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“Timeless Melody” – The La’s
(Words/music: Lee Mavers, available on The La’s, Go! Discs / London Records 1990)

That quote “talking about music is like dancing about architecture” bothers me mainly because it’s out of order.  It should be “talking about music is like designing a building about dance” – with the “less artistic” medium being used to convey the “more artistic” medium.  Regardless, I see truth in that sentiment, even though I spend a chunk of time every day writing about music.  Even on my best days, where the words come together in just the right way, I wouldn’t dream of one of these blog posts replacing a song.  That’s part of the reason why I have the song at the top of the post – it comes first.  I’ve used this space to defend writing and discussion about music because songs aren’t these static, one-sided pieces of work.  There are a number of different ways to approach a song, think about it, and process it, and the problem with writing about it is that it usually only tackles one way of entering a song.  The beauty of art, songs included, is the different levels and entrances into it, leading to as many different interpretations as people who encounter it.  I think that the reason that many of us (well, me at least, I’ll let everyone else speak for themselves) gravitate towards music rather than some other art forms is that it hits us on a level that other mediums don’t reach as easily.  I’ve experienced profound moments of connection and enlightenment through books, film, visual arts, and even architecture, but music touches a nerve more frequently than all of those combined.  In my case, melody, harmony, and rhythm know the roadmap to my soul.

“Timeless Melody” captures the experience of listening to a great song as well as any song I’ve heard.  The “even the words they fail” me line touches on the hours I spent making mixtapes – sometimes to capture a specific mood or feeling, sometimes to introduce a part of myself to someone, and sometimes even to learn something about myself.  I especially love the way Mavers describes (gasp! he’s writing about music!) the way music intertwines in our lives by freeing us from our “memory chains.”  The pun on chord/cord really drives this home too, describing the way that we emotionally wrap ourselves in songs for myriad reasons.  For me, when a song snakes in, it becomes part of that memory chain, adding another link (and often, an entire new strand of associated memories).  Most importantly, Mavers’ song does all of this while crafting an impeccable pop song.  From the opening scuttle through that irresistible melody that carries this treatise about the power of music, Mavers makes the most of his three minutes of pop bliss.  Ultimately, even with well written lyrics, the words give way to the melody and rhythm, letting the song dance around our hearts, build skyscrapers in our minds, or paint vivid portraits of our favorite melodies. 

I don’t dance, I don’t draw blue prints, but I do spend a lot of time thinking about music, and writing and talking about how it affects me only broadens my appreciation of it.  Whether you come by here just for the songs or you come by to take part in the discussion, I’m just happy to share.

More on The La’s: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: the la's | 1990 | 1990s | track analysis | writing process | go! discs | london records | lee mavers |
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“Kinky Afro” – Happy Mondays
(Words/music: Shaun Ryder, Paul Ryder, Mark Day, Paul Davis and Gary Whelan, available on Pills ‘n Thrills and Bellyaches, Factory 1990)

I’ve used this space to do a number of different things – including my not-so-shocking admission that I have weak dancing abilities.  This is directly related to my aversion to dance clubs, which directly influences my pedestrian knowledge of dance music.  For example, I know everything I know about the late ‘80s / early ‘90s Madchester scene from a handful of things I’ve read on the internet and 24 Hour Party People.  I don’t have all of the details down, but I do have a general timeline and some key names, so a flag went off in my head when Factory Records’ Tony Wilson came up in conjunction with the Happy Mondays.  It’s also worth noting that I only sought out some of the Happy Mondays’ music (aside from “24 Hour Party People,” which I enjoy a lot) after seeing the movie.  I didn’t know that the first three Mondays’ records were produced by (in order), John Cale from the Velvet Underground, Paul Oakenfold, and Tina Weymouth and Chris Frantz of the Talking Heads and Tom Tom Club.  That’s enough historical context for me to start digging a little deeper.

What I found (to be fair, I’ve mainly gone through the singles / best of) sounds terrific.  “Kinky Afro” in particular captures this liveliness and electricity in the music.  It manages to blur the line between my concept of “dance” music and guitar rock, and I hear all of those things mixed in there.  There are elements of the Brit Pop I loved as a teenager as well as some of the post-punk that preceded the Mondays on Factory.  Similar to Primal Scream’s early ‘90s output, “Kinky Afro” surprised me with how fresh it sounds – I might have expected this to sound dated, but it reminds me of a lot of stuff from the past few years.  In particular, Shaun Ryder and James Murphy from LCD Soundsystem are joined in my mind.  Ryder doesn’t sing in the conventional sense (and I imagine that is a dealbreaker for a lot of people), yet he sings enough to let his personality shine through the track.  He’s uncompromising and kind of funny, especially during his most curmudgeonly points on “Kinky Afro.”  His brash and unforgiving persona here laid the groundwork for the snarky persona Murphy cultivated on the early LCD Soundsystem singles.  Still, I have to think that Ryder, the center of the storm, might be the reason why the Happy Mondays are nonentities in the United States and Jesus Jones topped the charts here (while stalling in the 30s in the UK).  On this one, the Brits had it right.

More on Happy Mondays: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: happy mondays | shaun ryder | 1990 | 1990s | track analysis | factory records | paul oakenfold | john cale | chris frantz | tina weymouth | talking heads | tom tom club | jesus jones | tony wilson |
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“Here’s Where the Story Ends” – The Sundays
(Words/music: David Gavurin and Harriet Wheeler, available on Reading, Writing and Arithmetic, Rough Trade 1990)

Earlier tonight, Tristan from A Post Punk Tumblr invented the #allmusicsays Twitter game, posting part of an Allmusic artist biography, inviting others to guess what band the Allmusic scribe tries to describe.  It’s a fun idea that I hope catches on  - I’ll post one on the Some Songs Considered Twitter page a little later.  Tristan chose a description of the Cranberries that, when I second guessed what I thought was the “obvious” choice, led me to inadvertently introduce him to the Sundays.  I rediscovered the song a few years ago when I had XM Radio and spent a lot of time in my car for my job.  I had heard “Here’s Where the Story Ends” occasionally on the radio but never really thought twice about it when I was a teenager.  This time around, the song led me to Reading, Writing and Arithmetic, an album worth checking out if you like this song.

“Here’s Where the Story Ends” is a gorgeous pop song about having perspective.  Harriet Wheeler, who kind of sounds like a less dynamic version of Bjork (for better or worse, depending on your stance on Bjork and her idiosyncrasies), sweetly sings about a relationship that recently ran its course.  She alternates between feeling crushed about the end of the story and looking back at it fondly, alternately feeling guilty about saying she loved her ex for his library and wryly smiling about all the great books she discovered.  In the course of four minutes, she’s horrified by anything reminding her of her “terrible year” and simultaneously fascinated by anything (many of which overlap) reminding her of this “colorful year.”  These are the kind of things that rarely make sense unless you’ve recently experienced a breakup yourself, as the heart and the mind often pull in two different directions.  Pop music has its share of these conflicted breakup songs, but rarely has anyone made it sound as charming.  The bright acoustic guitars and Wheeler’s cheery melody make the song sound much happier than it should appear, providing the aural equivalent to putting up a front so people will stop asking you to rehash the story.

More on The Sundays: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: the sundays | 1990 | 1990s | track analysis | xm radio | rough trade | break up songs | the cranberries | bjork | shout out | Shout Out |
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