The Beach Boys – Smile AKA The Smile Sessions

Back after he’d practically created, all by himself, the flawless sounds on Pet Sounds, Brian Wilson was definitely reaching for the stars even further with the ideas for Smile. Continually fueled by whatever it was The Beatles were doing at the time (it was Rubber Soul that had inspired Pet Sounds, it was followed by Revolver and Sgt. Pepper’s Lonely Hearts Club Band by The Beatles in the same year! And Brian was feeling very very unsure about his skill), while still trying to create his own wall of sound, he was a fully realized artist, simply trying to find his way. After he had perfected his own style of production and vocalizing, the heavy realization that the follow up to Pet Sounds had to be utterly amazing set deeply in. Fortunately for all us, it ended up being just that, it just never received the proper release and fanfare it deserved.

Part of the dissolution fueled from the fact that Brian wanted to work with the famed Van Dyke Parks. Yes, the same one I mentioned from the Ys post, here Brian wanted to work with Parks so he could be his ultimate lyricist. Van Dyke Parks can deliver flourishing arrangements and music like he provided for Joanna Newsom in 2006 and also the trippy, inspiring lyrics to match Brian’s music in the late 60s. The Beach Boys were still a band though and if you ask me, they probably weren’t too fond of Brian working exclusively with this Parks’ character. They probably pressured the situation, they probably vented frustration, they probably made it very hard for Smile to have a fluid release. And eventually, instead of truly breaking up the band by taking Brian with him and running off in the sunset to make beautiful music together, Parks left the project and Brian eventually shelved Smile.

In the 2000s the pressure to release the album mounted, and rather than re-opening that vault, Brian recorded SMiLE with Parks for a 2004 release that was easily one of the best of that year. Finally, in 2011, Smile saw its release as The Beach Boys collected all the music together and released it. I just very recently got this vinyl version as an xmas present and wow, vinyl is the way to go! And while there are so many other details to cover about its story(ies), it’s best to let the music do its talking. Beginning with “Our Prayer,” here was a pure choral arrangement, a beautiful chorus of angels that are simply singing directly from heaven if there is one. All of the Beach Boys’ voices are present and the melody and harmonies are downright impeccable: a solemn, minute of bliss, perfection to start. Then it’s a minute of the chugging “Gee,” it sounds like the car getting ready to take off, before they finally sing, “how I love my girl” and the small introduction to “Heroes and Villains.” Here their voices sound unified and full of life, if only they saw it all the way through. And the actual “Heroes and Villains” song is a ravishing tale of love lost, drunken nights and the same old ‘bad guys/good guys’ story. Supposedly this song was written very quickly as Brian and Parks capitalized on their chemistry: legend says that Parks came up with the words after hearing Brian’s melody the very first time. It changes styles to accompany the vocals and the directly fast-paced style introduced a terrifically towering new style to The Beach Boys, not likely heard on Pet Sounds.

One of the other songs they created in timely fashion was “Surf’s Up,” and honestly, that has to be one of the finest songs on Smile. There’s this fanfare from the trumpet at the beginning, as Brian sings words about feeling lost and definitely like everything is moving away. The other voices are playing a feature in the background and the pensive feel of the song allows for the emotion to really come through. The first part is much more atmospheric, the second part showcases the piano and the voices even more. The tiny adjustments in dynamics and how it just speeds up and slows down, all controlled by the piano, is masterful: and singing about a “broken man, too tough to cry.” It changes into perhaps a last section, where the “surf’s up” is finally sung and while it’s now very clear that the star of the show on this song is Brian’s voice as it supports the piano line, the culmination at the end is justified. These are just a couple of the songs off this amazing album that at least finally did get released. – Bryan

Joanna Newsom - Ys

So I decided to post that classical bit, for the first time in a long time, and I only briefly researched what the Debussy piece, The Sunken Cathedral, meant. That’s where I found the picture I used, which is the Wikipedia image for Ys. Basically, it’s a myth where a cathedral is sunk underwater, near the island of Ys (a mythicaly city that was swallowed by the ocean) and it just so happens that Joanna Newsom (who I’ve written about three times already but never about this album) made an album in 2006 titled, Ys. In turn, this is an equally, amazingly classical slice of life, in it of itself.

 

I knew nothing of this woman until the winter of 2006 when this remarkable album came out.* Some kind of fusion of classical music, by way of Newsom’s tremendous harp skill and the way she blends it with the orchestrations Van Dyke Parks (the guy who helped Brian Wilson write the lyrics to the majority of Smile [i.e. The Smile Sessions/SMiLE]) has crafted, it’s one magical dream of truly classical music. There are clarinets, flutes, plenty of strings; they all flourish together and her harp acts as the meter to it all, while her voice? Her voice is a mixture of far too many to even do it justice. Needless to say, it’s certainly an instrument all its own: it bounces from measure to measure, she reaches through octaves rather easily and wondering “how it could possibly go with anything else but the beautiful compositions that are happening around her?” it makes Ys something truly exceptional. All of this happens on “Monkey & Bear” and "Cosmia," 40% of the entire music here:  the way the dynamics really measure up to each other – the dipping fortes, the delicate pianos, the way her voice is always the star of the show – and on top of this, still to behold, are these richly decorated stories that she’s telling. 

As insincere as it seems, there are still moments of clarity on Ys, where everything is so crystal clear the mind is left to just get lost – in utter awe of what a creative mind is capable of: multifaceted stories, moving and gripping music, encompassing themes of life and adventure, the uniquely stellar quality of a blisteringly gorgeous voice – and knowing how to present it. It was the true depiction of what a bold artist is supposed to create in music: BOOM, here’s my album, in full-glory and it’s perfect, all myriad of sounds inside. It’s five songs long, but a hearty fifty-five minutes of substantially expansive music. Yeah fifty five minutes of bliss – it sounds so nice on headphones, with the vinyl, as loud as possible: you can hear her voice quiver as she breathes, the voice is simply amplified and it shrieks so sweetly – if that makes sense.There’s times where the harp is just chugging along, while the wind instruments bellow behind her, as a drum pounds away, and her voice is recounting this story of the old times – that there’s justice in taking it all in with a book of the lyrics.

*I just remember in early December looking for the newest music and I was reading comments about how the newfound critics were gushing about this new album by Newsom. The cover was shocking sure, it’s easily one of the best in retrospect. And for some reason, people seemed conflicted as to whether they purely loved it or confusingly despised it. That was enough for me to check it out, in entirety, and mind blown is lame for sure but it still sounds fitting when it comes to this album. (I think back in 2006 I was so head over heels for BH&R that this one still maybe wasn’t the top choice (pretty sure it was 2 w/ a bullet) it might still be there now in retrospect, maybe tied for the top. Who knows, for now just classical bliss in the new  age (i.e. six/seven years old).) – Bryan 

Debussy and Eastwood

I didn’t even wanna check to see just how little classical music I’ve actually posted on this blog – because it’s probably very, very few and far in between all else. And yet, I find myself admitting that classical music is definitely one of the best genres ever. Maybe not as amazing as jazz will ever be, but that’s a different argument for another day.

Claude Debussy was a French composer that is definitely my favorite ‘impressionist music’ composer. To say he was an impressionist simply maintains that he made music that focused on the atmosphere of the composition, as opposed to maybe having a strong story. Following Romanticism, Debussy, along with other European composers, created music that was richly beautiful and still melodically strong, but indebted to the atmospheric touches music could prevail with. Still, it’s not really too important but more so, a label, we’ve come to use to easily identify with. I especially love Debussy’s actual style of these moving passages, that all follow the tonality with deep chords that are often parallel.

My radio has been acting up in my car lately, so sometimes I will turn it on to play my CDs and the radio wont play them. So I switch it to the radio and play whatever is on NPR at the time. Last week they played Debussy’s Préludes and I turned it on just as the first one was being introduced. I hadn’t heard them in many many years – I wanna say at least six, seven years – and I immediately realized why I fell in love with Debussy so many years ago. This particular piece is a piano piece that focuses on his parallel chord structure (basically meaning that his chords move together, in parallel fashion, instead of slicing in and out of the lines, like some perpendicular structure) and it’s a slow building piece that follows the piano on its linear path. Debussy himself was opposed to the ‘impressionist’ tag everyone gave him but what’s important was that it’s a label of complimentary measure: that the music is so gorgeous and moving, it’s atmospheric and needs something else to describe it. Whatever it is, here is “Préludes I - 10. La cathédrale engloutie (1909-1910)” (The Sunken Cathedral)

And as I sat there, on my way to mundane work, and listened to that aforementioned piece, I began to realize just how much it reminded me of the original score to Mystic River. When I first saw this film, I immediately loved the acting, the story, the directing and the music paired with it was just so moving. I still feel angry it lost out best picture that year (very deserving for the LoTR trilogy but the best movie is and always was the second one), nonetheless, it’s a great movie. The composer to that score is actually Clint Eastwood, who happens to make a lot of movies too. Built around a simple melody that is recurring, here is where a 20^th century, modern-day composer if you will, can take an influence like Debussy and make it something brand new. I don’t know for sure if Debussy is a direct influence to Eastwood, but I can’t see why not. Especially when you hear the piano at the end (last minute or so) play the same melody the strings did earlier, it’s obviously using the same parallel harmony, only this time with even more accompanying sounds and yes, more atmosphere. It’s beautiful music in my opinion, hopefully you all can enjoy both. – Bryan.

Coldplay – A Rush of Blood to the Head pt 1

To be ten years behind is pretty bad I suppose. There are a lot of things that can get in the way. Stubbornness probably being key, but pride mixed in somewhere. I hadn’t heard the entirety of this album (although I always did love the second, huge rush always) ever until a week ago. I came across a copy of it and found something both endearing and rather impressive; and driving to work in a traffic-drenched rush last Friday, I put it on the radio to change discs and “Yellow” was blasting and well, I can take a hint (different albums I know.) And while I cant help but notice how it reminds me a lot of Radiohead in instances, it’s also very warmly, growing on me with each repeated listen. The lyrics are longing, almost melancholic and definitely despaired words that are honest and heartfelt and the sounds are bright and vividly full of life. It’s starting to build a nest and I can’t help but notice how much I like it.

This “Politik” song floored me because of the unafraid nature of playing with the drastic loud/soft policy, while employing strings and more piano into the hushed areas. I remember being at a bar with friends and I think it was D who figured it be good to play something by Coldplay on the jukebox, I foolishly scoffed and he picked something I’d never heard so I could blindly gain some respect and it was sweet. It’s a dramatic way to begin, but then again the cover is dramatic and it is called A Rush of Blood to the Head, and that’s why I like it. It’s pretty brave, exploding from before and employing a grander scale that somehow, feels more personal. The entire time, he’s singing “open up your eyes…” while this piano clanks away in the foreground. The music builds and builds into a definite rush of blood to head and is an astounding opener.

I’ve got a strong feeling that I can come back and write about this album some more, so instead of adding the bookend (yes later) I go with that aforementioned “In My Place” (the rush from the outset). The drums are immediately affecting: they pound away to a steady pace and truly act as an anchor. The way the cymbals crash loudly, the way the snare is relentless, it’s big and loud and awesome. And the guitar, well the guitar melody on this track is what makes it one of the best songs of that entire decade (2000s) because it’s chillingly mesmerizing and sweeping. It’s brilliantly colorful and it reins a wall of sound that commands respect; somewhat countrified with its adorned counter-melody, the sparkling melody is a shining winner. All together, the lyrics and of course, those strings at the end, make it what you’d call pop gem, it’s still very much in the rock playbook. And perhaps the rockist at heart can see it as such; until then, there’s plenty more discovery to burst about. – Bryan

Animal Collective - Centipede Hz

I wonder how many times I’ve said (felt) this in past years but it just seems like this year is simply blowing by. It feels like it’s been a really strange year where a lot has happened, in fairly important aspects and still during it, seems like a struggling blur of fog. It definitely feels that way when I consider the 2012 music I’ve actually found, in comparison to years past, because objectively, I’ve simply found a lot less music this year.

That feels very sad in a way. But it highlights the music that I have been able to find, as some very awesome gems. And while, sure, it’s probably not anything earth-shattering new or ‘rare,’ the effect still seems to take on the same value as ever before and in the end, it feels whole. And to really juxtapose it, I’m planning (and have for a week now) on just mad-dashing it (getting as much as I can) to the end of the year.

Together, not as sad, but the main aim was to say: well I’ve found less (so far) but what I’ve found, it’s still very dear. And there was times where an album would consume my thoughts, mind and ears for a month at a time. I think this was mostly how Centipede Hz found me during the month of September and how we lived together throughout most of that month and some of October. And while yes, a lot of this reaching for the exact same album over and over – sure, I would sprinkle your obligatory regular selection from the library music (an LCD Soundsystem record here, 808s sometimes, a lot of Interpol for some reason and Wilco in the fall just sound right in the car) – is my own doing, it just seems entirely mutual and comfortable at the same time. I would never skip around and it always started from the beginning to the end – to where I was driving a dreary 35 MPH for the first two or three minutes of my drive, while the pounding of “Moonjock” just encompasses me, up until the drive home anywhere in between 7pm to whatever and these “Pulleys” just yanking away – and the whole album really kills.

I’d just say to listen to each of these selections if you can stomach them through entirety, unless you’re already a fan, and entirely consume them. What really floors me about “Applesauce” is the way it solidifies the album’s beginning and ties it to the middle, heart, of the album with a vivid, driving and fluid pace. A lot of complaints on this album were regarding the immediacy, reactionary or not, it’s definitely an afterthought when you truly consider the ever-shifting scope of their delivery. The song sings about the innocence of youth and feeling absolutely fantastic and yet, it questions the fast pace of our now-adult lives and how it all seems a blur (“I’m losing things so fast…”) to this hyper, tumultuous array of percussion drums and patterns. The song never truly finds a chorus or verse, and instead relentlessly pounds away in an almost circular feel.

And there’d be the nights where I’d lay in bed, in the dark sometimes sure, with the headphones grafted on and just getting lost inside of “Amanita” and its sincerely trippy exposure. Well Amanita can be two things, purely a mushroom that can be deadly sometimes, so the whole song could be about the escape/leap into death? And there is this Amanita Muscaria: the indigenous people of Russia would use this mushroom as some kind of entheogen (substance to go psycho on). So it could also be a reference to drugs and just how the feeling is. Either way, the song begins with a slow, trance-like pattern and rides on this high for the first half, before everything breaks away and explodes. The second half towers over with rapid percussion and a dance-like chanting that amazingly closes the album out. The entire time, the actual lyrics discuss jumping into a forest and running deep not returning “Until I can’t remember my name.” An uncontrollable feeling, the first half makes references to a time before technology and what will happen when all the blogs? close down. Very heady, sure, totally worth it. I’m glad it took over my crazy mind for a good month, it sure did it well.

No album version available, here is a live version with “My Girls” on the front half. Amanita around 6:50.  – Bryan

Crazy and Lost Samples of Life

I’m just feeling like unraveling myself some more throughout this heady space of a blog we’ve created and it definitely feels like a good enough time to try to start. And while I know December feels like a reach, I think we can sort of combine for a strong showing. Plus, that’s just such an awesome word, it feels good to use it and try a refreshing new outlook.

I had St. Elsewhere when it came out, I remember it came out in April 2006 and I remember I bought it that weekend or soon after. I remember that spring waking up at like five in the am to work at an old job until the very deep night. I remember doing it all because Radiohead was that summer and that was the entire funding: relentless overtime. I remember burning out, I also vaguely remember the details of those days – it all feels so far away. Anyways, this album I remember because I’d blast it early in the morning. I fell hard for “Crazy” but the album didn’t grow that much on me. Subjectively speaking, it be like somewhere in the murky 60s or 70s in a list of 100 from that year. Regardless, the point is “Crazy,” yes, that year – man “Wolf Like Me” is perhaps better? – well so yeah it was the best song, I love it still, some say best of that decade that just ended? I wouldn’t argue much, but I very recently just found out this “Crazy” used a great sample.

I’ve never seen this movie it’s from, Preparati la bara, but the song is “Last Man Standing” by the Reverberi Bros. This sounds like a solemn hymn, especially the way the voices resonate throughout, without ever vocalizing an actual word. The trumpet, it’s definitely the leader – it lulls, and rolls over – before the strings add flair and drama; all together, it’s a sort of marching, towering piece that definitely breathes a steady pace. Mechanically, it’s less than three minutes and still, very moving in it of itself.

And well, this is “Crazy.” Of course you gotta love the way the voices, this time, feel like they might be going somewhere, whereas on the Italian original, they’re far more pensive. On this version, Danger Mouse’s beats take the high road and bumping, steady and propulsive, they allow for Cee-lo’s voice to just rush in and out of focus. I think that’s the brilliance of it, the ebb and flow of their styles into what is obviously tremendous chemistry. And it’s a nod to both of them really when noticing the success Danger Mouse has had outside of Gnarls Barkley (Beck, The Black Keys, Danger Doom) and Cee-lo already has a song some fashion as the best song of this decade? (“FUCK YOU”) that this is really a pretty fantastic duo. And… this is a bad ass video right?

I remember seeing them cover aforesaid Radiohead’s “Reckoner” at ACL in 2007, at the height of the “In Rainbows gush of 2007, i.e. Radiohead made music before 2007?, i.e. the time Radiohead really broke through, i.e. what’s Kid A, i.e. the original surge, i.e. and does the Bends matter anymore?” As in the answer to each is ‘whatever the hipsters say?’ But seriously, here’s to more and hopefully for all ours’’’ sakes, better output. Maybe? I think so. Til then. – Bryan  

The National - Alligator/Secret Meeting

June seemed to be a slow (for lack of a better word) month in that we had three posts by the 10^th of the month and we ended up with a grand total…of three posts in June. The above picture I just featured on the marquee is also from June (this one here is a beautiful American gator) – a sort of cloudy time during the middle of the day that I couldn’t find any other time of the day. Sure it’s been hot and sure it’s been a bit different but my regards and sentiments don’t change on the aim of the blog: a hopefully thriving collection of writing. My compatriots don’t seem to share the same vision I have; heck, my dry spell for most of this year doesn’t seem to share the unlikely vision my brain has. Maybe I'm crazy, probably but for now, it’s gonna be a July or bust kind of month. July reigns as one of my favorite months because it’s sort of in the middle and it’s also a transitional/longing period for many. You know, the whole ‘it’s almost august before school and work (for most, not me) starts again so let’s enrich July." For me, it’s July, the maybe best month. I’ll be at the Chamizal for the 4^th and hopefully with a better picture than the one above. In the meantime, the realness of The National takes over.

I’ve got I think 3 posts on High Violet and only one on Boxer (which needs to change because that’s the one I was listening to earlier) but contrary to what the masses assume, The National made music well before either of those albums. This band is truly something for the ages. they make music surreal and amazingly in-tune with what many young adults face in the here and now. And they also name their albums beautifully with each one a story. For a punk college kid in 2005, Alligator really showed me the magic of combining the storied songwriting The National fashion with a compelling lushness of guitars and drums that never seem to tire. This alligator was always spiky and maybe ornery but only if you mess with it.

The first song is where many of us fell in love with the Ohio-created, now Brooklyn-based band. side note: maybe just moving to a new territory would be nice? Anyways, this song reckons some kind of kiss-off to The National’s record label as a sort of “leave me alone, I aint listening to you, I’m having a secret meeting in my head away from you about what this album will be.” Maybe it was like a moment of frustration where the band realized ‘hell you signed us, let us do our thing’ and well, according to most artists (even the big ones on major labels) the labels have a lot of say. And its funny, or ironic, for a better word, the big wigs at a record label isn’t always someone who knows about music. Sort of twisted but I’m sure it’s like that anywhere.

For me personally, the song drives a sort of paranoia, lost in a relationship, lost in a self destructive state of mind sort of. Like the spies are around you and they seem to be honing in on you but is it in your head? Are you having these secret meetings and finding something worse in your own terrible mindframe? They talk about trying to make it as a band (and I think that’s more what it is REALLY about) but I mean, the metaphors run wild on here. At the end he’s screaming about holding an ace but still folding, like a sort of give up where you realize you’re the best but still lose. And then they try to reason with him to throw it away but he’s scared. Like having too much power is scary enough and the ace, well, it’s strong no? I’m not sure, but the sharks always run wild in the river. The point is... they’re lost.

I wanted to include another song but I just realized I ranted for more than 600 words here already, that’s enough. Until then, some hopes and a bad ass song by a bad ass American band. – Bryan