Showing posts with label Singer-Songwriters. Show all posts
Showing posts with label Singer-Songwriters. Show all posts

Thursday, December 24, 2009

Touched the Parts You Couldn't Reach


My first, and most personal, encounter with Mr. Hitchcock's distinct blend of jangly folk-rock and misdirection-filled lyrics. Bought on cassette in high school. It still sounds great to me two decades later. Peter Buck (of REM) plays guitar, mandolin, etc. Despite somewhat 80s-ified production, it's aurally gorgeous, and the songs are among his catchier and most approachable. Not a jangle out of place, and lyrics tend toward the almost-normal, with very few insects or vibrating fish guts... though the line "He's a long kebab through your ovaries" (from The Devil's Coachman, about the devil presumably), always makes me squirm a bit. Anyway, it's good stuff.

Monday, September 21, 2009

Moon Still Tries to Steal the Tide Away

The album I listened to in the parking lot on my walkman at age 13, on that weird shivery day when I told the Sunday school class I'd been teaching, and my mom, that I didn't believe in God and wouldn't ever be coming back to church.

The song 'Dear God', however, is sort of an anomaly (Andy Partridge complained that it was the only song he ever wrote that didn't have a sense of humor), and though it's sort of a perfect mission statement for a disaffected young i-wish-i-could-believe-but-i-can't angster such as I once was, it's not necessarily the best anthem for a more complicatedly spiritual person.

Whatever. The songs on this album are all pretentiously lyrical, soaringly melodic, and working very hard at changing the listener's life. Obviously at least one succeeded.

The sound of XTC here (basically reduced I think to Andy Partridge and a studio full of instruments) bears very little relationship to the earlier albums, which are manic condensed punk-prog-pop full of intricately rocking microgrooves, with clever guitar-bass-drums interplay. (I love love love Black Sea and Drums and Wires, for instance, both of which sound nothing at all like this album).

Skylarking is basically a solo-songwriter's-attempt-to-be-Beatlesy, and as such occasionally falls over the edge into pomposity. But, it's still gorgeous and wonderful.

Post's in two parts due to size, just unzip 'em to one folder and proceed.

Thursday, June 25, 2009

The Creaking Door Will Always Creak

Demented and only half-there songs from the founder of Pink Floyd, after his breakdown had begun. Hard to judge how much is craft and how much is loss of control, but there's a general feeling of helplessness throughout, and you can hear the backing musicians (essentially Gilmour and other Floydians) getting lost and irritated as they struggle to guess the next chord. Somehow many of the songs 'work' anyhow.

This was immensely influential for me as a kid: it showed me that the world loved romantically deranged, lovable psychedelically damaged losers. Which then solidified my life's goals for many years. Unfortunately I was never good-looking enough, or genuinely disturbed enough, to become the wastoid I aspired to be. Sigh.

Friday, June 19, 2009

People Always Kill The Most Beautiful Things


The only East River Pipe album I've spent any time with. I suspect others are great too, but I've always been afraid to destroy the magic of this one, by comparison.

Nearly every song is a small soaring-melody-and-wry-lyrics masterpiece of low-budget high-fidelity home recording. Some may not like the canned beats or synth sounds, but the songs they wrap around could carry much heavier weight as far as I'm concerned. If I could write songs this good, I'd die a happy man.

Friday, June 12, 2009

I Cried, I Died of Repentance

Gorgeous songs and high-intensity orchestration. Wish I could understand any of the lyrics.
Heard the title song a few years back on late-night NYC radio, and knew I had to find the record immediately. When you hear it, you'll understand.


Wednesday, June 10, 2009

You Know You Got to Die

Among the finest, most gently and insistently terrifying, of the Delta Blues. Skip sings very gently, and his guitar playing is akin to John Hurt's in its steady pulse-- but everything here is darker than despair. It's clear the intent is pure beauty; Skip was a careful craftsman. In small doses you can enjoy the lightness of the syncopation and the softness of Skip's voice; in large doses this album may pull you down.

Tuesday, May 19, 2009

Talking to No-one is Strange, Talking to Someone is Stranger

Discovered this last year sort of at random. Very peculiar and good, quirky and morose and snarlingly witty and occasionally lovely folk-rock boogie. Various comparisons come to mind, but really the guy is one of those who's unique enough to make comparisons misleading.

Saturday, May 16, 2009

Only a Phase, These Dark Cafe Days



I don't know all that much of Joni's sizeable discography-- just a few albums-- but this one has always meant a lot to me. Lately I've also realized what an inventive & intense guitarist she is, too. If she were a dude, she'd be legendary among guitar geeks, for all those invented tunings & densely harmonized chords. But, that's not so important except in, you know, a feminist-justice way.

This is a pretty raw record, and not in that singer-songwriter "now I tell an emotional truth" kind of way, more like she was trying to write cheerful songs and it all fell apart despite her best efforts. Very intense and true. Also sort of historically interesting, I feel like it captures the death of hippiedom pretty well. All the characters in every song are on their way into a personal hell, including the narrator. All the innocent fun was over. Serial killers and Watergate and overdose reality, slowly setting in. Romance turned to sour alcoholic cynicism.

Enjoy!



Thursday, May 14, 2009

Goin' Upwards at 45 Degrees, Won't Somebody Sign My Release


http://www.contactmusic.com/new/xmlfeed.nsf/mndwebpages/occult%20forces%20haunted%20cope.s%20jehovahkill

This album rocked my world in 1991 or so. And still is a big deal for me. I'm not sure I can articulate why exactly: spiritual concerns, a serious psychedelia, a singing range similar to mine, the fact that you can tell that the guy's a music geek and record collector (in his 1989 album he name-checks the Thirteenth Floor Elevators, and he's written two books about, respectively, Krautrock and Japrock, in which he overflows his love for the crazed musical bliss of other cultures' psychedelia-- Krautrocksampler I read fervently back in 1997 or so, and wish I knew where to score a copy now, I imagine the other is similarly excellent); the fact that few in the western world have flown their freak flags so high for so long (I seem to recall stories about him bicycling through London wearing large fairy wings, for instance). Anyway, your mileage may vary-- I have no objectivity on this.

New link! Thanks Christina for telling me the old link was bad.