Feeds:
Posts
Comments

Archive for the ‘Janet Frame’ Category

april-5SOUNDTRACK: THE ZOMBIES-Tiny Desk Concert #236 (August 12, 2012).

zombiesWhen I saw that The Zombies were playing Tiny Desk I was really puzzled.  I love “Time of the Season,” but beyond that I’ve never really thought about them.  I didn’t know if they were a one-hit wonder or if they’d struggled for years or what.  I certainly never imagined they were togetehr in 2012.  And the blurb addresses that:

Predicting music that will survive the ages just isn’t possible. And the very existence of The Zombies in 2012 is even more baffling.  Its best known song, “Time of the Season,” came out after the band had already broken up.

I also had no idea that Rod Argent, of the band Argent, was involved with The Zombies (or that he was still making music).  But there he is, talking about the reunited band and playing keyboards.  He tells us, e don’t normally play in such a stripped down version.”  For the Tiny Desk it’s just keys and vocals.  Colin Blunstone, the original singer was 67-years-old when he did this show.  And man, both of them sound great.

The open with another song that I didn’t know was by them: “She’s Not There,” another classic.  It’s unmistakable and sounds great. Blunstone is clearly pushing his voice hard (and it’s all the more noticeable in such a stripped down version).

The blurb notes: “We caught Blunstone early in the morning for this Tiny Desk Concert, a time of the day when his range was self-admittedly a bit strained. However, the essence is still all there and so is the chemistry between Colin and Rod, a chemistry that began 51 years ago.”

They have a new album (!) out.  Argent says they tried to figure out what would sound good stripped down and they “Any Other Way.”  It’s quite good but not as memorable as the other two.

“Time of the Season: sounds a little different—very slow and with out the “Ckh aaah” and backing vocals.  But Blunstone sounds great and Argent plays some great piano solos.

For the final song, they play “a big solo hit that Colin had” called “I Don’t Believe in Miracles.”  I didn’t know the song.  It was written by the guitarist Russ Ballard who was the guitarist for Argent.  It’s a good song, I can see it being a hit with his soaring voice.  At the end, he comments, “I missed the really high bit at the end—I thought my eyes might pop out if I did that.”

It was great to hear these songs live, and maybe I’ll have to see if they made any other songs that I’ve always liked.

[READ: July 11, 2016] “Gavin Highly”

I haven’t really liked the stories from Janet Frame.  And I found this one to be somewhat unsatisfying as well.

There’s an element of fairy tale about this story that I did like–with the narrator unsure if her memory is doing any good.

The narrator (age unspecified, but the story is a recollection from childhood) is talking about the man Gavin Highly.  Highly was a strange guy.  He lived alone and always had done so.  But there were stories about him–that he lived in a rabbit burrow and invited ferrets in for afternoon tea.  “But of course that sort of story couldn’t be believed by realists.”

For all of his eccentric living–never actually living in a proper house that anyone knew of–he did collect books.  People said there were books everywhere.   They were probably worth thousands of pounds and if he had a mind to, he could sell them and buy a nice place.  But he never would. (more…)

Read Full Post »

sept1 SOUNDTRACK: WILLIAM BELL-Tiny Desk Concert #563 (September 7, 2016).

william-bellI’d never heard of William Bell before this show, although I see that he is apparently a classic soul singer with hits from Stax records back in 1960s.

Bell has a new album out this year and the title song “This is Where I Live” is a kind of autobiographical story of his life.  He sings of growing up and hearing Sam Cooke and then writing songs of his own that have taken him around the world.

I love the idea of “The Three of Me”: “Last night I had a dream and there were three of me.  There was the man I was, the man I am, and the man I want to be.”

The first two songs sound great–classic soul with horns and lots of bass and backing vocalists.

Bell’s voice sounds great as well.  He sounds like a veteran soulmaker.  And although he sounds timeless, I’d never guess he was 77 years old. And yet, he co-wrote “Born Under a Bad Sign,” which I thought was older than 70 years.

Either way, he plays it here.  I think his is the version I know least well (he mentions that even Homer Simpson has done a cover of it).  Bell’s version is, of course, great.

And here I have to mention his backing band  There are about 12 people all wearing bright yellow shirts.   And just about every person with an instrument gets to do a solo during “Bad Sign” which is why the song clocks in at about 10 minutes.

It starts with a great bluesy guitar solo, and then in turn we get to hear bars from saxophone, bass, organ, piano, bass sax, soprano sax and trombone.  The backing band is called The Total Package Band.  And they sound perfect for Bell’s music.

[READ: March 1, 2016] “Gorse is Not People”

Here’s another case of the same author being published just a few months after their previous story (June).

This story had a date at the end of the story–1954.  I had to look up some details about Janet Frame.  Turns out that she is an author from New Zealand and she began writing in the 1950s.

I don’t know if that’s what makes her stories seem so alien to me or what.  I found her previous story to be pretty inaccessible.  And this one is also pretty out there.  It also seemed very un-PC–which makes sense if it was written 60 years ago.  But the previous story was all about someone in a psychiatric home.  And this one is also about someone who is in a special place “in the yard where they put people who were strange in shape and ways” (more…)

Read Full Post »

62SOUNDTRACK: THE JAYHAWKS-Tiny Desk Concert #556 (August 8, 2016).

jayhawksWhen The Jayhawks first had a hit back in 1992 (“Waiting for the Sun”), I actively disliked it.  I’m not sure why but at the time something about it really rubbed me wrong.  Now, I happen to really like the song. But more interestingly, I think that their newest album, especially “Quiet Corners & Empty Spaces” is fantastic.  It’s one of my favorite songs of 2016.

The verses are simple and catchy, the chorus is mesmerizingly fun to sing.  And the way the band fills in around Gary Louris’ voice is just perfect (and those harmonies, wow).  The version here is perfect–feeling a little more  “live” than it does on record (as it should)

“Lovers of the Sun” mixes the verses of an unwritten Sloan song with a 1960s folk California chorus.  The e-bow (which they’re worried didn’t get picked up) sounds cool and eerie at the same time.

“Leaving the Monsters Behind” has a bouncy bassline that propels this song and everyone sings delightful harmonies.  There’s close harmonies with Louris and higher ones from the drummer.  The middle section (ostensibly the solo) is really interesting for the way it shifts dramatically and the bass plays something very different from the bouncy main part.  The parts work very well together.

“Comeback Kids” opens with a high riff on the guitar and a slow bass keeping the pace.  I love that keyboardist Karen Grotberg switches back and forth between piano and this little synth pad thing that plays cool theremin-like sounds.  The riff that leads to chorus is really dramatic as well.  The ending, in which everyone sings some “oohs” and the riffs build and build, is right on.

I’m delighted at how much I’ve changed my mind about The Jayhawks.  And it only took 24 years (and many many breakups, re-formations and personnel changes) for me to change my mind.

[READ: February 26, 2016] “A Night at the Opera”

I found this story to be rather unsatisfying.  And it may have just been that when I printed it out, the first section was on one page and the second section–the start of page two–seemed so different that I wondered if I had somehow printed the wrong second page.

The story opens with the narrator reflecting on watching the Marx Brothers movie A Night at the Opera and how they laughed and laughed.

Then the second part jumps to a hospital known as Park House.  It is a place for people who need assistance all the time.  There are varying degrees of mental deficiencies in the hospital: the violent, the uncontrollably deluded, those who had murdered or who would murder, and the speechless. (more…)

Read Full Post »

5dials32bSOUNDTRACK: SYLVAN ESSO-Tiny Desk Concert #429 (March 30, 2015).

sylvanI haven’t really gotten into Sylvan Esso (NPR loves them), although there was something about the show that made these songs, which I’d heard before, gel for me.  Perhaps it was seeing Amelia Meath dance (or make that hilarious face).  Or her commenting about how quiet the room is and that maybe everyone could “move like the seaweed in Ursula’s cave.”  Maybe it was the preposterous shoes she is wearing.  Or maybe it was watching Nick Sanborn play around with this new to him equipment.

Or maybe it was just time for me to “get” them.  They have a  great chemistry in this setting, and Meath’s voice is really pure and beautiful.  I love that she often sings without moving the microphone to her face.

They play three songs: “Coffee,” “H.S.K.T.,” and “Come Down.”

It’s also hilarious that her dad sends her texts messages during the show (which she reads to us while Sanborn is trying to fix the equipment).

This is a great set and funny banter from this charming band whom I should listen to more.

[READ: April 3, 2015] Five Dials 32b

The email that accompanied this issue explains what those words in the title mean.

In Maori, there’s a word for the extra bit of time added at the end of a game, perhaps after the final minutes of a rugby match. Wā tāpiri is the noun. We’ve decided to make this our wā tāpiri issue. At the beginning of June we released an issue dedicated to new New Zealand writing.  Our wā tāpiri issue offers extra time for you to read some of the wonderful Janet Frame’s correspondence and look at a few untamed paintings from Shane Cotton. We’re pleased to be able to include them in our extended New Zealand special.

So there’s only two things in this extra issue.  Some letters and some art.  I enjoy these little extra issues, and this one is especially cool.

JANET FRAME-Correspondence: Camping in Our House
This is a series of letters passed between New Zealand author Janet Frame and poet Charles Brasch.  In 1963 and 1964, they share some nice compliments.  And then in 1969 they talk about what home (New Zealand) is like, while she is away at Yaddo.  First off, it’s interesting to hear that a) Yaddo was around in 1969, b) just how many famous people were in residence and c) the interesting details of residence there.  We also learn about some troubles in New Zealand but how they pale in comparison to the troubles in the States where “West Virginia has just passed a law which reads ‘police or mayors shall be guiltless if anyone is killed or wounded in an attempt to put down a campus disturbance even if this victim is only a spectator'” (Jesus!).  Meanwhile she is happily staying for free in Yaddo and getting a lot of work done.   There is also a facsimile typed letter from 1967 (which is fun to read and to see that people made mistakes back then and just fixed them with pen) in which she talks about first going to Yaddo.

JUSTIN PATON-“Shane Cotton’s The Haymaker Series”
Paton introduces Cotton’s Haymaker series which is indeed 5 panels on the wall of a gallery (each piece is presented in this issue too).  He describes how the New Zealand artist references other artists well as his own previous works in these panels.  He references the carved heads from his Tradition History & Incidents (from 2009), in addition to many other.  But this is not a retrospective piece.  This introduction really gives some great context for the works (which I talk about below before having read this introduction).

SHANE COTTON-The Haymaker Series
From Page 10 is the Haymaker series, mechanical and geometric prints in front of a gray foreboding background which looks like a storm.

The final page shows some photos from the launch of issue 32, including a link to a video by Lail Arad who was at the launch.  It’s a quirky video for her song “Everyone is Moving to Berlin.

Read Full Post »