SOUNDTRACK: THE FEELIES-Crazy Rhythms (1980).
Not too many albums start out with clicking blocks and quiet guitars that build for a minute before the actual song kicks in. Not too many albums sound like early Cure sung by Lou Reed and not too many albums are called Crazy Rhythms when the thing that’s crazy about them is their vocals and guitars. But that’s what you get with The Feelies debut.
In addition to the blocks, the opening song also features some sh sh sh sounds as a rhythm (techniques used by The Cure on Seventeen Seconds, also 1980). There’s two guitar solos, each one vying for top spot in different speakers and, yes, the rhythms are a little crazy.
The album feels like it is experimenting with tension–there’s two vocalists often singing at the same time, but not in harmony. There are oftentimes two guitars solos at the same time, also not in harmony. The snare drum is very sharp and there’s all manner of weird percussion (all four members are credited with playing percussion).
That early-Cure sound reigns on “Loveless Love” as well, a slow builder with that trebly guitar. There’s a lot of tension, especially with the interesting percussion that plays in the background. And there’s that whole Lou Reed vibe in some of the vocals.
But not every song sounds like that, “Fa Cé-La” is a punky upbeat song with two singers trying to out sing the other. “Original Love” is another short song, it’s fast and frenetic and fairly simple. It’s as if they couldn’t decide if they were going to be The Velvet Underground or New Wave punks.
The next surprise comes from their choice of covers: “Everybody’s Got Something to Hide (Except for Me and My Monkey”). It goes at breakneck speed with some surprising pace changes after the chorus. And a wonderful ringing percussion that makes the song sound even more tense than it is. “Moscow Nights” is a more traditional song (although the backing vocals seem very spartan.
“Raised Eyebrows” is almost an instrumental, until the last-minute when the seemingly random vocals kick in. And the final track, “Crazy Rhythms” seems to combine the speed of the faster tracks with the insanity of the other tracks. It’s a pretty amazing debut, really heralding an age of music.
It’s a shame it took them 6 years to make another (very different sounding) record.
[READ: February 8, 2012] “To Reach Japan”
I love Alice Munro’s stories, but I found this one a bit confusing. Now, I admit that i read this under poor circumstances (while I was supposed to be attending a company-wide presentation), so that may have led to my confusion. But it felt like there was some questionable juxtapositions of the timeline in this story.
It opens simply enough with Greta and her daughter Katy waving goodbye to Peter (the husband and father) as they pull away from the train station.
The story immediately jumps back to Peter’s mother and how she fled on foot from Soviet Czechoslovakia into Western Europe with baby Peter in tow. Peter’s mother eventually landed in British Columbia,where she got a job teaching.
The second time jump comes a few paragraphs later. It seems like we’re back in the present, but the section opens, “It’s hard to explain it to anybody now–the life of women at that time.” This describes how it was easier for a woman if she was a “poetess” rather than a “poet.” But I’m not exactly sure when that was. Presumably when Greta (who is the poet) was younger, but how long ago was that? In Toronto, even?
The story jumps back to the present to say why Greta and Katy are on the train and Peter isn’t. They are going to housesit for a month in Toronto while Peter goes to Lund for a summer job.
Then it jumps back to when Greta was a poetess and actually had poems published. The journal was based in Toronto, but there was a party in Vancouver for the editor. So she went. And she had a lousy time among the local literati. She gets drunk and sits in a room by herself, but soon enough a man approaches her and offers to take her home. There is the potential for something more to come of it but it never materializes. But she never forgot the man’s name: Harris Bennett, journalist. (more…)
SOUNDTRACK: BELLE AND SEBASTIAN-BBC Sessions & Live in Belfast 2001 (2008).
Virtually every review of the BBC Sessions says the same thing: these tracks barely differ from the original recordings. And, for better or worse, that is very true. In fact, even the trumpets and other instruments sound so perfect, you tend to forget it’s a live recording. Clearly this sends a positive message about their live playing. But if that’s the case, why would you buy this?
SOUNDTRACK: JUNO Soundtrack (2007).
Late on the bandwagon with this soundtrack. But then, I only really watch movies on TV these days, so I’m often late to the bandwagon.
SOUNDTRACK: THE FLAMING LIPS-Yoshimi Battles the Pink Robots (2003).
How do you follow up the fantastic Soft Bulletin? If you’re The Flaming Lips, you simultaneously pull back and push forward. I often thing of Yoshimi as Bulletin part 2 but that’s really not right or fair. Yoshimi has a more Pink Floyd vibe: it’s quite mellow and folky. But nothing the Lips do can be completely commercial, so you get things in every song that add immensely to the sound, yet prevent it from complete accessibility.
I Just Read About That... 