Creedance Clearwater Revival a.k.a CCR were a rock and roll band in the US during the late sixties and early seventies. Lead by John Fogarty, who was the singer, songwriter and guitarist in the band while his brother Tom was also in the band. They were credited with creating the sub rock genre called swamp rock or bayou rock which I alway’s associated with the Southern States of the US which is ironic as CCR were from California. Creating music associated with a different area, culture or background can either be a blessing in disguise or a curse for musicians with the biggest issue being the credability of the band. For me, CCR unequivocally succeeded in creating the swampland/bayou sound while maintaining their integrity. Sure there will be some knockers but you can’t please everybody.

The song Fortunate Son is taken from their fourth studio album Willy and the Poor Boys and their third album of that year (how come bands of that era were so prolific eh?) the song again deals with the Vietnam War but I don’t consider this a protest song in the same vein as Dylan’s Masters of War or Edwin Starr’s War as both of these songs, and protest song’s in general, criticise war itself and the generals that run the war. This song, to me, is more about American society, but could be generalised to most western world countries, and how if you have money you can be absolved from many things including the possiblity of going to war because you were born ‘with a silver spoon in hand’  or were a ‘millionaire’s son’ . One of the sadest things in modern society is the inequality of people based on money as well as race, culture and creed.

John Fogarty is solo these days and a few months back he appeared on the Jools Holland Show and while he looked a bit weather beaten, his voice remains as strong today as it ever was. Check out a video for the song live in 1969. I’m probably opening myself up for a public flogging here but I alway’s think that CCR were the American version of that great English band The Kinks. 

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I watched David Lynch’s The Elephant Man last night, and was surprised to hear this piece played towards the end. I’ve always associated the slow swelling of the Adagio with the death of Elias in Platoon, but it’s appeared in more films than I’d previously thought. A cursory look at the Wikipedia page (as always) tells me it has long seeped into popular culture through more channels than the movies. Truth be told, I probably heard it first on The Simpsons.

Samuel Barber, who was Irish-American and thus stakes a claim for the only appearance of an Irishman in classical music (I await correction on this), is really only remembered for this composition, though that probably does the man a disservice. Influenced by Bach and Brahms, he represented more an evolution of classical music than an original voice, and experimented with different genres such as jazz later in his career, which ran from the 1930s on.

Barber was a closeted homosexual, served in the Air Corps in WW2, and went into a depression-fuelled isolation for several years after his Opera for Antony & Cleopatra did not meet the critical acclaim he felt it deserved. I’ve never heard any of his other work, but only 27 years after his death in 1981, Barber has at least contributed one vital piece to the classical Canon.

The piece is quite repetitive around a central theme - in classical music lingo this is referred to as “arch form”. The melody quivers up the note scale, first with violins, then cellos, and finally with violas. As it moves up the register, the notes become almost drone-like, It starts quite slow-paced, but builds up noticeably as it comes to each crescendo. After the first peak is a slight fall-off down the register and a silence, which only adds to the sheer mournfulness of the composition. Little wonder that it was played at the funeral of Franklin D. Roosevelt.

The piece was most famously used as Willem Dafoe’s Elias runs from the Vietnam jungle before being cut down by enemy fire, and falls into the famous Jesus Christ pose that we see on the cover of Platoon. It’s also used in the moving final scene of The Elephant Man, where John Merrick (John Hurt’s eyes and lots of makeup) lies down and dies, having just received a standing ovation. It was also voted “Saddest Classical Work Ever” by BBC listeners.

‘Adagio for Strings’ is also well-known from remixes performed by DJ Tiesto and William Orbit, and it’s to its testament that it fits so appositely to dance music. Toscanini, one of the greatest conductors of all, performed it in its first rehearsal, and could only say: “Semplice e bella”. Simple and beautiful.

You can hear the piece on YouTube here, along with some scenes from Lynch’s movies. And if you get a chance, rent out The Elephant Man. It’s the second David Lynch movie I’ve seen in a fortnight, and it’s a disturbing but compelling show, and one of the best English movies I’ve ever seen from an American director.

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Social Distortion are long running west coast rock/punk band from the west coast of America.  I initially found out about them by reading music articles about other bands who would throw in the name Mike Ness while being interviewed. It came to the stage where I had seen the name so often that I inquired about who the guy was from friends until I was informed that he was the guitarist / lead singer for a band called Social Distortion. 

About a year ago I then got my hands an album of theirs and today’s song is taken from that fourth studio album of theirs called Somewhere Between Heaven and Hell. I haven’t yet had the chance to check out any of their other albums so I can’t qualify what type of they are but from listening to the above mentioned album I just think that they are a high tempo, old fashioned rock and roll type of band although I have seen them being described as punk (I can hear some of that on the album), hardcore punk, rockability (what does that mean?) etc, I hope to get my hands on other albums of theirs soon and find out.

I don’t think this song on the album is any better or worse than any of the other songs on the album but for some reason this song just stuck in my head more than any of the others. I think the reason for this is the lyrics in which he talks about coming to the realisation that the girl he’s seeing is no good for him. Below are the lyrics to the first verse:

‘I believe I was wrong but baby know I know.
You and your evil ways gotta go.
Take the key and break away these chains of love,
And I’ll thank the good Lord above.
The radio’s playin’ a sad song…
Bye Bye Baby yeah yeah X2′

In all honesty I just like the way Ness sings Bye Bye Baby repeatedly over some thumping guitar work. Check out a video of the song , it would be a good choice of song to get a party going…

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Now fifties music isn’t my “bag” at all, but having recently re-visited David Lynch’s Blue Velvet, I found myself cheerfully humming this unsettling Roy Orbison piece on a regular basis. Released in a time before JFK regretted a visit to Dallas, and pretty much pre-Beatles, this is one of the few American pop songs of the era that I rate.

And I’m not sure if I’d have listened as closely had I not seen the disturbing and brilliant Blue Velvet, had not watched the villainous Frank Booth (the frankly crazy Dennis Hopper) clench his teeth and contort his face while listening to this song.

Blue Velvet focuses on the dark side of a suburbia that could have been set in the ’50s or the ’80s (it came out in 1986). Cars show off their chrome, and the music is decidedly doo-wop, but there’s a cynicism there that could only have come from “the mullet decade”. It’s like an America that has gone backwards, and the cultural reference points are beehive hairdos, oversized Buicks and Roy Orbison.

For its time, the song’s structure is very innovative. It comes together in two or three pieces that are not repeated, giving the piece an orchestral feel that is made more apparent by the gushing strings. Yet there’s something very restrained about it. Orbison cannot have the woman he wants in his waking hours - but wait until the “candy-coloured clown they call the Sandman” sends him to sleep, and then he can possess her.

The use of the song in the film is a famous moment in indie film, and one that was pretty much improvised by Dean Stockwell: karaoke to the song with a torch as a microphone, giving Stockwell’s face a ghostly glow. It’s a bravura performance, and one that obviously affects Frank deeply, while Kyle MacLachlan wonders how he got invited to the house party from hell.

Here’s the video of the complete scene, culminating in the abovementioned performance of ‘Blue Velvet’. Listen closely at the start of the video - it’s a great ad for obscure American beer Pabst Blue Ribbon, and one of those silly scenes from movies that always gets me chuckling.

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The Late Late Show is a very long running tv show in Ireland. For over 30 years Gay Byrne was the host and regardless of what people say about the program, and it does vary greatly from person to person but one thing that is undeniable is that it did do a lot to increase people’s awareness of local musicians, I know I was introduced to Mick Flannery, Jack L and Sinead O’Connor this way.

Today’s song features a marvellous duet between Christy Moore and Shane McGowan during an episode aired in 1994 when there was a special tribute to Christy Moore who is a famous Irish folk singer and is largely responsible for keeping traditional Irish folk music in the mainstream for the last 30 years. Shane McGowan probably needs no introduction.

Spancil Hill is a traditional song written in the 19th Centuary and reflects on life in Ireland in that time whereby many family members went abroad to look for work thus leaving family and friends at home. Some never came home again. In the subject of the song, he dreams of coming back home to see what the place would be like and wondering what it would be like to meet those neighbours and friends again.

The sharing of verses between Moore and McGowan is amongst the best duets I have heard either live or on an album and they complement each other so well. What probably helps a lot is the fact that these two were used to singing the old folk songs. I actually remember this recording all those years ago. You can check the video here. Doesn’t Shane McGowan looking really young? By the way the guy shouting approval at the end is Gay Byrne.

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I always overplay my favourite songs, but this song is different. This song will always be a five-star to me. Always.

Coming from the Spirit of Eden album, a record that I have considered my favourite for a couple of years now, this gem of a song was released as the only single from an album that would never appeal to the masses.

If you don’t know about Talk Talk, read their Wikipedia biography. If you’re still reading, you’ve likely heard the song already. If not, here’s a YouTube clip of the video. This is one of the least likely candidates for a single ever, and that’s why I love it so much.

First thing you’ll notice – doesn’t sound like an ‘80’s tune. Rippling cymbal swooshes, an echoed guitar entrance, a bit of piano. Hollis’ unmistakeable voice doesn’t enter until nearly a minute in, and he’s telling us he’s “seen heroin for myself”. Details are shady on whether this is autobiographical, and I don’t want to know. Hollis paints a beautifully solemn picture of tragic wasted youth, decay, and ultimately death, and that’s all that matters.

The song ends with redemption, Hollis intoning “Spirit – How Long?” over one of the most beautiful soundscapes I’ve ever heard – soft cymbals, brush drums, distant acoustic guitar, muted piano and a children’s choir.

I initially wrote a much longer post about this song, but had to edit it down. As with all the best music, words don’t do justice. Listen now. If you like this, I strongly recommend Spirit of Eden, Laughing Stock, and Mark Hollis’ eponymous solo album. Apparently he’s now retired – such a loss to true music lovers the world over. Here’s the link to the video on YouTube, because my words could never do this song (and the whole Spirit of Eden album) justice

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A short post today because the chosen song is an instrumental from US based ambient composer Eluvium and for me at least the instrumental kinda speaks for itself. Its a really soft, inspiring piece of work that is best played in those quiet times when you don’t want any noise or distractions. For me this is what really defines the difference between tv and music in that you can actually concentrate really well while listening to music but the same cannot be said if you have the tv on in the background.

I’ve only ever heard the first two albums by Eluvium Lambent Material and the second album where the title of this song gets its name from An accidental memory in the case of death and both albums are really different. The second album the only intrument used is the piano whereas there are many intruments on the first album. Apparently the entire second album was recorded in one take with no production and in my opinion the album benefits greatly from this although Im not sure how this would fair out if it wasn’t just one boy and his old piano. So for those quiet, peaceful times look no further than here

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I love the title of this song - at some stage wouldn’t everybody like to know what the hell is going on in someones mind when they come out with, what one would perceive to be, total madness. I had one of these occasions at work the other day and I went walking away in disbelief shaking the head which in turn reminded me of this song that was written and performed by Vashti Bunyan in the late 60’s. she could probably be favourable be compared to Joanna Newsome, although for some reason she always reminds me of Robin Hood and Sherwood forest.

I’m guessing when she wrote the song she was probably infatuated with some person, This I get from listening to the first few lines

‘I’d like to walk around in your mind someday
I’d like to walk all over the things you say to me
I’d like to run and jump on your solitude
I’d like to rearrange your attitude to me’

The song also reminds me of the film starring Mel Gibson called What Women Want whereby he knows what women are thinking. Anyway the song is a very folky and mellow song reminisicant of a lot of the folk songs that came out at that time. The arrangment largely consists of an acoustic guitar melody with some nice string work and harmonica action thrown in, which really add to the soft and spongy Bunyan voice. She has the kind of voice that would make ( me, at least) want to find out more about the person owning it. Check out a live version taken recently.

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I confess. I’m including this song primarily because of one line in this song.

Beefheart is an unusual character, and that’s putting it very mildly. His Trout Mask Replica album (sure, you’d know from the title) is one of the strangest I’ve ever heard, and puts Tom Waits to shame for sheer guttural weirdness.

Big cymbal crash, and then the kind of music you’d hear Jabba the Hutt’s house band play on Return of the Jedi. One of the guitars plays the same dumb riff pretty much through the whole song, while the other one appears to undergo electroshock therapy. I don’t hear much of a bass. As an instrumental, it sounds like a band on either speed, or LSD, or (most likely) way too much of both.

Over that, and keeping absolutely no time whatsoever with the music, Beefheart roars, snipes, and coughs lyrics about some girl who has gone crazy from dancing. He throws out some great lines, the second best of which is

“I knew you were under duress, I knew you were under your dress”

Very cute. The rest of Trout Mask Replica is very similar to this, and is very much an acquired taste. But Tom Waits has cited this as a major influence on his classic Swordfishtrombones album - he had to, it was so obvious.

And the best line? It’s the one where he growls:

“You were afraid you’d be the Devil’s red wife”

Listen to the video on YouTube and you’ll understand. Always brings a chuckle.

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After seeing the film about Bob Dylan at the weekend called I’m Not There, I decided to post about this song today. The film itself was pretty good but only in terms of the direction the Director chose to take in making and protraying Dylan in the film. Six different actors were used to protray Dylan at various stages of his career, including Cate Blanchett who gave a great performance.

Personally I would prefer No Direction Home but mainly because it gives some great archive footage of the great man himself. What this film did do however, was introduce a few new Dylan songs that I have never heard of before including Tombstone Blues and today’s song Pressing On which appears on the album Saved which was the second album by Dylan that dealt with Gospel music after he became a Born Again Christian. If this song is anything to go by then I will definitely be checking out both Gospel albums that he released in the late 70’s / early 80’s. Here is a link to a video of the song.

By the way, the soundtrack to the film I’m Not There is absolutely fanastic! It consists of a large number of today’s best musician’s doing covers of Dylan songs and they generally don’t consist of his famous songs. It is really interesting to see other interpretations of the great man’s work and is definitely well worth checking out.

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