Posts Tagged ‘2001

04
Jan
20

Deodato “Prelude”

If you have ever seen Being There (1979) and can listen to this version of “Also Sprach Zarathustra” and not vividly relive that opening scene, you must be suffering from brain damage and maybe want to get that checked out. If you’ve never seen that movie, I’m envious of you, because you have a great movie experience ahead of you—though I suggest waiting, hopefully, for a theater screening of it somewhere (I say that about all great movies, though it might not be realistic). If you’ve never heard this particular Strauss piece of music—no, that’s not possible. Anyway, this is an excellent version, and takes up half of the first side. The rest of the record is just as good, too. Actually, I think I like the rest of the record, on a whole, better, since it’s not weighed down with Peter Sellers or space stations. Particularly “Carly & Carole,” a Deodato number—and really, all of it. There’s a little of everything—bossa nova, rock and funk, jazz and classical, flute and a lot of space. The entire side two sounds like the soundtrack for an imaginary TV show about me—or at least a heightened, idealized version of fictional me. It’s got a great album cover too—a fine use of glossy deep green—kind of timeless—it looks like it might have come out yesterday, but it was 1973—at which time there was an offer on the inside cover to buy a print of the cover photo for $19.95, which seems like a steal to me, even then. This record was huge, I guess, at the time, though I was too young for it. It’s on the CTI label, and as I’m not a jazz collector, haven’t seen it a lot, but I guess it’s the label of Creed Taylor who seems to have been a big connection of Brazilian music to the popular US jazz market—is that right? Also, I noticed it was recorded by Rudy Van Gelder, a very familiar name, but just what all did he do? I looked him up and, Danger Will Robinson, there’s another gaping rabbit-hole just waiting for you to stumble into.

I admit to knowing nothing about this Eumir Deodato, apart from what I’m reading right now—he’s Brazilian, bossa nova pianist, likes that electric piano sound—composer, producer, arranger— still alive—wow, it looks like he’s got about 40 records. I’m going to keep an eye out for them—probably some are hard to find. This one is probably the easy one. He was fairly young here—his picture is on the inside album cover—and I’d guess he didn’t have a lot of trouble with dating. But anyway, if any of the others are even half as good as this record, they’re worth picking up. It would be funny if he got to be a major obsession with me, and I keep getting Deodato records—then the name of this one would be frighteningly apt. Not really related—I used to drive a Honda Prelude from the Seventies—that was a good car. Prelude is like an introduction to something else, right? So naturally you think, this is a taste of what’s to come… so I thought it was an odd name for a car, like, Oh, you’re going to get a better car. And an odd name for an album—it makes you think this record is just part of a bigger work. Which I suppose, if you consider all his work to come, even if it didn’t sell as much as this one, is apt. I can’t say how his other work compares, but I’ll keep an eye out for those records.

17
Jun
16

Silver Jews “Bright Flight”

I know something about this band Silver Jews, that it’s mostly this guy David Berman, and there have been a lot of collaborators, including Stephen Malkmus (in the past, not here), and they put out a few records and then broke up, or stopped playing, or recording (though I suppose that a band or person can just record a record again at any time, if they are still alive, and want to, no matter how much they are retired, so what does that even mean). Six albums, I guess, between 1994 and 2008, and this one is somewhere in the middle, 2001. But I’m pretending I know nothing, like I just picked this up out of a pile of random records (which I did, essentially) not knowing anything (which I don’t, essentially). The first song, the initial impression, is that this is country and western music (steel guitar, country piano, Nashville references, George Strait cover, picture on back cover wearing a too small western shirt with embroidered scorpions), that’s what it is, but something that would be considered “alternative country” in that David Berman’s singing has that quality that some people would call bad singing, but I call great singing—the closer you listen the more complex the person behind the voice gets. It also helps that the lyrics are at worst impossibly catchy and at best life changing poetry.

If one set out to create an uglier album cover than this one, just forget it, you’ve lost. It’s a flat, flash photograph of a nasty old couch with a tattered spiral bound notebook sitting on it, and there’s what looks like some colored stickers on the notebook creating an abstract design, and also what looks like the number “4” on the notebook. It occurs to me that it’s the 4th Silver Jews album and the cover photo and number 4 could be a reference to Led Zeppelin IV (if you squint, you can see a similarity between the two covers) (also, “Bright Flight”/”Stairway to Heaven”—get it?)—and now it occurs to me that IV is not just “4” it also means intravenous, and most likely “Stairway to Heaven” is about heroin. (If you ever find yourself on Jeopardy and the category is “popular song meanings”—just keep hitting the buzzer and saying, “What is heroin,” and you’ll probably come out ahead.) In fact, seeing how every other song on this record has a reference to horses, I have to assume either Berman is an avid equestrian or else it’s a lot about heroin.

All of my nonsense here is an attempt to not try and fail to express just how good these lyrics are, and how catchy these songs are, and how lovely it all is. I think this is my new favorite record of all time, no exaggeration. I think I just joined the club of nerdy, pathetic music fans who have “Silver Jews” tattooed on an important part of their brain. Now I know how people felt about JD Salinger. (Oh, wait, I was one of those people, too.) And it’s even worse with the internet. Look, I consider myself a songwriter, or former songwriter. I feel like there is no worse feeling in the world than to know you’ve come up with some kind of wonderful song, seemingly out of nowhere, and then not be able to do it again. It’s a wonder that any songwriter survives past the age of thirty. I guess the only thing to do, sometimes, is reinvent yourself. But then you probably already know all this. But if you don’t believe me, find a couple of these songs, like “Slow Education” or “I Remember Me” or “Tennessee”—and if they aren’t the best songs you’ve ever heard, go get yourself a new set of friends.




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