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Archive for the ‘Deafness’ Category

SOUNDTRACK: KISS-Rock and Roll Over (1976).

After Alive!, Kiss released what I think of as the cartoon albums.  These next three discs all had cartoon covers, which also coincides with their huge ascent into fame.  I tend to think of Destroyer and Love Gun more than this one (maybe full-bodied pictures are more memorable than just their faces), even though this one has a huge share of important Kiss songs like “I Want You” (which has an amazingly long version on Alive II). 

I never really liked “Take Me,” there’s something about the chanting backing vocals that irks me (although “Put your hand in my pocket, grab onto my rocket” is one of my favorite Kiss couplets).  But “Calling Dr. Love” is a wonderful twisted song (the falsetto backing vocals are so doo wop, it’s funny to contemplate the band’s musical direction at this point).  I loved this song so much it even features in one of my first short stories

As an eight year old, I could never figure out what Gene would be doing in the “Ladies Room”–since he was a boy and all.  Naiveté is a wonderful thing to have as a young person listening to Kiss–I had no idea what was going on in most of the songs–I wonder if my parents bothered to listen to the lyrics at all.

I also never really liked “Baby Driver” all that much–I don’t know if it’s Peter’s voice, or that I can’t figure out what the hell this song is about but it’s still just okay to me–although I like the guitars at the end.   I love the solo in “Love ‘Em Leave ‘Em”–although the sentiment is not the best.  Of course, the sentiment in “Mr. Speed” cracks me up: “I’m so fast, that’s why the ladies call me Mr. Speed.”  Did that mean something different in 1976?

“See You in Your Dreams” was covered by Gene on his solo album, and I think I like that version better (it’s more theatrical).  Although this one has very interesting use of Beatlesesque harmonies.  “Hard Luck Woman” is wonderful song, and I do like Peter’s voice here, yes.  But who the hell is Rhett?  “Making Love” ends the disc.  I like the break in the middle and the awesome guitar solo.  Also, Paul’s vocals have some cool effects on them. 

This is a fun album.  Even the songs I don’t love are still songs that I like quite a bit.  It’s a nice contrast from the bombast of Destroyer.  The amazing thing is that both this album and Destroyer are barely over 30 minutes long.  Were they making albums so frequently that they didn’t have any more songs, or were they just following the Beatles model: make an album every 7 months to stay in the public’s eye?

[READ: October 2, 2011] Dogwalker

I can’t believe how quickly I read this book.  I wasn’t even planning on reading the whole thing just yet, but I started the first story and it was so quick to read and so enjoyable that I couldn’t stop.  I finished the whole book in a couple of hours (it helps that a number of stories are barely 4 pages and that it’s barely 150 pages).  The title of the book is something of a mystery as there are a lot of dogs in the stories, but walking is about the furthest thing from what happens to them.  I was also somewhat surprised to see how many of these pieces I had already read (Bradford was in five of the first six McSweeney’s issues). 

This collection is certainly not for everyone.  In fact when I recounted the story “Dogs,” Sarah was disgusted and said she would never read the story.  Bradford definitely pushes some boundaries, but they’re mostly in an attempt to find humor, so I think that’s cool. Sarah even admitted that the end of “Dogs” sounded funny (although she was still disgusted).  The two things I found odd about the stories were that two of them featured a three-legged dog, which seems a little lazy to me–although I don’t know what the dog might signify.  And two of them featured someone or something singing unexpectedly and the narrator getting a tape recorder to surreptitiously save this special recording.  Again, it’s a really unusual thing to happen at all, but to have that happen in two stories?

Aside from those little complaints, the stories were fun, funny and certainly weird. (more…)

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SOUNDTRACK: MOGWAI-Mr. Beast (2006).

After several mellow, quiet albums, Mr Beast brings back a lot of the Mogwai noise.  I distinctly remember listening to Mr Beast when it first came out because it was the first time I was home with my son and I exposed him to something other than kids music (he was 8 months old at the time).

Mr Beast changes things up from previous disc in a few ways.  There’s no long songs on the disc (5:30 is the longest), but there’s a return of some of the noise from earlier discs.

“Auto Rock”, although featuring keyboard, is a pretty heavy track, with big drums and loud layers of music that try but fail to disguise a riff.  But the best song on the album comes next “Glasgow Mega-Snake” is that awesome Mogwai beast: rocking guitars, a memorable riff and powerful drumming.  It’s recognizable once it starts, it’s got cool screaming solo notes and just when you think it’s going to end quietly, pow–it is indeed mega.

Despite all evidence to the contrary I think of Mogwai as an instrumental band.  So it’s always surprising when they have vocals on a song.  But it’s even more surprising when the song has steel guitars, is exceedingly mellow and has gently sung, slightly synthesized vocals.  And that’s what “Acid Food” is.  It’s followed by “Travel is Dangerous” which features the least processed vocals of any Mogwai track that I can think of.  It’s a wall of sound from the guitars, but it’s also a pretty conventional verse/chorus structure–will wonders never cease?  Despite that, there’s some wonderful screaming feedback during the solo portion of the song.

Diversity is the name of the game on this album though, as “Team Handed” is a gentle piano ballad.  “Friend of the Night” is one of their catchiest melodies–the piano runs through a series of riffs and ending with a beautiful piano line.  “Emergency Trap” and “Folk Death 95” are two more mellow tracks, but these have some intricate guitar lines running through them as opposed to the ashes of sound from previous discs.

“I Chose Horses” has a spoken vocal part from Tetsuya Fukagawa from the Japanese band Envy.  He speaks slowly and placidly over a beautiful piano melody. The disc ends with “We’re No Here” a final blast of noise to show that they’ve not gotten all soft.  It starts like many of the other songs, but by the end, the guitars are ratcheted up, with a simple but powerful solo taking over the back half of the song until a final descending feedback closes out the disc.

It’s an amazing piece of music. The bonus DVD shows how they made the disc.  I think it was the first time I’d ever seen/heard the guys in the band.

[READ: July 6, 2011] Wonderstruck

Brian Selznick’s The Invention of Hugo Cabret was a fantastic pastiche of gorgeous pictures and exciting text–not quite graphic novel and not quite illustrated book.  While the story was wonderful, the pictures were truly amazing–beautiful pencil (charcoal?) pages, many of which spread across two pages.  They were textured and very detailed.  And they brought to life elements of the story in a way that the text couldn’t.

Wonderstruck follows the same format: several pages of wordless illustrations followed by several pages of text.  But unlike Hugo Cabret, the words and pictures tell two very different stories.  The pictures tell the story of a young deaf girl.  The girl adores the actress Lillian Mayhew and even sneaks out to the movies to watch her films (this is set before “talkies”, when the deaf could watch films the same as everyone else).  We follow her through her life as she runs to the New York City and runs into several important figures in her life.  There several surprises are in store for her (and the reader), which I will not spoil here.  Suffice it to say that several times I said, wow! (more…)

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