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Archive for the ‘First Second :01’ Category

gryphosnSOUNDTRACK: FLACO JIMENEZ-Tiny Desk Concert #250 (November 12, 2012).

flacoFlaco Jimenez has been playing button accordion for almost six decades.  He’s played with The Rolling Stones, Bob Dylan, Dr. John, Los Lobos, Willie Nelson and Ry Cooder.  His grandfather started playing an accordion in cantinas and family parties along the Texas/Mexican border around the late 1800s. Then Flaco’s dad, Santiago Jimenez Sr., carried on the family tradition when he released his first record in 1936.

The accordion that Flaco uses is so tiny and yet he is all over the place with it–fingers flying everywhere.  The NPR site describes his longevity as lying in the short bursts of improvisation in between verses.  He will actually not playing anything for a measure and then fly when it’s his turn.   He is accompanied by bajo sexto player Max Baca, who keeps a great rhythm and accompaniment.

They play three songs.

  • “Margarita”  was written by Flaco’s dad in “nineteen hundred and throw it away.”
  • “La Paloma”  is a fun instrumental.
  • “Cada Vez Que Cae La Tarde”  sounds German (many of these original melodies were but they had changed the lyrics to Spanish).

Before this final song he asks if they want a honky tonk (he plays a little riff), but he changes his mind and says lets polka.

[READ: December 9, 2015] Gryphons Aren’t So Great

I hadn’t kept up on my plan to read all of the First Second books, so as the year draws to an end, I decided to grab a few of the kids books, which I figured would be quick and would allow me to check off a few on the list (since they keep publishing more, I have to keep up).

I found two books by the creators of Adventures in Cartooning, a series of book which I haven’t read but which look like a lot of fun.

These two books are tiny graphic stories for very little kids–the art and story are very simple.  And they are both really fun.

Gryphons Aren’t So Great continues the story of the knight (actually the two stories are completely separate and can be read in either order).  As this story opens, the knight is riding Edward super fast down a hill.  When they get to the end…they jump! (more…)

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knights SOUNDTRACK: RENAUD GARCIA-FONS-Tiny Desk Concert #238 (August 27, 2012).

renaudRenaud Garcia-Fons plays the double bass.  He was born in France to a family with roots in the Catalonia region of Spain, and he’s fluent in French, Spanish and English.  He easily switches between classical, jazz and flamenco.  And he plays the double bass in a way that I’ve never seen before.  As “Aqua Jan” opens he is tapping the strings with his bow, creating a very cool hammering effect and what sounds like very fast picking (but with a bow).  Then the song switches to a more traditional bowing style and Renaud’s fingering is amazing to watch.  He returns briefly back to the bouncing bow at the end.

The second song is “Hacia Compostela.”  Compostela is a holy place in the north of Spain.  It is a song about going to holy city.  He opens the song with some harmonics (which he loops).  It never occurred to me you could do harmonics on a double bass.  And then he’s on to some lovely fretless bass playing.  Then it’s on to some more bowing–very high-pitched and almost electronic sounding–it’s very cool.   Back to some incredibly fast bowing and amazing finger work.  The loops (I’m not sure when he was recording them, but they kept changing), add some great bass notes and some sort of percussive elements too).

The final song, “Rock Wandering” he introduces as saying that since most of you are standing, I w ill play something that is dancing.

It opens with more of that tapping style (and feels like rock chords the way he plays it).  He makes them looping backing chords as he just goes to town with the virtuoso playing on the strings.  He gives any guitarist a run for his money on the solos.  It’s astonish to watch.

[READ: December 9, 2015] Sleepless Knight

I hadn’t kept up on my plan to read all of the First Second books, so as the year draws to an end, I decided to grab a few of the kids books, which I figured would be quick and would allow me to check off a few on the list (since they keep publishing more, I have to keep up).

I found two books by the creators of Adventures in Cartooning, a series of book which I haven’t read but which look like a lot of fun.

These two books are tiny graphic stories for very little kids–the art and story are very simple.  And they are both really fun.

Sleepless Knight is the story of the knight (who is a little stick figure kinda guy with a knight’s helmet on) and his horse Edward.  As the story opens they are planning for the best camping trip ever!

Poor Edward is laden down with so much stuff (including a cactus and a scooter).  And while the knights considers that maybe he over packed, it doesn’t stop him from filing up a huge sack full of stuff.

After a brief hike, they stop to camp (the visual joke is very funny). (more…)

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juiaSOUNDTRACK: AVI AVITAL-Tiny Desk Concert #239 (September 12, 2012).

aviAvi Avital plays a mandolin. But he doesn’t ply bluegrass. Indeed, much like the Punch Brothers covering Debussy, Avital uses the mandolin to play more classical type of music.  He is the first mandolinist to be nominated for a Grammy in the Best Instrumental Soloist category.

He has had this mandolin for about thirteen years and he loves it.  He has been using the same Israel lutier since he was 17, exchanging them until he found this one.  And he can really play the heck out of it.

He plays only two songs in the ten minute concert, but they really showcase his skills.

“Nigun” was written by Ernest Bloch in 1923 for violin and piano.  NPR says Avital’s arrangement, like the original, pivots between the ecstatic and the introspective, rising in intensity (and pitch) until finally disappearing in a mist of quietly plucked notes.  If you think of the mandolin as just strumming along to pop songs, you’ll be blown away by this.  He plays notes that I suspect were never meant to be played…sliding all the way down to the highest high notes on the highest strings.  I don’t know that it sounds better than a violin, but it is pretty neat.

“Bucimis” is a raucous Bulgarian folk tune in the odd meter of 15/16. “It’s almost 4/4, but not quite,” he says. “I can play it, but I can’t dance it.”  This song is absolutely wild, especially at the end.  While the first song was pretty, this song showcases just what you can do with a mandolin.  It’s intense.

[READ: June 19, 2013] Julia’s House for Lost Creatures

I don’t normally write about kids picture books (if I did my whole blog would be about them as we read so many).  But this one gets a special mention because a) it was published by First Second and b) I love Ben Hatke’s drawing style so much.

This is a delightful story which you have to start on the title page.  It shows a giant turtle with a huge house on its back.  And on the next page the text says “Julia’s house came to town.”

Julia puts in a mailbox and settles in by the sea. (more…)

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olymmp SOUNDTRACK: TORRES-Tiny Desk Concert #461 (August 10, 2015).

torresI’ve really enjoyed a lot about Torres’ music this year.  Mackenzie Scott has an interesting delivery which reminds me of certain aspects of PJ Harvey, and her songs are angry but measured.

Her songs seem to have a lot of low-end in them (without being bass heavy exactly–in fact in this Tiny Desk, there is no bassist).  And her singing voice is often rather low (and sometimes growly).  There’s a moment in the first song “New Skin” in which the music drops out and then Mackenzie Scott starts playing her guitar anew and it’s a sound unlike any in the song before (even though she has been playing all along).

Guitarist Cameron Kapoor adds cool sounds to what I think is her best song, “A Proper Polish Welcome.”  Erin Manning provides wonderful harmony vocals along with keyboards on this song which is as powerful as it is understated.  The song gives me chills.

“The Harshest Light” is a slow song that has glimpses of light as she sings slightly higher notes in the chorus.  And when her voice breaks near the end, you can hear the intensity in her singing.

It’s a great three song set that only leaves you wanting more.

I had resisted getting this album, but realizing just how good these songs are might tip the tables to a purchase.

[READ: Summer 2015] Olympians 1-6

While I imagined that I might read all of the First Second books this year, I paused about mid way through (more for me next year).  But one of the last things I read from First Second was this series of outstanding mythologies about the Greek Olympians.  It also turned out that a few years back I got these books for C., not realizing they were under the First Second imprint.  I was intrigued by them then, but I’m really glad that I read them now.

George O’Connor is a massive geek and Greek scholar.  He has done lots of research for these books, including going to Greece and visiting sites and antiquities as well as comparing all manner of ancient stories to compile the most interesting pieces. He explains that since these stories were orally passed down, they were modified over the years.  He doesn’t change the myths, he merely picks the story lines that are most interesting to him.  And then he adds a lot of humorous modern touches (and dialogue) which keep it from being at all stuffy.

O Connor’s drawing style is also inspired by superhero comics, so his stories are presented in a way that seems much more like a super hero than a classical hero, which is also kind of fun.

Each book ends with an author’s note which is hugely informative and gives plenty of context.  It also has a bibliography, but more importantly, it has a list of notes about certain panels.  Do not skip these notes!  In addition to providing a lot of insight into the myths of the characters themselves, there are a lot of funny comments like “Greeks raced in the nude (point and laugh)” which really bring new depths to the stories. (more…)

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  laikaSOUNDTRACK: RANA SANTACRUZ–Tiny Desk Concert #88 (November 2, 2010).

ranaThis is a fascinating Tiny Desk that was posted exactly five years ago as a way to celebrate the Day of the Dead.  Rana Santacruz plays ranchero music.  I did not know what to expect from ranchero music but to me there is a very bluegrass feel.  There is a banjo and a fiddle!  And then there’s trumpet and Santacruz’ accordion playing and Spanish lyrics.

The first song “Tacho El Gacho” begins with horns and has a kind of mariachi feel (Santacruz is dressed like a mariachi), but the song soon switches to that bluegrass feel and is very fun.

He introduces the next song by saying “The next song is called ‘Death.'”   And they play a ten second piece.  They laugh and joke that the real next song is “Dejala Entrar” about a sailor who leaves with death willingly  because of his happy life.  The chorus: “open the door let her in, death herself is here to pick me up.”  This one is like a sea shanty.

The third song is “El Funeral De Tacho” which has more trumpet and feels more mariachi in the opening.

He jokes about all their death songs but says that their songs that deal with death are happy ones.  And indeed, “El Ranchero Punk” feels like a real hootenanny.   The bass player even plays drums on the bass.

I enjoyed this set a lot, and even not really knowing what he was singing about, I totally got into the songs.

[READ: July 7, 2015] Laika

If you know who Laika is, you know that this is not going to be a happy story.  If you don’t know who Laika is, shame on you.  Laika was the first living creature shot into orbit.  She did not survive but she has become legend.

Abdzis has done a ton of research into Laika and the communist/American space race of the 1950s and 60s.  And he has created a wonderfully researched and nicely detailed account of the life of Laika and the people who handled her (and the women who loved her).

The story opens on a man walking through the snow. He has just been released from the gulag and is walking to the nearest town (in freezing weather).  It is Sergei Pavlovich, the future creator of Sputnik (he was falsely accused of treason).  And as the first chapter ends we see his success–Sputnik was the first satellite launched into orbit.  And we see that Nikita Khrushchev wants another satellite in one month. (more…)

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shackSOUNDTRACK: THE VIOLET ARCHERS-The Anza Club Vancouver, BC (October 22, 2005).

anzaThis is the final show on RheostaticsLive by The Violet Archers.  Tim says this was their first tour and first album.  Ida Nilsen is playing keys throughout the show (and adding backing vocals).  This is the first time she has played live with them for these online shows.

Tim opens the show by saying “We’re the Violet Archers from more or less Toronto, Canada.” He continues, “We have a new album out and the second song [“Coordinates”] goes exactly like this” (although it has kind of a rough start).  In the previous show, Tim sang “All the Good” solo, but it sounds much better with the full band.  Yawd takes a really blistering solo.  Even the drums sound great–he’s really smacking the heck out of them. Tim says it is a “true story with some muscular guitar from Yawd.” Having all of those voices complete this minor chord masterpiece is great.

We learn that Yawd is also in a band called Wayne Omaha.  And that the Archers drove through Beautyland (which I can’t find out anything about!) on their way from Nelson–before then Beautyland was only a picture on a cheap paper place mat.  By the way, Dave and Michele organized the show and are selling beer–the more beer you buy, the more money we make.

“Time to Kill” sounds great–upbeat and catchy.  After the song Tim says, “it’s about waiting for the next Steve Malkmus album to come out.”

In introducing Ida Nilson he says she is from Great Aunt Ida.  You might remember them from oh 15 minutes ago.  Then another member says (and J.P., Scott and Barry.  Tim says “they put the Great in Aunt Ida”).

“The End of Part One” (the title track of their latest album, Tim jokes) really uses the keyboards.  It has lots of backing vocals, including Ida’s which really fleshes out the song (although it sounds slower here than in other shows).

They dedicate a song to someone because it’s her birthday.  “We take requests, do bar mitvahs, corporate functions (bring us some of your corporate dollars–big dollars!).  We don’t do weddings (we don’t believe in the institution of marriage).  Ah hell, we’ll play at weddings (Ida asks, how much?).  This is the intro to a lovely version of “Simple” which is nearly a duet with Tim and Ida.

We also learn that when they were playing in Nelson, Tim taught Spirit Dancing Lessons (another market they cornered–Tim’s giving lessons after the show).  The next song is “Another one for lovers,” which Yawd says is called “Come the Night” although on record it is actually called “A Rising Tide.”  I love the loud chorus, with kind of darker chords.

Interestingly, they play some new songs (from the next album).  They are looking for a title for this song which is now called “new song.” It will eventually be called “Listening.”  It’s quiet and sweet.  Cam Giroux is playing drums tonight (not quite the newest member of the band).

They play their “most political number” called “First the Wheel.”  Then the band starts clapping slowly for Ida to start “Fools Gold Rope” and she asks them to stop–this is a quiet song–she is the singer. It’s mostly just her on the keyboard.  At the end she says I hope you don’t mind if I miss a few chords now and then.

Another song for the new record is the super catchy “Insecure.”  It’s a great duet with Ida and Tim.  On record there’s a horn solo, but the guitars do just as well here.

Scott Remilla on bass is the newest band member, from the band Raising the Fawn.  And coincidentally “Path of Least Resistance” opens with a bass solo.  He takes a long time to start and Tim asks, you want more of an introduction?”  Then they play the upbeat “Life and Then” (which Tim says is sort of about making maple syrup from the blood of trees).

Last call, last song, it’s all coming together.  “Track Display” is about his car stereo.  After a super long intro, Tim sings flat and coughs and laughs and says I need a minute, we could all use a minute.

For the encore, they play another new one called the “Violet Archers Theme Song” (just Tim on guitar and vocals).  And they end the show with “Here Come the Feelings,” a great rocking song to end the set with (they don’t screw up the 5 count this time).

I wish there were more live shows from them, as they are a fun rocking band.  But at least they did get to record a second album.

[READ: June 3, 2015] Shackleton

One of the cool things about reading all of the First Second graphic novels is that I find stuff that I wouldn’t choose to read because of the subject matter.  This book is about an antarctic expedition.  And while it was very good, I never would have picked it up based on that premise alone.  But I really enjoyed the book and was delighted by what I learned from it.

This is the story of Ernest Shackleton, a real explorer (I’d never heard of him) who was determined to explore Antarctica.

He had made two expeditions before this book is set.  The first, the Discovery Expedition 1901-1904, was meant to discover the South Pole.  They got to 78 degrees (the pole is at 90).  Then he crewed the Second Expedition, the Nimrod Expedition 1907-1909, when they got to 88 degrees (about 97 miles from the pole).  Shackleton was knighted but unsatisfied. Especially when Roald Amundsen reached the South Pole in 1910-1912 and then Robert Falcon Scott completed the Terra Nova Expedition 1910-1913 (Amundsen beat them by a month).  Shackleton was furious about losing out to these men so he determined to cross Antarctica on foot.  He set out in 1914.
(more…)

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yolenSOUNDTRACK: BETTY LaVETTE-Tiny Desk Concert #61 (May 21, 2010).

bettyAnother peculiar Tiny Desk is this one from Betty LaVette.  It’s only peculiar because, for licensing reasons, they can only show one of the three songs she sang.

I don’t know much about LaVette, but I immediately loved her voice–rough and sultry and amazingly powerful.  The only song here is her take on “It Don’t Come Easy,” and it’s really great.

With only her voice and guitarist Alan Hill accompanying her, she manages to bring amazing depth to this song.

The other two songs were: “Don’t Let the Sun Go Down on Me,” and “Nights in White Satin.”  While I’m not that interested in “Sun,” I would love to hear her take on “Nights.”

The notes say that at this time they don’t have the rights to play the songs.  It has been five years, and I imagine they are not really pursuing those rights any longer.

[READ: July 28, 2015] Curses! Foiled Again

Since I recently posted the Foiled review I had to run out and get the sequel (also on First Second books)

After a quick “Previously,” we get reintroduced to Aliera’s weapon and its glowing gem and we learn that Avery is beautiful on the outside but an actual troll within.   As with the previous book, the panels are all gray scale until she runs into the mystical beasties.

The problem with this book is that Aliera is mad at Avery for secretly being a troll (fair enough), but there is nothing he can do to get her to listen to him.  So it is actually rather tedious that for the whole book he keeps trying to tell her things but she refuses to listen. (more…)

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shadowSOUNDTRACK: ANDERSON BRUFORD WAKEMAN HOWE-Anderson Bruford Wakeman Howe (1989).

The band with an amazing pedigree created a band with a preposterous name and an equally preposterous album title.  But who cares, right?  After the pop frenzy of Big Generator, why shouldn’t the “real” members from Yes (excepting Squire) form a band?  They even brought Bruford back (he has said that he didn’t realize all three other guys were part of it, he thought it was a solo recording).  Perhaps the most insulted person should be Tony Levin.  Not only did I not know he played bass on the album (Bruford brought him over from King crimson), but I can’t even hear him on it!  I have listened to this record a couple times recently and I can’t hear any bass at all.  It’s like the anti-Chris Squire album!

I remember when this came out I was pretty excited.  I remember drawing the album cover (look, kids, Roger Dean is back!), and I remember joking about the preposterous “Teakbois.”  But when I listened to it again (first time in probably twenty years), I didn’t recognize a lot, and I liked even less.

abwhThe album opens with “Themes,” a six-minute, three-part mini epic which should hearken back to Yes of old.  There’s an interesting slow circular keyboard piece and a pretty piano melody and then it gets funky, sort of.  About 4 minutes in, it changes to a new thing altogether but again the sounds are so…bleah,  the guitars sound pretty good (some great guitar work from Howe) while those keys just sound….  You know I said that Wakeman would never play the sounds on 90125 & Big Generator, but he went even blander on this song.

Track two is only 3 minutes long.  It’s dramatic and angry with some good keyboard sounds.  It’s probably the best thing on the album.

“Brother of Mine” is another three-part mini epic that runs over 10 minutes.  The guitar chords and style remind me of mid 80s Rush. There’s lots of interesting elements and the main verse reminds me of maybe early Genesis or Marillion.  Although the solo and other sections seem…obvious instead of groundbreaking.  The middle part is pretty good, with a very classic Yes feel.  But the final section sounds exactly likes something from a Disney movie, perhaps The Little Mermaid (which came out the same year).

“Birthright” starts off ominous with some interesting percussion.  Although all the percussion on this album is rather disappointingly electronic.  Not that’s there’s anything inherently wrong with electronic drums, it just seems wasted on someone as amazing as Bruford.  It feels vaguely like a Peter Gabriel song.  It’s pretty good but it gets a little melodramatic by the end.

“The Meeting” is a treacly ballad.  It sounds nice but is nothing special.  “Quartet” is the third mini epic.  This one is nine minutes and four parts.  The first part is folky and reminds me of Simon and Garfunkel.  Part 2 references tons of old Yes songs in the lyrics (which seemed to make reviewers of the album giddy) but which really just shows how weak this song is compared to those other songs.

elp“Teakbois” has got to be the biggest WTF recorded.  I’m all for bands embracing other cultures and it’s awesome that after Paul Simon released Graceland other bands added multicultural elements to their sound, but this 7 minute monstrosity sounds like AWBH went to the Caribbean and joined a tourist band.  I don’t know if they released many band photos for this album, but this songs makes it seem like this could have been their cover.  There is a chorus near the end of the song in which they sing “cool running” and I was relieved to find out that the film with that name came out four years after this song.

“The Order of the Universe” is another 9 minute, four-part epic.  Just thinking of this song makes me think of the closing credits for The Lion King (which came out five years after this at least) or something.  There are some interesting parts to it.  But the “Rock Gives Courage” section is dreadful and Anderson sounds like he’s singing a pop metal band

“Let’s Pretend” closes this album.  It’s only 3 minutes long and is co-written by Vangelis.  It’s a fine song, completely inoffensive.

So what is up with this disc?  Am I imposing a 21st century attitude on it?  Am I missing that it was actually really influential (on Disney songwriters anyhow) and that it’s not their fault that other people have poisoned the sound for me?  I understand that musicians change and grow, but with these four names, you’d expect something a lot bigger and better than this.

Maybe when I listen to it in another 20 years I’ll actually like it again.

[READ: May 10, 2015] The Shadow Hero

I really enjoy the stories that Gene Luen Yang creates.   And this one (which I later found out is actually meant to be an origin story of an already extant character) was really interesting.

The story begins in China.  In 1911 the Ch’ing Dynasty collapsed and soon after the Spirits who were born with China and watched over her had to decide what to do.  The Dragon, the Phoenix, the Tiger and the Tortoise came to a council.  Later, the tortoise left the country with a man who was too drunk to know why he was even on the ship he was sailing on.

Then we see that the story is told by a first person narrator when he says that his mother came to America a few years later.  She had high hopes of the prosperity and beauty of the country, but her hopes were dashed by the realization of the ghettos and slums of Chinatown.

His father (the drunk from above) owned a grocery store and Hank (the narrator) helped out.  His mother, the stronger-willed of the two was a driver for a rich woman and took no crap from anyone. (more…)

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colonySOUNDTRACK: YES-9012Live: The Solos (1985).

9012liveYes had released live albums before, and most of them had been quite indulgent, but none were as strange and indulgent as this live EP–a tie in with the popularity of 90125.  And yes, I have it on LP.

There are seven songs (in 33 minutes).  Two of them are proper songs from 90125.  The other five are the titular “solos.”

The two songs, “Hold On” and “Changes” both sound quite good.  The are notably less perfect than the album which is to be expected, but it’s still a little disconcerting given how perfect that album is.  The guitars are heavy and Anderson (and the other singer) sound in very good form.

Then there’s the solos:

“Si” is a rather uninspired keyboard solo.  It lasts 2:30 and the biggest cheers come when he starts playing “Toccata and Fugue in D Minor.”  I just have to wonder what Wakeman would have done with this–or if his head would have exploded at the sound of the disc.

“Solly’s Beard” is the guitar solo from Trevor Rabin.  Not unlike Howe, he plays mostly classical guitar.  It’s a good solo, although really not that mindblowing (or even as interesting as Howe’s “Clap”).  There are some keyboards in the background too, which I guess means this isn’t a solo.

“Soon” is Anderson’s solo.  He sings the end of “The Gates of Delirium” from Relayer.  I imagine that’s the only thing you’d hear from that album, so it’s a nice addition.

Chris Squire and Alan White get two solos together (so I guess they are duos, but then the title of the album is wrong).  The first is Squire playing “Amazing Grace,” which bleeds into the 8 minute “Whitefish.”  This is actually a medley of a few past performances like: “The Fish (Schindleria Praematurus),” “Tempus Fugit” and “Sound Chaser.”  Since Anderson said he would never sing anything off Drama, you can only hear “Tempus Fugit” during this solo.

I’m not really sure anyone needs to hear this more than once or twice, but it was fun to dig it out all these years later.

[READ: April 25, 2015] The Lost Colony

I really enjoyed the graphic style of this book.  It has a look of a wood press–thick lines and dark colors.  It was also very cartoony, which was a great way to address many of the issues that were brought up here–especially slavery.

The book opens with a man in a green suit and bowler hat hanging up signs for a slave auction.  There’ a little girl, Bertha Snodgrass, who sees the sign and thinks that she can afford one.  She follows the stranger as he heads to an island (the lost island presumably) in which Alexander Hamilton Snodgrass seems to have made himself president and treasurer.  There are black and white people on this island.

Obviously, there’ a lot of racial issues in this story.  There’s a “Chinaman” named Pepe Wong who dresses in a “bathrobe” and offers Chinese medicine but also speaks in Spanish (Madre dios!).  There’s a black woman who distrusts the heathen Chinaman and wants nothing to do with the slave auction. (more…)

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foiledSOUNDTRACK: YES-90125 (1983).

90125After the tumultuous release of Drama, Yes broke up.  And then, soon after, they got back together.  This time Jon Anderson was back on lead vocals and Trevor Horn was…producer?  Steve Howe did not return after the breakup.  He was replaced by a different Trevor, Trevor Rabin.  And returning behind the keyboards was original original keyboardist Tony Kaye (woah).

This reincarnated Yes was supposed to be a band called Cinema with Squire, Alan White and Trevor Rabin.  But when Anderson and Kaye joined in and Horn agreed to produce, they became Yes again.

They got rid of the old logo and replaced it with a bland one but a new symbol.   Long gone is Roger Dean, replaced by a high-tech looking cover and a high-tech sounding album title 90125 (which, rather lamely was just the records catalog number (7-90125-1).

Despite the old school returnees, this album was pure 80s pop.  I can imagine that many diehard yes fans hated it when it came out.  There are moments of yes (Anderson’s voice and the harmony vocals), but there’s no intricate guitar, there’s no melodious synths, even the drums are modern sounding.  The biggest difference between this and previous albums (aside from the whole new wave feel) is the crispness of the recording–sudden starts and stops, and really quiet breaks of songs.  It’s very “produced” and not very warm.

But I wasn’t a die hard fan when it came out and I rather liked it and I still do. In fact I talked about this album a while ago, so i figured I’d just contextualize some of those ideas.

“Owner of a Lonely Heart” is a much-sampled 80s classic.  The quality of the sound is pretty great and the music is also really spare–not a bad thing, just surprising.  This and “Hold On” were written originally by Trevor Rabin (even though “Hold On” sounds very Yes with the choruses and big vocals).  “Changes” was also written by Rabin.  And I am fairly certain he sings the lead vocals, although I can’t find that information anywhere–it certainly isn’t Anderson.

“It Can Happen” is a very poppy song (well, they all are) which was originally written for Cinema, but which they modified for Yes.  And so was “Cinema,” the two-minute instrumental.  It was originally 20 minutes long, but they seriously reduced it for the Yes album–I’d like to hear the original to see if there’s any sense of a Yes epic in there.

“Leave It” is one of my favorite songs from the album with the voices which I assume are sampled, but possibly not  There’s just so much electronic manipulation here, it is so un-Yes, but it sounds great.  The production is perfect and the song is great.

“Our Song” has a really good chorus but it doesn’t quite achieve the excitement of the earlier songs.  “City of Love” is the same for me, moments that are good, but the quality had to drop off somewhat on the record, right?.  “Hearts” is the longest song and it actually lasts too log.  Again, the chorus is good, but it kind of drifts after a bit.

That doesn’t stop it from being a great album, with a ton of great songs front loaded on the album and presumably a nice load of cash for the guys to spend (how mad must Howe be that he chose that time not to come back?).

Since almost every Yes album had different personnel, I’m going to keep a running tally here.  This is a biggie, look who has left!

Chris Squire-bass
Jon Anderson (#1, replaced Trevor Horn #2) vocals
Alan White (#2)-drums
Tony Kaye #1 (replaced Geoff Downes #4)-keyboards
Trevor Rabin (#3 replaced Steve Howe #2)-guitar

[READ: April 20, 2015] Foiled

Jane Yolen has written over 300 books apparently.  I know her more as a children’s book maker and hadn’t read any of her YA books.

This book was really wonderful.  And I’m aware that it’s part one of two, although it ended satisfyingly.

Aliera Carstairs is a fencer in high school.  She started fencing when she was 11 and had a real aptitude for it.  Her coach suggested she could make nationals.  She has defeated girls and boys much older than her.  She has a gift.

She has no social life, but she doesn’t mind.  She doesn’t fit in with the jocks, the goths, the nerds or really anyone, she just is herself.  She also has a cousin whom she visits every Saturday.  Her cousin has rheumatoid arthritis so she is confined to a wheelchair.  But she and Aliera play role playing games every Saturday.  While they play, Aliera becomes queen Xenda of Xenon, swordfighter extraordinaire (which she knows is not much of a stretch, bit it’s still fun).

She also has a mom who loves buying things at yard sales and Salvation Armies.  And she manages to get Aliera a practice fencing sword for $2.  It has a really cheesy ruby on the handle but aside from that it’s quite good. (more…)

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