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“MLK” – U2 
(Words: Bono, Music: U2, available on The Unforgettable Fire, Island Records 1984) 

“Pride (In the Name of Love)” salutes Martin Luther King, Jr. with one of U2’s biggest anthems.  Sure enough, in the ten minutes I was in the car today I caught the end of it on the radio.  Tucked away at the end of the same album sits “MLK,” a more somber and subdued tribute to the same man.  While “Pride” uses Dr. King’s life as a rallying cry, “MLK” meditates on his spirit.  Aside from the title and an overt allusion to his “dream,” “MLK” could be a generic plea for peace in a troubling time.  Of course, the spirit of Dr. King’s legacy (and the same one Bono wants to mobilize around in “Pride”) calls for the continued struggle to bring peace to those who need it; “MLK” reflects the opposite side of the struggle – those trying to find the strength to endure rather than to liberate.

“MLK” sonically foils “Pride” as well.  Where “Pride” rides a soaring chorus and The Edge’s guitar (and foreshadows the formula that would make them mega-stars on the next album), “MLK” bears Brian Eno’s influence.  Bono sings over a droning synthesizer that hums gently and warmly, leading from one chord to the next.  The synth is primarily atmospheric, serving as a backdrop for Bono’s echoed vocals (the 2009 remastered version brings out this echo in the left channel particularly well).  On the final note (“me” in the lyrics), Bono’s voice and the synthesizer resolve the chord, giving the song the harmonic peace that it lyrically desires.   It’s little more than a sketch of a song (most often used as an introduction for some of U2’s requiems (“Unforgettable Fire” and “One Tree Hill” primarily) but ironically never for “Pride”), but it’s a lovely piece to end The Unforgettable Fire.

More on U2: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: u2 | bono | martin luther king jr | brian eno | 1984 | 1980s | island records |
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“St. Elmo’s Fire” – Brian Eno
(Words/music: Brian Eno, available on Another Green World, Island 1975)

I love “St. Elmo’s Fire” because it sounds like a beautiful, other-worldly creature.   The title references a specific weather phenomenon that I’ll link to rather than trying to explain.  It kind of looks like purplish, static generated lightning coming off of a metal rod.  Brian Eno took this as a musical direction, trying to recreate this visual sensation in his song.  In an interview with Lester Bangs in Musician magazine, Eno recounted his directions to his frequent collaborator (and King Crimson guitarist) Robert Fripp

“…on ‘St. Elmo’s Fire’ I had this idea and said to Fripp, ‘Do you know what a Wimshurst machine is?’ It’s a device for generating very high voltages which then leap between the two poles, and it has a certain erratic contour, and I said, ‘You have to imagine a guitar line that has that, very fast and unpredictable.’ And he played that part which to me was very Wimshurst indeed.”

Fripp’s solo accomplishes this by contrasting with the repetitive piano chords.  In a way, it’s the energized plasma that springs out of nowhere to beautifully light up the night’s sky.  However, I hear a story within the music.  “St. Elmo’s Fire,” to me, sounds like a UFO landing.  The song starts quietly and gently like a peaceful night, and the clicking percussion reminds me of crickets chirping peacefully in the distance.  The steady piano vamp sets the pace and feels like a quickening pulse, making the listener an eager “first person” observer of this strange sight.  The ship shimmers beautifully, gracefully moving to earth the same way the “oooohs” accompany Eno’s vocals.  When the ship lands (near the end of the second refrain, or right at the beginning of the third verse), another, lower sounding synth starts; this is where the doors open, revealing this strange visitor.  He opens his mouth when Fripp’s solo begins, speaking in a beautiful, completely foreign tongue.  It doesn’t match the same cadence or syntax as our language, yet it fills us with distinctly beautiful emotions.  It’s clearly outside of our comprehension, yet we’re compelled to think of it as a peaceful, beautiful welcome from this otherworldly creature.

Or maybe I’ve just had one too many cups of coffee tonight.  Regardless, if there is intelligent life out there (and I’m not sure what I believe), I hope it’s as beautiful as “St. Elmo’s Fire.”

More on Brian Eno: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: brian eno | robert fripp | 1975 | 1970s | track analysis | strange somewhat tangential story related to the song | i want to believe | island records |
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“One Fine Day” – David Byrne and Brian Eno
(Words/music: David Byrne and Brian Eno, available on Everything That Happens Will Happen Today, Todo Mundo 2008)

I think I listened to Everything that Happens Will Happen Today once before I read Byrne and Eno’s notes, but after reading that David Byrne wrote “One Fine Day” after reading Dave Eggers’ What is the What, a book I was in the process of reading at the time, I went right back the song.  Byrne’s summarizes the novel quite well in his introductory note to the album:

I’d just finished reading Dave Eggers’s book What is the What?, about a young man named Valentino and his hallucinatory and horrific journey from his destroyed village in Darfur to Atlanta, Georgia and beyond. Valentino’s story was harrowing but also beautiful, uplifting (in a un-corny way), and at times even funny. I think I may have been under the spell of his story when I sat down in front of my microphone.

The result is “One Fine Day.”

I particularly like Byrne’s choice of words here, describing it as being “under the spell of his story,” in part because Valentino Achak Deng’s story is incredible, but also because he sounds enchanted on the song.  The entire album, a creation of what Eno calls “electronic gospel,” sounds warm and inviting, but “One Fine Day” in particular has a sunny radiance to it.  The song, a simple ode to perseverance through trying times, wraps itself in a combination of synthesized and authentic instruments.  Rather than sound jarring or incongruous (as their previous collaboration My Life in the Bush of Ghosts did by design), the two together give the song a dream-like quality – specifically, the type of dream that seems stuck between being awake and asleep.

Byrne’s vocals steal the show – his voice sounds as good as ever, and his choice to add layers of harmonies cultivates the warm and hazy feeling Eno’s music established.  Appropriately, in a song about the perseverance of the human spirit, vocals take the spotlight.  When Eggers and Deng first met, the two spent a lot of time discussing how to tell Deng’s story, ultimately deciding that Eggers would mute his own idiosyncratic voice in favor of writing Deng’s story in his voice, and the novel benefits from his perspective.  It becomes a story of a voice that endured all of life’s extremes, so it’s entirely fitting that Byrne’s tribute celebrates the human voice as well.

More on David Byrne: Allmusic | Amazon MP3 | Emusic | Last.fm
More on Brian Eno: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: david byrne | brian eno | 2008 | 2000s | todo mundo | track analysis | tangible reference to literature | dave eggers | electronic gospel |
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