May 2009 Music Log

May 2009

Twin Peaks: Music from Twin Peaks Season One, Angelo Badalmenti (1990) This is made from coffee. Dark coffee. Dark as a moonless night. With a bit of fishiness thrown in for good measure. Much like caffeine, in fact, this music works best in the morning as the sun rises and the world has that soft and warm glow to it. Because this is hazy, dreamy, REVERB music. Good stuff on this album: the cool jazz cat stylings of "Audrey's Dance" and "Dance of the Dream Man", the ethereal and beautiful "Nightingale" and "Falling", and, of course, the touching sadness of "Laura Palmer's Theme". 7.5

Love Supreme, John Coltrane (1965) The playing on this album is passionate and ecstatic. Then why does it seem so deeply focused and introverted? That's the wonderful contradiction I am sensing in this masterpiece. This one has taken a while to grow on me, but I'm now more in the zone to enjoy it. I always did like Coltrane more than Davis, maybe sensing he could take me places Davis couldn't. 9.0

Plastic Ono Band, John Lennon (1970) John's memorable and emotional melodies carry the day when the lyrics are either strikingly pretentious ("God") or oddly vicious ("Working Class Hero"), though he still has that Beatles talent for making the simple -- and what should be the cliched -- the universal in "Love" and "Look at Me". This is not an especially innovative work, but the primal screams in "Mother" and "Well Well Well" are similar to those later employed by Kurt Cobain (screams that amplify, rather than transcend, the catchy music). 7.0

Doolittle, Pixies (1989) Pixies were THE band that influenced the mainstream alternative rock/pop of the first half of the 90's. Weezer's debut wears that influence like the scarlet letter: "The Sweater Song" is basically a rewrite of "I Bleed" and Joey Santiago's zig-zaggy lead guitar is wholly (mis)appropriated. I still love Weezer anyway. But not as much as I dig Pixies for coining such a distinctive sound. While this album is not nearly as powerful and emotional as Surfer Rosa, it's very consistent across 15 songs. Despite showing their pop and surf rock influences more clearly, the song structures are just as unconventional. These are some of the finest pop songs of any and all times: "Debaser", "Wave of Mutilation" and "Gouge Away", to name a few. My favorite is probably "No. 15 Baby" with its daydreamy, spanned out ending that captures everything you love about early 90's quirkiness. 8.0 (just barely)

America, John Fahey. (1970) The first song that hits me is "Special Rider Blues," with that easygoing, mysterious blues that Fahey has down solid. For the most part, this does not seem like a radical departure from the well-played folk guitar of Fahey's first two albums which Scaruffi curiously rates as mediocre (5/10 a piece!). Maybe because the compositions on this one and later albums were originals, not traditionals? Ok, starting to sound more intriguing on "America", with those tenderly plucked harmonics, like some angel's harp. But nothing extraordinary. The melody in "Mark 1:15" is exactly the same as that in " " so this is either a standard or Fahey's just repeating himself. TO BE FINISHED

Strawberry Jam, Animal Collective (2007) Very well-produced, indeed creatively layered, with interesting instrumentation, manic and sort of celebratory in a Saturday morning cartoons way, but maybe I need to listen to more music made in this decade, because this sounds like everyday pop dressed up in the latest hipster fashion. And hasn't anyone noticed the obnoxious frat brother vocals? Best tracks: "#1" or "Peacebone" (being the least irritating of the crowd pleasers) 6.0

Ash Ra Tempel, Ash Ra Tempel (1970) Good old Krautrock. Two sidelong jams that are great if you're in the mood for simply a jam. Otherwise, it could just as well be the warmup session. 11:30 minutes into "Amboss" is a highlight. 6.0

The Shape of Jazz to Come, Ornette Coleman (1959) Wham, bam, thank you mam! This is a truly delicious album known for inspiring free jazz. It abandons chord structures in favor of free improvisation. Based on my amateurish sense of music, that means you play whatever melody sounds good to you as long as it's rhythmically steady. It's incredibly flirtatious and contagious. I am beginning to think saxophone is my wind instrument of choice, followed closely by clarinet (thanks to Trout Mask Replica). Trumpet is nice but it does not have the same deep emotional undercurrent; it always seems to be announcing something and has that stiff and formal sound, whereas the other two just wail pain and pleasure to my ears. Must say that this is having a big effect on me, much bigger than Coltrane's Giant Steps had on me. This is not the best jazz album I've heard (that honor currently goes to Love Supreme) but I feel a kinship to free jazz. This is the music in my head. 8.0

Hail to the Thief, Radiohead (2003) Well, Scaruffi be damned. I still like me some Radiohead. But the keyword here is "like". I enjoy their music, it's nice and all, sure, but it's not nearly as emotionally affecting anymore, which may hint at the subtle sea change going on inside me. Thom Yorke has a sour, dour musical tone that either depresses or draws you in (maybe both). Yes, the music has a distinct character, but there's very little else going on. The goose-bump monitor is redlined. It used to be that Radiohead could command my attention. Now it makes conducive background music. Still, this was always one of my favorite records of theirs. There's a sadness and anger and occasional political stab. I always interpreted the line "Just because you feel it/ doesn't mean it's there" to be about the Bush administration's determination to find WMDs in Iraq. It's about the misguided beliefs and values that lead us to "shipwreck". I found this album underrated then and still feel that way today. "A Punch Up at a Wedding" has got a sweet groove and some Faustian static. "Scatterbrain" has a beautiful melody. They are clearly the Beatles of their time: exceedingly listenable but generally shallow music. Maybe that's why they're artificial. In fact, they're bigger thieves. They take from everyone and every rock genre: Krautrock, post-punk, everything cool that's passed. They're taking advantage of the mainstream rock audience's ignorance of the great gems of rock history. Best tracks: "2+2=5", "Sail to the Moon", "Backdrifts", "Go to Sleep", "There, There", "I Will", "A Punch Up at a Wedding", "Scatterbrain". 7.0

Y, Pop Group (1979) Listening to Radiohead put me in a type of unfeeling funk and I needed to purge that deadness in me. Well, there are few albums more up to the task than Mark Stewart & Co.'s funk/dub/post-punk/Beefheart-tinged masterpiece of a debut. 8.5

Joy of a Toy, Kevin Ayers (1969) Canterbury Scene always had a melodic impulse, whether found in Robert Wyatt's earnest attempts or Daevid Allen's catchy jazz-rock, but Kevin Ayers has this whimsical, folky, children's music aesthetic that is something else. If you don't have a big smile on your face from the first track, you may not be in the spirt of it. Nothing screams Wind in the Willows quite like this album; Syd Barrett would give it his badge of approval. Notice how joyous, nostalgic, and sentimental the title track is. Mike Rattledge makes an always welcome appearance on "Stop This Train (Doing It Again)" with his nauseous, cerebral electric organ noodling. Indeed, it's essentially Soft Machine (Wyatt included) on "Song for Insane Times", like a more pastoral version of the group. And, I mentioned the pop, right? "The Clarietta Rag" is fun, a sorta saloon tune, and I admire the almost Alex Chilton wistfulness of "All This Crazy Gift of Time". Perhaps the most magical track is the romantic and psychedelic "Girl on a Swing" which I gather is still covered by English musicians today. Great stuff all around. 8.0

The Fugs First Album, The Fugs (1965) Mildly amusing lyrics, best represented by "Supergirl", and ramshackle riffs can't hide the throwaway feel of the proceedings. "Carpe Diem" points toward better things. 5.5

Music in a Doll's House, Family (1968) Best tracks: "The Chase", "Mellowing Grey" (beautiful, breathtaking use of mellotron), "Old Songs New Songs" (fantastic blues jam miles ahead of Cream and on par with Velvets), "Hey Mr. Policeman" (the sexy sax is major class; love this one), "Peace of Mind" (60's San Francisco rock in the best way). The rest is generally good music, with creative arrangements and instrumention, that occasionally shows its age but has enough emotional conviction to overcome it. Honorable Mentions: "Never Like This" that gives the romantic in me goosebumps and "Voyage" for being a prog-rock precedent. Roger Chapman's vocals are impressive. 7.5

Nail, Scraping Foetus off the Wheel (1985) Well, well, well. A bit overrated, are we? Despite being obviously the forerunner, indeed entire framework precedent, of Trent Reznor's music, I can't quite get into it. The faux-classical overtones are interesting but a tad tacky. Also notice how it's all strings. Is this so different from the expressive use of mellotron in 60's music, be it King Crimson or even Family? The most impressive (and entertaining) aspect of this album is the headfirst plunge into the grime and slime of humanity, as exhibited in the scabrous, satirical lyrics and demented vocals. The drunk Jim Morrison yelp of "yeahhh" that kicks off "Throne of Agony" is ace and really sets the mood. What are the highlights? The intricate industrial archectiture of "Pigswill" is fantastic, a shape-shifting gauntlet for the listener to run through. Also, you have to dig the sassy humor of "Descent into the Inferno", sounding like a musical staged in Hell, with dancing demons and Satan in the spotlight. My favorite is "DI-1-9026". It sounds like a celebration and deconstruction and demolishment of every fast-paced 80's pop tune. You can dance to it. Danse Macabre indeed. Think of it as a diabolical response to Katrina and the Waves' "Walking on Sunshine" (interestingly, both were released in 1985). The frenzied vocal performance -- devilish entreaties ("are you ready to die?") and panicked warnings of being out of control and exploding -- is addictive. Ultimately, it has the dark humor and surreal genius of a Warner Brothers cartoon. "Anything (Vival)" ends the album fairly well, with factory noises gliding by, the lyrics stating the album's core thesis of nihilism and moral (morale?) degeneration, but I dislike the mainstream predicability of the last two minutes. My earlier comment on the faux-classical is not meant to be entirely dismissive; "Overture from Pigdom Come" could be a first-rate video game soundtrack. But, as with most video game soundtracks, I'm not exactly emotionally swept into the music. It's background, not foreground. A great album, overall, not a masterpiece. 8.0

Blood on the Tracks, Bob Dylan (1975) The unfair part of reviewing almost any Dylan album is having to summarize, even synthesize. His lyrics are beaming with depth and complexity. No other artist's words are so tied to the emotional affect of his or her music. That is perhaps Dylan's basic weakness: remove the words and the music loses much of its power. Even gorgeous ballads like "Sad Eyed Lady of the Lowlands" would be fairly mediocre if left to the music alone. Thus, lyrics can be and sometimes must be a crucial element of music. These are songs after all.

Well, in any event, Blood on the Tracks is one of Dylan's most overrated albums, if only because it's only a very good effort and nothing more. It contains one track of undeniable genius ("Idiot Wind"), a brilliant narrative song that does not get enough credit ("Lily, Rosemary and the Queen of Hearts"), a couple borderline classics ("Tangled Up in Blue", "Shelter From the Storm"), and at least two other nice songs ("You're a Big Girl, Now" and "You're Gonna Make Me Lonesome When You Go"). The rest is not very impressive material, especially the throwaway "Simple Twist of Fate" and atmospheric flop "Meet Me in the Morning". "Buckets of Rain" is passable but nothing special.

"Idiot Wind" spirals like a drunken cowboy, crashing through the windows, onto the ground, wrestling in the mud and the blood and the beer. Oh, wait, that's "A Boy Named Sue". Apologies to Shel Silverstein. But, man, is this song a dirty fighter! The melody is so peculiar, which makes me think it came straight from the heart. It is decked head to toe with let's-hear-that-again, amazing lines. As though Dylan was recalling the mid-60's inspiration that produced such striking prose as "It's Alright Ma (I'm Only Bleeding)". We are idiots, babe/ It's a wonder we can even feed ourselves. Through his emotional conviction, mystical insights, whatever -- Dylan has turned a breakup song into a universal damnation of human stupidity. He has made the personal the universal, and very few artists can do that. "You're Gonna Make Me Lonesome When You Go" is certainly a favorite, a beautiful gem. I can't help but think of my true love. "Blue river runnin' slow and lazy/ I could stay with you forever and never realize the time" YES, YES, YES, well done. Dylan finally becomes a short story writer with the wonderful narrative of "Lily, Rosemary and the Jack of Hearts." I hope Rob Ager does an analysis of this thing's hidden narrative, I'm sure there is one. 7.0

Half Mute, Tuxedomoon (1980). Nice album that really sounds like the Residents, but never sounds like a rip-off. Simple, elegant arrangements abound. "59 to 1" boasts a wacky saxophone honking like pissed off geese, while a funky bass line has a good time with its hip-shaking self. A very German-sounding dude is frantic about 59 seconds of everyone. In the background, a bored person tries to setup a "rendezvous" with another over the phone. It's a treat. "Fifth Column" is even more Residential in the buzzing fly/nebulous nausea synthesizers and very rudimentary percussive effects. Damn, is this the Residents?? Well, Ralph Records did produce. The only thing missing is the creepy Southern guy vocals. "Tritone" is the first mutha, with virtuouso violin-playing atop of a heavy molasses industrial keyboard groove. Strange, robotic vocals and computer sound effects tell the story. By the time "Loneliness" enters the picture, you know how to contextualize this music, and props to Scaruffi for being the guy to do it. Check out his history on the so-called blank generation of rock music. He writes: "The goal is no longer to create a robot that behaves like a human being, but to create a human being that behaves like a robot: robots are efficient and lead to manageable and profitable businesses, whereas humans are inefficient and difficult to manage." So this is "robot music" as Scaruffi puts it, humanity becoming something monstrous. But it's also about the loss of personal identity, how each individual has become first and foremost a cog in the post-industrial machine, which has only grown as the world became more computer-dominated and interconnected thanks to globalization. "What Use" is the most conventional-sounding of songs, nearly synth-pop, but it's not exactly kosher either. Tuxedomoon comes across as a band that understood and appreciated what the Residents were doing and decided to impart a more traditionally/classically trained musical education on that unique sound. This a generous gesture. The atonal/dissonant melodies of Residents aid dissociation, putting one outside the self, in a Lithium-like world of mere objects. Nothing animated, nothing living, nothing magical, nothing meaning particularly much beyond utilitarian necessity. A sickening realization of Dasein. Adding the skill and grace of well-educated musicians is the equivalent of old Bluesmen covering Beefheart. The 11 minute "KM" is a gorgeously wilting electronica (infused with the industrial intentions of Pere Ubu), jazz, classical, reflection/jam that takes you deep into the psyche of a cubicle worker feverishly deciding whether to eat a salad or sandwich for lunch. 8.0

Shooting at the Moon, Kevin Ayers (1970) . The running of a motor, a neat lure used by Minutemen years later, commences Kevin Ayers's second album. "May I/ sit and stare at you for a while" sings Ayers in his trademark monotone deadpan. A relaxing Parisian vibe with Bedford's wistful accordion. Much has been written about the amiable, pleasant, somewhat lazy quality of Ayers's music; this epitomizes it, the four minutes pass like two. Cerebral, complex keyboard line opens "Rheinhardt & Geraldine", as jazzy horns add to the excitement, and the whole thing opens and spreads its Canterbury petals. Mike Bloomfield borrows Hugh Hopper's fuzz-bass (always welcome), the drums get energetic, and we have a more muscled version of Ayers melodic existentalist rock. Suddenly, a Beatlesesque (Number 9, Number 9) tape trickery munches and erratically spits out what would appear to be the subsequent jam. So we're not getting the jam straight; we're getting it through the digestive tract. "Lunatics Lament" has the groove and the moves, with a choice guitar solo. The werewolf-crying (howling at the moon?) jam segues into the experimental minimalism of "Pisser Dans Un Violon", reminiscent of the dawdling midsection of Pink Floyd's "Interstellar Overdrive". Recommendation: listen loudly to catch all the instrumental minutiae. "The Oyster and the Flying Fish" is a folk-pop, with whimsical lyrics, and an infectious refrain, followed by more moody minimalism in the aptly titled "Underwater" (this is scuba diver music). This piece seques nicely to another whimsical ditty "Clarence in Wonderland", revealing that Ayers is the least serious of all his Canterbury friends (even Daevid Allen, who is damn serious about his weirdness!). We are in total vacation mode now with the balmy, sunbathing, pina colada-sipping music of "Red Green and You Blue". Kevin Ayers is the intellectual's Jimmy Buffett. The title track is awesome and ends the album swimmingly, improving upon Ayers's earlier idea of "We Did It Again", with a repeating chorus (fanciful electronic flourishes and very Gong-like horns) that grows edgier, more dramatic, and better, with each go around. 8.0

TO BE OBTAINED: Cecil Taylor

All Music Guide:

"Soon after he first emerged in the mid-'50s, pianist Cecil Taylor was the most advanced improviser in jazz; five decades later he is still the most radical. Although in his early days he used some standards as vehicles for improvisation, since the early '60s Taylor has stuck exclusively to originals. To simplify describing his style, one could say that Taylor's intense atonal percussive approach involves playing the piano as if it were a set of drums. He generally emphasizes dense clusters of sound played with remarkable technique and endurance, often during marathon performances. Suffice it to say that Cecil Taylor's music is not for everyone." REALLY? THAT SOUNDS LIKE IT WOULD DEFINITELY BE FOR ME!