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How I Got This CD: Bought used in Rhode Island.
Note: To stream the sample tracks, click on the thumbnail image in this post.
Continued from the previous Marshall Crenshaw posts: Part 1.
This is a solid follow-up to Crenshaw's debut album. The tunes are equally catchy, and equally well-crafted. The sound isn't as stripped-down as it was in the debut album and there is more of a world-weary sense to the lyrics. In many ways, Field Day is the prefect bookend for Crenshaw's debut, much like the second chapter in a really good book.
Like the debut album, this one was very, very hard to narrow down to some key MP3s. The good news (or maybe it's bad news), a lot of the songs are not well-known on this album. As a result, it's both a delight and surprise, especially since at the time I bought it, it had become devilishly hard to find. It's since gotten a lot easier to get your hands on it, in large part because it's easily available online.
Of course, I had to include my all-time favorite tune, 'Whenever You're On My Mind,' what is easily the most perfect pop song ever, made its actual debut in the public eye on this album. Nothing makes me smile more than the opening bars of this song. Nothing. This is the must-have, so much so that even if it was the only song on the CD that was any good, the CD would still be worth buying. Question: Can you write a love song where the word 'love' or any other mushy sentiment is never, ever used? Answer: The song says, "Oh, yes!"
'One Day With You' is more orchestrated, especially in comparison to 'Whenever You're On My Mind,' so much so that Crenshaw's vocals seem to be almost overwhelmed. Despite that, the lyrics are too good to get completely lost. What really makes the tune is the retro-rock guitar riff. Ahhhh, they just don't make them like this any more.
For some reason, 'Monday Morning Rock' cracks me up. I don't know if it's the clever lyrics, or the picture of a guy who's so sick and tired of being a good-time Charlie on the weekends that he actually looks forward to the weekdays so he can relax into a little everydayness. Even with the pop-y beat, there's something relaxing about this tune.
'All I Know Right Now' for some reason reminds me of Crowded House, from lyrics to musical feel to even the sound of Crenshaw's voice. Since this CD came out before Crowded House even existed (although it would be contemporary with the Finn Brothers' first band, Split Enz), it's funny state of affairs — at least I think so.
[Support the Artist; Artist's MySpace Page]
How I Got This CD: Bought the cassette tape used in Boston. Lost it. Bought the original 12-track CD used in Rhode Island. Found the Rhino re-release during my Bordersverse daze and bought it new during employee appreciation daze. What? I warned you I was a drooling fangirl.
Note: To stream the sample tracks, click on the thumbnail image in this post.
Detroit-born rocker Marshall Crenshaw has been all over your radio dial (you may not know that), sneaking onto your television shows (you'd be surprised where he's turned up), hanging around in your movies (you may not know about that either), on your bookshelves (he's written and contributed to several books), and did his time on stage (road show version of Beatlemania). His debut self-titled album is considered not just a classic, but a must-have for fans of power pop and new wave. His live performances are fantastic, even without a band backing him. He has a reputation for both intelligence and just being a nice guy. As far as I'm concerned, one of the enduring mysteries in the history of American pop is why the multi-talented Crenshaw isn't monster huuuuuuuge.
I can only conclude that he was either born too late — as in past the point where the perfect 3:05 pop song was considered the height of awesome — or born too soon — since I suspect MP3 love would've helped immensely in spreading the Pop Gospel of Crenshaw. I can't make up my mind on which it is.
In either case, I've been following Crenshaw's career for *mumble-mumble-mumble* years, starting with his time in the Warner Brother salt mines, through his single official RCA release on the now-defunct Paradox Records label, his present run with indie music company Razor and Tie, and the Rhino Records re-releases and collections. I've sniffed out rare releases, live limited-release CDs, and DVDs of his live performances.
I even checked out his #447 tour when it hit the Boston area (nothing is better than Crenshaw and just his guitar) and sat next to him in the small bar he played while he chowed down on dinner. The funny thing about this anecdote is that Crenshaw was eating with all of us patrons who had paid a cover charge to see him perform later that night. Not one of us went up and bothered him for an autograph. Let's hear it for reserved Bostonians who know the meaning of personal space, hunh? And believe me, we all knew who he was.
Anyway, the funny thing about the crowd that night was that a whole bunch of them had actually worked at Boston-area clubs during the 80s, back when Crenshaw almost managed to break through to the big time. The reason why they were paying to see him almost 20 years later? Because he was nicest performer they had ever worked with or for while he was barnstorming on the strength of his debut album. He was so nice, he made them die-hard fans for life.
There's something wicked awesome about that.
And before you ask, yes, that really is Marshall Crenshaw's MySpace page. I got to it through his Web site.
God. Now I look like a complete stalker fangirl. It's actually kind of embarrassing.
If you love pop, if you love new wave, or even if you love good music, the original 12-track CD is a must-have, whether you're a Crenshaw fan or not. Every song is a perfect gem of pop awesome in a toe-tapping, butt-dancing orgy of musical genius. Crenshaw's craft and discipline in both writing music and lyrics shine through and gives the listener a true musical treat for the ears. No matter how bad my mood, no matter how much my life sucks, this cassette tape and later CD never failed to lift my spirits and make me ready to take on the world. There is nothing bad about or on this CD. As a debut CD, there are none better.
The Rhino re-release (God Bless Rhino!) goes one step further by adding 9 tracks' worth of B-sides, demos, and rare tunes (the CD actually lists 8, but there's a hidden track after Crenshaw's live 1981 cover of 'I've Been Good to You'). Even if you've got the original release, the Rhino re-release is worth having and loving to death.
Choosing the sample tracks from this fabulous CD package was a hell of a lot harder to do than you'd think. Although you'd think the big hit off this CD, 'Someday, Someway,' would be the crown jewel in this CD, you'd actually be wrong. Every song is as infectious, as catchy, and as good as Crenshaw's signature song.
Because 'Someday, Someway' was so huge when it hit the airwaves back in '82, and because it is one of the best known songs on the CD, I'm including it as part of the downloads. However, this slick, ready-for-radio version isn't my favorite version of the song. Still, I highly recommend giving it a listen.
'Cynical Girl,' which is also off this CD, happens to be my back-up theme song for life. (My first theme song for life is 'Brown-Eyed Girl' by Van Morrison.) How can I not love a love song to the world's most imperfect woman? No, seriously. It's pure love. Tell me I'm wrong.
Also in a bit of a twist, 'Someday, Someway,' while one of my faves of his, isn't actually my all-time favorite song from Crenshaw's pen (it's not even my second or third favorite). My favorite Crenshaw tune, believe it or not, is reserved for 'Whenever You're On My Mind.' And because Rhino obviously can read my mind, and because they obviously love me, they included a 1979 demo of this song in the additional tracks. It had to be included in the sample tracks.
The final sample track is a live 1982 cover of 'Look at What I Almost Missed' by the Parliaments (George Clinton's first band). It's a fun tune, and gives you a little taste of Crenshaw live.
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How I Got This CD: Freebie demo from my Bordersverse Daze
Note: To stream the sample tracks, click on the thumbnail image in this post.
Well, here's another example of the Penny CD and what corporations consider a "good" music mix, this time courtesy of Borders and BMG, thus proving why individual consumers are much, much better at this sort of thing.
Of course, since individual consumers aren't actually using the mixes as a marketing tool beyond, "Check this cool artist I've included...think you could throw some love their way," it's probably no big shock.
Like with Blue2002, in the previous post, I'm going to offer this whole CD for download. The reason is simple: It's out of print, it was meant to be passed around (or thrown away), and it is supposed to be a big ol' marketing thing.
Anyway, a lot of this is soft pop, and judging by the choice artists on this CD, it seems to be geared to the older Gen Xers and the younger Baby Boomers. If that's the case, then why does this CD bore the tits off me? What's really mystifying is that I like most of these tracks as individual tunes, but listening them to back-to-back really rubs my ears the wrong way. Looking at the track listing, it should be a good mix, and yet...it's just not.
I know a good mix when I hear it and this...is not a good mix. I wish I could be more specific about where it misses the boat, but I can't. No matter how hard I try.
In either case, it's terrific background music if you're plugging away at work, but if you're looking to get the heart pumping and the body moving, this one is a snoozer.
[Support the Artists]
How I Got This CD: Freebie demo from my Bordersverse Daze
Note: To stream the sample tracks, click on the thumbnail image in this post.
Ahhhhh, now this is a throwback to my Bordersverse daze: the Penny CDs.
The Borders Books and Music private label Penny CDs (I suspect that Barnes and Nobles has something similar) are a clever marketing ploy to get people to spend more money in the store's music department. To give Borders a credit here, in general, the Music/DVD/Multimedia department tends to have a very, very, very deep selection of genres and artists (it's usually better than the neighboring Barnes and Nobles when comparing local stores head-to-head...sorry B&B fans), and these Penny CDs are just one way to capitalize on the inventory.
The Penny CDs are of the cheap "blink and you'll miss the cellophane-wrapped cardboard envelope" variety. We'd probably get them a couple of times a year and would have to put them out on just about every available customer service surface, complete with the sticker that marked it as one penny. To be honest, the penny and the sticker were strictly for inventory tracking purposes. Usually, if you bought something, you didn't even pay the penny (it was taken off at the register). The only time I'd seen anyone charged for these compilations was if the Penny CD was the only thing they were getting.
The Penny CDs are designed to introduce customers to new artists or a new musical genre. Then (Borders hopes), you'll come flying back to the store ready and eager to spend money in the music department, where we would lovingly Hoover more money out of your wallet.
Which isn't a bad thing, by the way. I just want to be clear that this isn't a criticism.
The problem with the Penny CDs, however, is that they're uneven almost by design. The general idea was to get people to listen to the CDs at least once before either tossing it out or giving the CD away to a friend (as I have already given this CD away to a friend). So, the approach to developing these Penny CDs seems to be: 1) develop a pretty generic theme; and 2) take the scatter-shot approach when choosing the tracks that just might, maybe, perhaps, fit the theme.
Then you have to consider that you need to get a wide variety of different artists on that CD. You need at least one or two headlines to get someone to pick up the Penny CD, while shoving a bunch of lesser-known artists on most of the tracks. If the Penny CD is around a "theme," you're going to get a mix of genres. If the Penny CD is around a music genre, you're going to get artists from across the spectrum of that genre.
The mixes on the Penny CDs are not generally the most inspiring on the planet. In fact, I'd even say that 50% to 75% of the tracks on most of them is a complete waste. But then again, my "waste" is probably someone else's goldmine.
So, without further ado, my first salute to my Bordersverse days via one of my Penny CDs.
I should say that I'm taking a slightly different tact. I'm going to simply offer this CDs in its entirety via the magic of Zip files. I figure why not. The Penny CDs were designed to be passed around or thrown away (after you make note of the artists you like).
Without further ado, here's the first of two, Blue2002, a Borders Penny CD created in conjunction with Blue Note Records.
This particular CD was actually designed to push the latest releases from artists recording under the Blue Note Records label. I find some of the tunes on this collection downright annoying, and others kind of relaxing. Either way, this Penny CD (or at least some of the tracks) are good ones to have if you need to hide under headphones at work and concentrate on the task in front of you. The best of the bunch is Cassandra Wilson, Bobby McFerrin, and Medeski, Martin & Wood (Note: Medeski, Martin & Wood are an awesome live band, so if you get a chance to see this jazz trio, don't turn it down.)
Sometimes the strangest songs crop up when I set the media player on random. Sometimes, I don't even realize that I had the song anywhere on file, and sometimes I have no idea how I got my hands on it.
Take the MP3 I have of Garth Brooks doing a live, acoustic cover of 'American Pie.'
First I went, "Bwah?"
And then I went, "Hey, this ain't too shabby. Good job, Brooks."
And then I went, "Wait a second. The audience is singing along with the whole song."
Keep in mind, this is a song that is 8-and-a-half minutes long. Think about that a minute. In Brooks's live version of 'American Pie,' you can hear the audience singing along for 8-and-a-half minutes. And not just the undeniably memorable chorus, but the verses, too. And I don't just mean the beginning and the closing verses, but every single verse.
In that moment I had a realization that bordered on an epiphany. 'American Pie' is one of those songs. You know what I mean, right? It's a song that just about everyone knows. Age doesn't really factor into it, neither does level of education, or region of the U.S. you come from. Hell, even people with only a glancing familiarity with American pop music know this song.
If you're American (or if you've been in America for any length of time), if there's someone standing in front of you with a guitar and a good grasp of the lyrics, you can not only sing along with almost the entire song, you also know what the song's about. You might not get every single reference in the lyrics, but you know damn well that the song is about the death of Buddy Holly, Ritchie Valens, and The Big Bopper in a plane crash. You might not know that the plane crash happened in 1959. You might not know it happened in Iowa. But you definitely know the who and the what happened.
Yet, to say that 'American Pie' is about the death of Holly, Valens, and the Bopper kind of misses the point. 'American Pie' is about growing up, losing your innocence, and realizing that (as Paul Simon once famously wrote in 'American Tune') "you can't be forever blessed."
If 'The Star-Spangled Banner' (our official national anthem) represents what the United States should be, I would argue that here at the dawn of the 21st century, 'American Pie' best illustrates what the United States really is.
This song, which was unleashed on an unsuspecting public in 1971 by Don McLean using his own knowledge of the musical history of the rock 'n roll era, is at its heart a damn cynical song. It starts with hope and slowly sinks into disillusionment. Poppy beat notwithstanding, there is nothing happy about this song. There is no redemption, no moment of coming to terms with loss, no heroic struggle to recapture what was lost.
In short, the saga simply...ends.
And maybe that's the whole point.
'American Pie' merely states what is, couched in terms of popular culture, it's true, but a harsh reality nonetheless. In a way, it makes McLean a prescient kind of bard singing out the history of the United States in the latter half of the 20th century using a very specific conceit.
All 'American Pie' tells us is a history we know (or at least suspect). What we do with that knowledge is ultimately left up to us, the listener. Do we merely accept it? Do we try to turn back the clock to an era that we think is more innocent? Or do we move on, wiser for what we've experienced?
The ultimate irony of 'American Pie' isn't that us notoriously short-attentioned, and short-memoried Americans are familiar with this 36-year-old, 8-and-a-half minute song. The ultimate irony is that even at the time of the song's release, the only person who knew what all of the lyrics meant was McLean himself...and he still ain't talking. As more time lapses between its release on the pop music landscape in October 1971, the more mysterious all those lyrics are to many of us. Yet, we still know at least 90% of those lyrics, we still sing along, and we still get the gist.
'American Pie' is, in short, our Unofficial National Anthem. It'll never be used to open a sporting match, it'll never be played when American athletes win the gold at the Olympics, and it'll never get any kind of official recognition by anyone. Yet, it doesn't make it any less of a national anthem.
Sure, there's room for debate on whether 'American Pie' is or is not such a creature, but what do you call a song that everyone seems to know almost by osmosis?
For a somewhat cobbled-together stab at deciphering the lyrics of 'American Pie,' Wikipedia has a detailed entry.
And while I'm at it, you can hear both the original studio release of 'American Pie' by Don McLean and the live version 'American Pie' (Acoustic/Live) by Garth Brooks by clicking on the icon to the left. Note that Brooks's version is missing a a couple of middle verses, but this version still runs 7-and-a-half minutes. And for the heck of it (and because I can't resist), I've also included Weird Al Yankovic doing his version of 'American Pie' (with the blessing of McLean, no less) with The Saga Begins (Episode One).
If you're interested in seeing what Madonna did to 'American Pie' when she covered it, here's a video from YouTube. Frankly, I think Madonna kind of missed the whole point of 'American Pie.' As an original song, it would've worked. As a remake? It's iffy at best. Scary as this is, even though the lyrics are about Star Wars, I think Weird Al's version edges out Madonna's by quite a lot.
MarcsBro was the one who gave me the heads up on this.
People who have Netflix might be interested to know that in addition to however many DVDs they get a month, they'll also be able to get a number of additional hours for online viewing of movies.
So, for example, if you're on the 3-DVDs-a-month plan, you'll be able to watch another 18 hours' worth of movies/tv shows online free of charge. The cheapest plan will give you an additional 6 hours' worth.
They're starting small — only 1,000 titles will be included at the start — but by June 2007, the option will be available to the entire customer base.
For more information, here's the press release.
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How I Got This CD: Free demo from my Bordersverse daze.
Note: To stream the sample tracks, click on the thumbnail image in this post.
The good news: This is an awesome CD to have around if you're creating mixes and need a dance-fusion-world beat-classical tune to sneak into the tracks. Most of the tunes have a movie score feel to them (something that may have been deliberate)
The bad news: Listening to the entire CD with back-to-back tracks will bore you to tears. So, it makes it great background music for the cube, but not really great background music for anything else.
Oh, what's a music hound like me to do?
Well, for one thing, I'm not going to dump the CD. I've already used two tracks off this CD in two different mixes ("Alexander the Great" and "Duel"), and no doubt I'll probably use more tracks as the need arises. That said, I'm glad I didn't have to pay for it.
The CD is mostly instrumental (there's some minor vocal work on some of the tracks). The stringed quartet of Bond are undeniably talented classical musicians (although classical music enthusiasts may disagree with my take), and I think the CD may be an interesting entry point to draw non-traditional or new audiences into the classical music world. Certainly, Bond has the germ of something good here, and Born is one of their older CDs. Later works might show a vast improvement over this 2000 release.
Below are some solid tracks that are worth the listen, if nothing else.
"Quixote," the first sample track, definitely has that mid-movie soundtrack feel. You know the point I mean. The part where the hero or heroine is running his or her ass off through southern Spain with the supah-sekrit payload in their backpack while all manner of bad guys (and gals) are chasing him or her to get their hands on the goods.
"Victory," the second sample track, does make me giggle. Remember "A Fifth of Beethoven" from the Saturday Night Fever movie soundtrack? This is on the same, although with half the bombast and twice the disco beat.
"Kismet," the third sample, is back to that whole movie soundtrack feel. There's something Casablanca-ish (the movie, not the music) about it. I'm not sure what to make about this one. The violin work is sweet and ethereal. I could've done without the electronica, though.
"Korbushko," the final sample track, has that Russian sound that I love in my violins. Even better? No electronica. If you only download one track, this is the track to snag.
Soopah sekrit to crossoverman the genius behind Tommy Westphall’s Mind — A Multiverse Explored:
This article by Dwayne McDuffie was published back in 2002, but I only just found it (which may explain why it’s pointing to a site that’s not yours).
Best. Quote. Evah! On the Tommy Westphall Universe:
All of these would help me prove my Grand Unification Theory, which posits: “The last five minutes of St. Elsewhere is the only television show, ever. Everything else is a daydream.”
— Dwayne McDuffie, Six Degrees of St. Elsewhere
Still, if you really want the final authority on just how much television Tommy Westphall continues to destroy thanks to the final scenes of St. Elsewhere, you must check out crossoverman’s fantastic page, Tommy Westphall’s Mind — A Multiverse Explored.
This meta-filter entry is a good primer if you’re still confused after reading the wikki entry on Tommy Westphall and crossoverman’s web site
Someone (we won't name any names) got half her Willard Grant Conspiracy order in the mail today. Three down, three to go.
To celebrate, I offer you this YouTube video of 'From a Distant Shore,' the first cut off their latest (as in 2007) CD, Let It Roll.
Just for the heck of it, I'll throw in another, 'The Trials of Harrison Hayes' from Regard the End.
Master Li has now taken Number Ten Ox out of his home village and humble beginnings and, for reasons of his own, has taken the somewhat naive peasant on as his apprentice and sometimes partner in crime. And it's obvious the reason: Number Ten Ox has strengths (and not just physical strength) that Master Li needs and truly appreciates.
Also interesting is Barry Hughart begins taking pot-shots at what he calls "neo-Confusionism," a reactionary political movement that attempts to reinforce something vaguely anti-China on the rolling populace, but attempts to reinforce a certain social caste system (with them at the top) by any means necessary. Although this thinly disguised pot-shot a the present-day neo-cons is in the background, this group will play a bigger role in the third and final book in Hughart's trilogy.
If you enjoyed Bridge of Birds, The Story of the Stone does not disappoint. My problems with it is that Hughart suffers from a bit of a sophomore slump when it comes to putting together his mystery. However, the story moves quickly, his use of Chinese mythology is fascinating, and his modern twist on his version of China makes for a fun adventure read.
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