Nevertheless, I didn’t actually know what he sounded like.  But clearly I’m the only one, because the room is just packed with people.

The blurb tells us that he “achieved the kind of statesmanlike musical-ambassador status usually afforded to artists twice his age. He is, in short, the sort of star who doesn’t usually perform behind desks in offices.”

Though he recently released a fine new album titled Love in the Future, from which “Made to Love” and “All of Me” were drawn for this set, Legend took special care to provide the backstory for “Move,” which he’d recorded for the soundtrack to 12 Years a Slave.  Legend executive-produced that soundtrack himself

For these three songs, he plays piano and sings in a very soulful and understated way.  “Made to Love” is a slow, pretty soulful ballad.  It’s quite romantic with the chorus: “we were made to love.”

He tells a very powerful and personal story relating to 12 Years a Slave for which he recorded “Move.”  The album version was recorded with U.K. musician Fink.  But here there is no piano, just a guitarist.  It has powerful lyrics.  The end of the song features a clapping section which seems strange for such a down-cast song.

The final song is “All of Me.”  It is a lovely song, especially when he gives that gentle falsetto in the chorus.  Legend really is quite the performer–understated and with a great voice.

[READ: September 5 2016] “Fiber Optics, Holy Places”

I haven’t read any Barrodale before.  I don’t know if her stories are typically cryptic, but I found this one to be very cryptic.

The story begins “after they made love…” he told Ema that he’d been reading an old book by Sloane Newam.  It’s a great book, although it ruined her career.  But he says, “she’s funny.  She reminds me of you.”  At the airport the next day, he gave her a copy of Sloane Newam’s memoir and said, “Read it and you will see.”

Although writing that book ruined Newam’s career.

On her flight home, he gave her a copy of the memoir.  Confusingly, in the next sentence, Barrodale writes: “Halfway through the novel [it said memoir above], while flying over Missouri, she came to a fight between Sloane Newam and her boss.”

But I did really enjoy this bit:  While flying she says to the person next to her: “It’s pretty, huh? Out the window.  It’s Missouri. Get it? Mis-uh-ry? Misery. It’s like — I’m so happy, I’m over misery — Missouri.”  And this reaction: “The woman seemed embarrassed and turned away herself.”

Ema bought both books on Amazon, on for a penny, the other for $109.

The first book was about her lifelong affair with a married man…something that Ema could relate to.  But she thinks that made her guy never read these novels, something seems off. (more…)

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SOUNDTRACK: THE DEARS-Degeneration Street (2011).

I’ve loved The Dears for a long time now.  And yet with every new album I feel like I have to prepare myself for what’s to come.  And with every release I’m a little disappointed when I first play it.  Maybe for the next release I’ll realize what my problem is–The Dears do not stand up to cursory, casual listening.  They demand attention.  If you put them on as background music, you miss everything.  So when I finally gave Degeneration Street some attention, I realized how great it is.

The Dears write emotional songs that are fairly straightforward.  But the magic of their music comes in the layers of ideas and sounds that they put on each track.  And of course, there’s Murray Lightburn’s voice.  He sounds like Damon Albarn if Damon Albarn could sustain a note for a long time–could emote with his voice.  Now I happen to like Damon Albarn quite a lot, but Lightburn can really just out-sing him.  It’s wonderful.

“Omega Dog” opens with an electronic drumbeat, eerie keyboards and skittery guitars.  When the vocals come in–falsettoed and earnest, you don’t anticipate the full harmonies in the forthcoming chorus that lead to an almost R&B sound.  Not bad for the first 80 seconds of a song.  That the song is actually 5 minutes long and by minute 3, it sounds like an entirely different song is even more testament to the versatility of The Dears (check out the harpsichord solo that more or less ends the song).

“5 Chords” is a chugging anthem, a song with potential to be a hit (but which of course never will).  I find myself constantly singing the infectious chorus of “Blood”: “Since I was a baby I have always been this way; I could see you coming from a million miles away.”  Or the excellent chorus of “Thrones” “Plucking our eyes out, turning to stone, give up on heaven, give up the throne.”

“Lamentation” mixes things up with a slower pace and backing vocals that come straight out of Pink Floyd (any era really, but probably more of their later albums).  It adds an amazing amount of depth.  “Galactic Tides” has more Floydian stuff–the guitar solo (and the instrumental break) are really out of mid 70s Floyd–more backing vocals again).

Follow all of this intensity with the super poppy “Yesteryear”. It’s got an upbeat swing to it: happy bouncy chords and an inscrutable chorus: “What’s the word I’m looking for; It starts with ‘M’ and ends with ‘Y'”  It’s followed by the more sinister “Stick w/Me Kid,” in which Lightburn shows off his bass range.  There’s an awesome guitar riff in “Tiny Man,” simple and mournful that sticks with you long after it’s over.

The last couple of songs don’t really live up to the excitement of the first ten or so.  But the final song brings back the drama, with a swelling chorus and soaring vocals.  The Dears have managed to do it again, an emotional album that comes really close to being a concept album yet with none of the pretensions that that implies. 

[READ: July 13, 2011] Five Dials Number 16

Five Dials Number 16 is a brief Christmas Present from Five Dials.  The issue even seems longer than it is because the last ten pages are photos from the Five Dials launch party in Montreal.  The photo essay, titled In Montreal, includes local scenery and (unnamed) people photographed by ANNIKA WADDELL and SIMON PROSSER.

That leaves only 7 pages of text: The Editor’s Note, a look at London, a Christmas Poem and a short story from Anton Chekov.  And there’s another cool illustration from JULIE DOUCET

CRAIG TAYLOR-Letter from the Editor
Taylor thanks Montreal for their warm welcome (despite the crash course in what Wind Chill actually means).  He also hopes we enjoy the Christmas offerings contained within: the traditional Christmas poem and the Chekov story. (more…)

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