CD Project Review: Post Academia Part 1

Note: I think I might approach this a little different than Snake. Why? Like I've said, I am no music reviewer so I'll write what I find cool, interesting and what motivates me.

Artist or Band: The Band

Album: Greatest Hits

Why (or how) did I get this: I remember in my youth watching the Sunday morning program hosted Charles Kuralt that did a feature on The Band. At the time, the group looked strange and the music was beyond me. But broken images from that stuck with me. Years later, I had a free CD to pick with the now defunct BMG music service. I picked The Band with that in mind and knowing that I liked a couple of their more well-known tunes.

Songs Included: When I Paint My Masterpiece; Stage Fright

Why is that: I think whenever I mix a CD (or back in the day with tapes; I miss those days). I use two main criteria. The first – songs I like – is a no-brainer. The second – it fits or serves a purpose in progression of the album I am trying to make - is trickier. When we started this, I knew I wanted to start with "When I Paint My Masterpeice." Musically, it's a powerhouse. Lyrically, it rich with images and references. From Snake's response, it did the trick of perking his ears immediately and making him receptive to the rest of the album. "Stage Fright" is another great scene setter with an underlying theme of hope and overcoming of fear.

Others that just missed the cut: I didn't chose "The Weight," "The Night They Drove Old Dixie Down," and "Up On Cripple Creek," because I was 10o% sure Snake already knew these songs. They're still great and, if by chance you don't know them, take time to look them up. This album had 18 tracks, most of which are solid to really good to great. Check out the cover of "I Shall Be Released." It's powerful. Also very good are "Tears of Rage," "Ophelia" and "Acadian Driftwood."

The bad: "Ain't Got No Home" is the only real miss on this album.

The verdict: One of my favorite albums from this list. It's a sound from a different time that still sounds relevant and fresh today.

Artist or Band: Tom Petty

Album: Highway Companion

Why (or how) did I get this: This album fell literally into my lap. My sister somehow ended up with two copies and gave me this for free. I never turn away free music. Otherwise, I highly doubt I would have bought this.

Songs included: Flirting With Time; Square One

Why is that: "Square One" jumped out at me right away when I first listened to it. My instincts always are to include songs like that when I am asked about albums and such. I did consider dropping it though because I thought it wasn't fitting my vision for the CD. "Flirting With Time," on the other hand, grew on me as it popped up on my MP3 player. I'll grant that none of these tunes are much different than what we've heard from Tom Petty before.

Other's that just missed the cut: "Damaged By Love," started out as my runner-up for favorite tune from this album, but slowly started to slip down the list. They lyrics get repetitive, but you expect that from pop songs. "Down South," has grown on me and has some of that southern or backwoods charm of Petty.

The bad: The middle of this album hits a terrible funk. The tracks "Turn This Car Around," "Big Weekend," and "Night Driver," all take the underlying theme of a car trip a bit too far and are annoying in other ways.

The verdict: Those that like Tom Petty will probably enjoy this album. It won't stand out as his best, but it won't totally offend either.

Artist or Band: James Blunt

Album: Back to Bedlam

Why (or how) did I get this: I don't recall wanting this album, which leads me to believe this must have been a featured album at BMG that I didn't get declined in time and I decided to give it a try. It's mellow and that served a purpose when I was being attacked on a semi-regular basis.

Song included: Wisemen

Why is that: Most of these tunes get pretty slow and I knew Snake would never make it through those if they weren't also excellent tunes. Nothing on this album is excellent, so I went with this song because it had a decent hook and some interesting lyrics.

Other's that just missed the cut: "You're Beautiful" got heavy radio rotation and I am sure Snake has heard it. I didn't won't to include a single that well-heard. "Goodbye My Lover," is kind of guilty pleasure in that I know it's kind of cheesy, but sometimes I feel kind of cheesy.

The bad: I don't know if anything on here is really bad. Everything sort of falls in the middle. Everything towards the end gets kind of silly, plus he's a ballad singer that's obsessed with letting people know that he does drugs.

The verdict: Again, I don't think I ever actively sought this album. I give it a C.

Snake's Reaction: Get A Haircut & Get A Real Job Pt 2

Part 1: http://sbrlists.blogspot.com/2009/10/snakes-reaction-get-haircut-get-real.html



Franz Ferdinand: No You Girls & Twilight Omens from 'Tonight: Franz Ferdinand'

This is the third album by these Scottish rockers. It is a loosely conceptual album around a night of partying and the morning after effects. No You Girls is infectious and since I put together this album I hear it in commercials and just about everywhere else now. Katherine Kiss Me is the last song on the album and is basically the acoustic reprise of No You Girls. The band explained the concept as No You Girls is about the first time two lovers kiss and how awkward it is and how they don't really understand each other. Then Katherine Kiss Me (last song on the concept album remember) is how that moment is later remembered. I just plain like Twilight Omens and I am not entirely sure how it fits into the concept yet. Lucid Dreams and Ulysses are other great songs from this pretty top notch album. It is a bit more electronic and dancey than their first album, but that seems to fit the mood and concept of a night on the town. They definitely always do well to set their moods.

Verdict: Not a good as their self-titled debut, but more polished than their sophomore release. They set the mood and it really comes to life as you listen to the entire album. There are lots of remixes out now if you are into the dance stuff. Listen to No You Girls then Katherine Kiss Me. If you enjoyed the two songs I picked, then just get the album because you will enjoy it.



Queens of the Stoneage: Burn The Witch & Tangled Up In Plaid from 'Lullabies To Paralyze and 3's & 7's from 'Era Vulgaris'



I pulled from my two recent Queens albums. I agree Burn The Witch is in their signature sound. Tangled Up In Plaid continues to play on the dark tone of 'Lullabies'. The vocals go into fuzz mode which livens up the song a little bit. The title, 'Lullabies To Paralyze', is to tie this album to its predecessor 'Songs for the Deaf' since it is a line in the last song from that album. While it isn't quite as inspired, it is a solid album with more of their distinct sound. Little Sister is my favorite song but I don't think I put it on here because it was their big hit single and figured most had already heard it. I Never Came, Someone's In The Wolf, & You've Got a Killer Scene There are good songs. I love the riff to 3's & 7's the second I heard it. 'Era Vulgaris' is a departure from their mellow brooding sound to something much grittier, driving, industrial sounding. I think that is what turned me off at first, but the album continues to grow on me. This is probably the same reason the album garned such mixed reviews. Sick, Sick, Sick, Make It Wit Chu, Into The Hollow & River In The Road are pretty good tracks.

Verdict: 'Lullabies' is basically 'Songs for the Deaf 2'. 'Era Vulgaris' is a different sound to more industrialized, metallic music while the former are the more organic, Desert Rock sound. I guess take your pick or like them both.



Serj Tankian: Lie, Lie, Lie & Saving Us from 'Elect The Dead'

I knew Red's feelings about Serj going into this album creation. I knew 'Elect The Dead' was marginally good at best and not really a departure from anything Serj did with SOAD. Yet for some reason I put it on here. Mostly because I really like Lie, Lie, Lie. I think it is a little demented. I remember the first time I heard it on shuffle and was like did he just say what I think he said? The whole album sounds pretty much the same with the same mix of politically charged lyrics and just crazy crap. Sorry to offend people's ears, but the album is a decent listen if you dig SOAD (which I know Red doesn't). So probably in my subconscious I was trying to torture him a little bit.

Verdict: Not gonna set the world on fire, and basically giving his fans more of what they like. The whole album mostly sounds like these 2 songs over and over again. I am pretty sure I put this on here just to force Red to listen to it at least once.

The Raconteurs: Intimate Secretary & Hands from 'Broken Boy Soldiers'

Side project/Supergroup for Jack White & Brendan Benson gets better every time I listen to them. Intimate Secretary is a neat song in the styling and the normal White wit with lyrics dealing with Free Masonry. Intimate Secretary being the 6th degree of the Scottish Rite. Hands has more of Benson's influence and is well put together. Steady As She Goes is the hit single and probably the closest sounding song to the White Stripes. Level is a great blues tune in the classic Jack White tradition. Together was a song Benson was prepping for his own solo project and is a nice slower love song, at least as nice and slow as Jack White could get. Broken Boy Soldiers, Store Bought Bones & Yellow Sun help round out this amazing album. I have since bought their follow up, 'Consolers of the Lonely'. So if I do another album, you can look forward to that.

Verdict: Best of this group by far. Most consider it a great side project, which in fact it hasn't lasted as White as moved on to make the Dead Weather. A little bit of White Stripes with a richier sound that will come from having 4 members of a band. Every song is a winner in my opinion.

The Dark Tower III: Shadows and such

Note: I am not really doing this justice here, but having read this book again I feel like this may be the real linchpin of the series. I don't if what I wrote makes adequate sense, but hopefully you'll get something out of it.

THE WASTE LAND

We’ve talked about settings.

We’ve talked about dreams.

We’ve talked about the world that has moved on.

In the Book 3, Mr. King provides something different from either. “Your shadow at morning striding behind you/Or your shadow at evening rising to meet you.”

Now we’ve entered “The Waste Land.” A place of dual meaning, dual memories, dual existences and not by chance a book split into two parts.

A week ago or so, I wrote a free writing loosely based off the song “Hold On.” This series is loosely based off the Robert Browning poem “The Childe Roland to the Dark Tower came.”

But this book isn’t about the Browning’s poem; it’s inspired by the T.S. Eliot poem entitled “The Waste Land.”

I don’t pretend to understand much of Eliot’s poem. I studied another one of his poem’s “The Love Song of J. Alfred Prufrock” in college and never got a firm grasp of it. The relevant thing to note about Eliot’s style is that it’s very stream of conscience. He also turns a lot of great lines.

The opening line of Prufrock is iconic – “Let us go then, you and I, /When the evening is spread out against the sky/ Like a patient etherized upon a table;

In the selection below the final line is prevalent in King’s book and is also one that sends chills through one’s spine – “I will show you fear in a handful of dust.”

What all this adds up to is paradox. Roland the Gunslinger and the boy, Jake, must deal with a very literal paradox throughout the first part of this book. Resolving that paradox opens the door for part 2 and the continuation of the search for the Tower.

The paradox of the series is that King is presenting a Tower with many levels, not unlike the theory of multiple dimensions, yet deciding if any of this adventure is real. It appears that creative minds like Eliot, Browning and others have had glimpses of other levels of the Tower without realizing it, but have used those glimpses as inspiration that now provide keys to the character and reader.

King appears later in the series as a character writing the story of the Gunslinger in our world. His completion of the series is paramount to the success of the characters.

Which leads to the main paradox of the series – Are the characters only a figment of King’s imagination or is the world of the Gunslinger a real story being told through King?

Below is the stanza from Eliot’s poem “The Waste Land” that is most prevalent in the book.

From the The Waste Land by T.S. Eliot

Second stanza of section entitled “The Burial of the Dead”

What are the roots that clutch, what branches grow
Out of this stony rubbish? Son of man,
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.

Red trolls the web

Note: I plan on posting the next installment of my Dark Tower exploration sometime today, but I found this while trolling the web and found it interesting.

For those keeping score at home, in August of 2008 I stated that "Atlas Shrugged" was one of my ten favorite written works. During the time since, I've thought about this book a lot as the economy crumbled and government panicked.

I don't prescribe to all of Rand's political, social and philosophical views, but if I were teaching some sort of course entitled "Classic literature and it's relevance in the world today," I'd put this in the syllabus first.

Below is an article from Newsweek reviewing a book about Rand that discusses "Atlas Shrugged" and "The Fountainhead." I've never read the "The Fountainhead," simply because it seemed more like another edition of the same text book, but maybe I'll try it out sometime.

I'm not drawing any big conclusions here, just providing a little something to think about here.

www.newsweek.com/id/219001

Snake's Encore: The Healer - Hot Rats

Note: Trying to put two groups together to make a decent posting here.

In Snake's Collection:

Highly Evolved - The Vines

I once described this album as manic depressive. There seems to be a definite effort to alternate between fast and slow songs with melancholy moods and frantic hysterics. I still listen to this album quite a bit. I think it is very good and probably a forgot gem from that time period over shadowed by similar sounds and lumped into the "The" band craze that seemed to hit in those two years. "Get Free" and "Outtathaway" are the hits. "Autumn Shade" is a slow gem. "Sunshin'" kind of has this old school early sixties vibe with the melodies in the verses. "Factory" is a personal favorite because Red and I experienced it first hand. This would fit into the upbeat, melancholy group. "Homesick" is a beautiful, soft piano song that should make most people's eyes water. "In The Jungle" hits with this awesome opening riff that you can't get out of your head. All in all a very good album which undoubtedly brought on a bit of a sophomore slump with Winning Days.

Highway 61 Revisted - Bob Dylan

The album starts off with probably the best period piece/shaming song that was made in the sixties. "Like A Rolling Stone" can mean so many things and probably a little different for everyone. 'You better take that diamond ring, you better pawn it babe!' I don't know why that line has always stuck with me. I could write a novel just dissecting six minutes of brilliance. The rest of the album is ok, but the opening track definitely over shadows every thing else. I would say it is on this list simply for that song and the musical relevance it had at the time.

Highway To Hell - AC/DC

This album was a beginning and an end all in one. It started the short time when AC/DC ruled the world with 3 straight mega albums and the end of Bon Scott's life. This album also brought on controversy for the boys as the "Night Stalker" Richard Ramirez killed people and left AC/DC hats at the scenes and was a noted fan of the song "Night Prowler" which is the last track on this album. So of course everyone thinks AC/DC lead him to kill. But seriously, I can't think of one AC/DC song that isn't some childish reference to sex and "Night Prowler" is no different. I would put this as the 2nd best of the 3 great albums behind Back in Black of course and ahead of For Those About To Rock.

Hot Fuss - The Killers

This is the one I've been waiting to write about. As I've said before, there are so many layers to their music. The top layer is this really tight pop, retro 80's sound that is totally infectious. Below that are these lyrics that don't always have the same mood the music presents, sad lyrics and meaning underneath this up beat super pop song. Every time I listen to this album, I get a little something different out of it. "Mr. Brightside", "Somebody Told Me", "Smile Like You Mean It" and "All The Things I've Done" were the singles that turned into some big hits. "Jenny Was A Friend of Mine" is the opening track and I believe told from the perspective of a man being interrogated for a murder. 'There's no motive for the crime, Jenny was a friend of mine' 'She couldn't scream as I held her close, I swore I'd never let her go'. My wife refused to listen to the Killers for the longest time because of the freaky video for "Mr. Brightside" featuring the ever freaky looking Eric Roberts. "Somebody Told Me" almost sounds like they are accusing their girlfriend of cheating on them with another woman. 'you had a boyfriend that looked like the girlfriend I had last February'. "Smile Like You Mean It" seems to be about remembering better times or further yet someone looking back on life now that they are dead. I highly recommend every Killers album to everyone. It is like a good book, listen quickly first to get the tunes and vibes of the song. Then go back and listen to the lyrics a little harder and see what you can get out of them.

SNUBS

Hefty Fine - The Bloodhound Gang

Not the greatest thing out there, but certainly catchy and funny. This is one of their newer albums full of blatant and sly sexual references. "Foxtrot Uniform Charlie Kilo" is the single and a fun song to write down a bunch of sexual innuendo phrases. "Uhn Tiss Uhn Tiss Uhn Tiss" is along the same lines. "No Hard Feelings" closes out the album and is my favorite of all time. It is a good breakup song for the perverted mind. 'It ain't my job, to f*** you on your birthday, anymore!'

Hellbilly Deluxe - Rob Zombie

This was Rob's debut as a solo artist and got heavy rotation in our football locker room in high school. "Living Dead Girl" "Superbeast" & "Dragula" are great songs. It was still creepy dark music like the White Zombie stuff but seemed to have a little more groove to it. Something that could suck in non-traditional metal fans in.

Help! - The Beatles

This is the first Beatles album that isn't on the list, I think. I can't say that I disagree really. It is an ok album mainly made as the soundtrack for the movie with some filler songs at the end. So you ask why is it in the Snubs area, well because I just wanted to point out that it was not on this list. Yeah makes no sense.

Here For The Party - Gretchen Wilson

This is her debut album. It featured "Redneck Woman" that I am confident everyone in the world has heard at least once. She was discovered by Jon Rich (of Big & Rich, more to come on them). She is in that group that sort of represents a new rebellion within country music. She mixes new attitude with old country stylings. Some of her more classic country songs are just amazing. "Homewrecker" and "Chariot" would fit into this group. The album finishes with "Pocahontas Proud" which is a heartfelt ode to her small home town and the weight that could be on her shoulders being the most famous person from the place.

Horse of a Different Color - Big & Rich

This marked the change in country music back in 2004. I remember flipping to the CMAs or some other country award show like that in the middle of a performance of "Save A Horse (Ride A Cowboy)" and being repulsed. I am sure that is the main reaction of anyone expecting country and getting that song. Really there are alot of great country roots in this album. Big & Rich just bring it into the 21st century. They had the same vibe as Gretchen Wilson. They have these rebellious/party songs and then turn around and hit you with this amazing deep rooted country song. Red can already attest to the power of "Wild West Show". It only recently fell to my second favorite song, now behind "Saved". "Six Foot Town" and "Live This Life" are other powerful songs that showcase their well fit together vocals. "Kick My Ass" and "Love Train" fit more into the rebellious party songs. This album continues to grow on me and I recommend it as a boundary pusher for both sides, old school country fans needing to grow into the new era and more rock fans needing to experience some deep rooted country songs.

1001 Albums (371-385): Highway 61 Revisited - Hot Rats

Note: We spend a lot of time in the 70s here. It's a better group then last week, but it falls off pretty badly about halfway through. But there's enough good before you get to the fodder to keep everyone entertained. We have a few more "H" albums before we get to "I."

In Red’s Collection

Hot Fuss (2004) by The Killers

I’ll be the first to admit that I have to take a closer listen to this album. It was one that joined my collection when I got married. I know the singles and they are for sure catchy and guitar-driven. I just need to spend more time with the other tracks to see if I can find some gold there.

The Good

Highway 61 Revisited (1965) by Bob Dylan

Dylan plugged in a month before the release of this album and was jeered at the Newport Folk Festival. This album turned Dylan from folk artist to rock star. Gone were the catchy 3-minute, chorus driven tunes. Enter driving 6-minute epic poems set alongside electric guitars and the drone of Dylan’s voice.

Highway to Hell (1979) by AC/DC

This was the first international breakthrough for the boys from Australia and the last album with Bon Scott as lead singer. The blueprint for even more success later is found on these tracks.

Hotel California (1976) by Eagles

There is probably not much more to say about the title that hasn’t been brought thousands of time. It’s a tune with layered meanings. There are a half dozen other “hits” here. I’ve always enjoyed the last song “The Last Resort.” It’s sort of a hidden gem.

The Middle

Honky Tonk Heroes (1973) by Waylon Jennings

A former Cricket and longtime studio musician in Nashville, Jennings took to producing here and along with songwriter Billy Joe Shaver created a stripped down, landmark country album.

Horses (1975) by Patti Smith

Patti Smith is an icon among female rock stars. She’s raw and this is her debut, which was produced by Velvet Underground alum John Cale. You can here bits of underground in there.

Hot Buttered Soul (1969) by Isaac Hayes

Hayes, like the cartoon character he would portray decades later, had one thing on his mind and in his music. Sex. He made make-out music like no other. There’s nothing wrong with that.

Hot Rats (1969) by Frank Zappa

Zappa couldn’t afford the Mothers of Invention anymore, so he broke up the band and brought in new musicians to record this instrumental jazz/blues album.

The Best of the Rest

H.M.S. Fable (1999) by Shack

Drug addict brother’s Mick and John Head made this album after several failed bands and projects. The music is a like a humbled version of Oasis. The artistry isn’t quite there, but neither is the pomp.

The Rest

The Hissing of Summer Lawns (1975) by Joni Mitchell

Mitchell is starting to reach the ranks of Eno in terms of number of albums needlessly popping up here.

Histoire De Melody Nelson (1971) by Serge Gainsbourg

I think this might be the first French album we’ve had. At least, it has that going for it. Basically, sounds like some old guys trying to bag a hot younger girl by making this album.

The Holy Bible (1994) by Manic Street Preachers

I think we’ve seen these boys before. This is essentially the sound and self-loathing style that Radiohead has made millions with.

Home Is Where the Music Is (1972) by Hugh Masekela

Soul jazz, bop grooves and all kinds of things I don’t really understand happening on this South African album.

Honky Tonk Masquerade (1978) by Joe Ely

Here’s another supposed start of alt. country. I think we get one a week. Interestingly, the Clash picked him to open for them after he recorded this album. Their fans didn’t quite get the pick.

Homework (1997) by Daft Punk

Well here’s another French album. Aren’t we lucky today? Plus, it’s dance music. That’s double super.

Hold on

Note: I am just having a little fun with this. I don't know if it's something I'll do any more with. Although, there are some interesting thoughts. Snake will recognized my favorite fictional locale. Also take a listen to the tune first. It's a cool song and I wrote this to match up with some of the lyrics and mood.

http://www.youtube.com/watch?v=knII3S0MZtY

“Well, the moon was gold, her hair like wind. She said don’t look back just come on Jim” – “Hold On” by Tom Waits

Pulling the pink ponytail tie out, Sandy was pouting now. The long thin strands of her dirty blonde hair fell about the side of her face sticking at places where sweat and nerves and fear all gathered.

“We can’t stay here, Jim,” Sandy said in a whimper. “There’s nothing, nothing!”

She twisted around to face the screen door of the front porch poking her middle finger through a hole in the mesh. Beyond, the sun settled down low behind the city’s water tower. Jim squinted to make out the fading green letters at top. He could clearly make out an ‘I’ and an ‘N’. The rest were lost in the building dusk shadows and passing time. He knew what it said.

“Lincoln,” It slipped his lips in awe.

“Yes, damn it, Lincoln.” Sandy swirled back around. “That’s what it comes down to, don’t it?You wantin’ to stay in Lincoln. Where there’s nothing and ain’t going to be nothing.”

“It’s where we grew up Sandy. It aint’ so bad.” He pushed past her and out into the open air. A small dog yelped down the street. The dust from fields being harvested only a mile out of town floated in the air and piles of leaves spotted each yard on the block. Off in the distance, children giggled romping around with a football.

“It ain’t so good,” Sandy's hands went to her hips and for the first time her charcoal colored eyes settled on the blue Toyota parked in front. “This is it.”

“There’s somethin’ to stay for,” Jim said taking her hand, but she pulled it away. A silver ring, really an old twisted spoon that he had shaped down in shop class years ago, slipped off her finger and fell to the sparse, yellow grass. He’d given it to her with words of love. Words he had meant. He didn’t want to lose her. “There’s somethin’. I don’t know what. Something’s happening, can’t you feel it.”

“Yeah, I feel it,” Her words came out like arrows from a bow. “It’s dying. I feel, I see it, I smell it.”

She moved then quickly away toward the Toyota, her heels tapping off the cement sidewalk. Opening the driver’s door, she pulled back her hair again and tied it back.

“Sandy,” His voice was hoarse as he bent down to scoop up the ring. She looked up. “Hold on.”

Town & Country

Note: I never claim that anything I write is very good, especially when I try to compare myself to Red. But I think this is probably one of the best things I have written, at least in awhile. I'll let you be the judge. The title does bug me though. Enjoy.

I smoothly turn the protruding black knob increasing the radio volume. The faster speeds begin to make my Chrysler Town & Country noisier. Perhaps it is just the voice of the man that I am listening to reading a book. My brain almost tricks me into asking him if he could read louder. This man reading a short story recorded onto CD, more than likely 10 plus years ago, is my only companion for his jaunt offering a false sense of accompaniment on this otherwise bleak drive. The highway is fairly empty making for easy cruise control maneuvering and allowing my mind to wander across the land. The vast corn fields are a shade somewhere between brown and green, stuck between life and death. The first story finishes and two short ones follow. I struggle to listen and comprehend what I am hearing. Doesn’t matter, I think to myself, I’ll just listen to them again later.
The edge of the suburbs starts to fade in from the distance. Groups of large houses begin to fill in between the fields. The irony strikes me that these people wanted to escape from the crowd of the city only to cram together in some housing development built on an old corn field the farmer was forced to sell. I seem to chuckle to myself trying to decide if either they have a misguided conception of the country or that they truly can’t live out here on their own. The first speaks to the perception, no the fact, that city folk don’t truly understand what the country is like. The latter is more akin to the primal instinct of the settlers needing to huddle together to protect themselves from the elements and beasts of the open country. Still, I just shake my head and keep on driving.
I notice there more vehicles on the road all of a sudden. They just appear. They aren’t streaming out of the various on ramps; they didn’t speed up behind me. They are just there as if to materialize out of the blue. This oddity continues the closer to the city I get. Massive office buildings line the left side of the highway. They seem to look more like fancy hotels, certainly more so than my place of work. That one has a basketball court, I point out, not audibly, but in my head as if my brain wants to make sure I am paying attention. The right side of the highway contains a high wall of stone. The old trees rise above it, their friends cut out years before to make way for this expanse of concrete, a monstrous symbol of efficiency and progress. The massive ramps swerve overhead like some grand scale water slide flushing the cars over the other roads depositing them down into the rushing river of exhaust and metal. Little trees are planted sporadically out in front of the office buildings, a true example of form over function. The large, aged trees seem to look down on them, as if scowling from disappointment that the young trees somehow sold out to the man by helping to make his creations of concrete and steel seem more organic. How did that first story go? I press to jog my memory out of the doldrums of the drive. I must have gotten something out of story to have trees jog my memory. Ah yes, as my mind clicks back. The potatoes attack the man and turn him into one, too. This presses me farther into wondering if trees think. In fact, I’ve always wondered if plants have feelings. They respond to their environment, but do they really have thoughts and feelings? Do they care what we do as long as they are allowed to exist?
I sweep the landscape again and notice the trees are gone. Not a one in sight, only an immense rail yard. Train cars are lined up for miles. Semi trucks litter the edges ready to speed off with loads of TVs, cell phones or some other junk imported from China. A retirement high rise sits between the rail yard and the approaching airport. Efficient use of space, I think to myself. The noise shouldn’t bother them too much. The air looks dirty here, the dirt looks dirty. It is as if the ground is rebelling against itself, against the monster it helped to create. I am almost to my destination. I look at the blazing green numerals on the dashboard. Seven hours from now, I can turn around and go back home.

The Dark Tower II: How Did I Get Here?

Note: I am about 2 to 3 weeks removed from finishing the second book of the series. I haven't found time to write of late, but I have worked my way halfway through the third book, which presents a problem. There are about three of four things I want to talk about from what I am reading now and I am trying to dust off my thoughts from book 2. I'll try my best to make this clear and relevant.

THE DRAWING OF THE THREE

Dreams have always been a conversation piece around my family. Not that we put stock in them like mystics or most primitive cultures. But, alas, we talk about them. The what happened. The who was there. The where. ...

That's tricky isn't it.

The where. My grandmother talks about being lost in all her dreams. That she's always searching and searching, but can't find her way.

The where. We always provide the setting when we talk about dreams, but we're lying more times than not. Because while we sense, for instance, that we were reading a book on the sofa in our living during the dream we had two nights ago or naked in front of a classroom of peers. That particular part, where we are at, isn't that fixed. Dreams' setting are ever-evolving. Morphing sometimes subtly, sometimes drastically and never finding a constant homeostasis.

So what am I rambling about?

The hardest, maybe most distracting part, of the Dark Tower series is trying to understand the setting or the world, in this instance, of the Gunslinger. We're told nothing concrete with the most common answer being that he lives in "A world that has moved on." What does that mean? A lot of things, that I don't have the time to fully explain.

What you really have here is almost a dreamscape. People like to say Stephen King likes to bring nightmares to life. I think the best way to describe Roland and his world is a dream, with nightmares lingering.

Yet, there is the physical, societal and cultural landmarks to deal with. Early in the first book, the Gunslinger (Roland), walks into an old town (sort of a common western movie kind of place), but from a saloon he hears them singing. The song - "Hey Jude."

The confusing litany of images and references continues. From Roland's knowledge of the bible to the fact that he carries guns (a modern invention) and that he refers to the line of Arthur Eld (or King Arthur). It is an ever changing, sometimes subtle, sometimes drastic, perception of this world.

In the second book, we get references to the "great old ones" and their dependence on machines.

We also get the major plot line, where he walks upon a beach and confronts three doors. The first he jumps to 1980s New York and brings back Eddie Dean, a heroin addict, the second he brings back Odetta Holmes, a black civil rights activist from the 1960s who's lost both her legs just above the knees and also happens to be a schizophrenic who's alter ego Detta Walker is a real (insert expletive). The third door is Jack Mort, who doesn't get brought into the world of the Gunslinger. If you want to know more about Mort, read the book.

Oh, the Gunslinger also losses his first two fingers on his right hand and a big toe to some sort of mutated lobster in the first couple pages of the book. It's a plot device, but the important thing to remember about King, he loves putting people into situations and seeing how they get out.

Anyways, it's hard not to think about Roland's world. Obviously, the Dark Tower is there also. But if you do read it, don't let it distract you too much. Take it for what's it worth and listen closely to what the characters are saying. There is something abstract about this whole series and it has to do with the world all characters (even you and I believe) live.

1001 Albums (356-370): The Healer - Highly Evolved

Notes: I know I was truant last week. Well I had good reason, an infection was slowly and painfully killing a nerve in one of my molars. Enough about me. This was about as painful as the tooth as you're soon to find out. Halfway through, I started name-dropping and making connections between albums and bands, so pay attention. Cheers.

1950s

Here’s Little Richard (1957) by Little Richard

The full blast young spirit of rock and soul was alive and well as Richard Penniman went into the studio for the first time. He was never better than here. “Tutti Frutti” is a right of passage and “Long Tall Sally” is a rock standard. The rest is energy recorded and copyrighted.

1960s

Here Are The Sonics (1965) by The Sonics

You know what I hear here – a 1960s version of “Queens of the Stoneage.” There’s something mystical and raw about the Sonics sound. “The Witch” was a hit in the northwest. “Pshyco a Go-Go” has been my favorite that I’ve found so far.

1970s

Here Come The Warm Jets (1974) by Eno

Robert Fripp plays on this album. Just in case you’re looking for someone else to rant about with this selection.


Hejira (1976) by Joni Mitchell

I think we’ve talked about Joni Mitchell enough on this endeavor already. I will educate now – the name Hejira stems from the prophet Muhammad’s journey of exile from Mecca to Medina.

Heavy Weather (1977) by Weather Report

Bassist Jaco Pastrorius was dating and played on most of Joni Mitchell’s Hejira album before making this album with Weather Report, a fusion band, that struck it big here by reaching No. 30 on Billboard.

“Heroes” (1977) by David Bowie

The ties betweens albums this week continues. Yes, Brian Eno collaborated on this album most notably on the title trick, which Robert Fripp also played on. Also, Bowie was living in Berlin during this album with Iggy Pop and like Pop’s “The Idiot,” this album explores the seedy nightlife of Berlin. Side note, both Bowie and Pop were completely drug free during this time. Amazing.

Here My Dear (1978) by Marvin Gaye

Nobody liked this album, especially Gaye’s ex-wife who stood to receive part of the earnings and the advance of this album after an ugly divorce trial (his ex-wife was Anna Gordy, daughter of Mo-Town boss Berry Gordy). So Gaye wrote an album about the misfortunes of relationships.

1980s

Heartattack and Vine (1980) by Tom Waits

There are only two Waits songs that I’ve really been able to get into. “Hold On” released in the late 90s is a haunting tune that I need to get a version of sometime and “Downtown Train,” which Rod Stewart covered. Neither of these are on here, but that doesn’t mean this songs aren’t good. There’s something very spiritual and sad about Waits’ music.

Hearts and Bones (1983) by Paul Simon

This was originally supposed to be a Simon & Garfunkel reunion album after the successful concert in Central Park. Well, the boys couldn’t get along, Simon, who was battling writer’s block with therapy released this set which was critically and commercially panned. He fled to Africa after this. That turned out well.

The Healer (1989) by John Lee Hooker

Classic bluesman has a rebirth here after decades away. The title track is a collobration featuring Carlos Santana. Guitar mastery ensues, I am sure.

1990s

Heaven Or Las Vegas (1990) by Cocteau Twins

Early 90s British pop. I’ve never heard this band, but I heard a lot of songs that sounded like this on radio growing up.

Henry’s Dream (1992) by Nick Cave and the Bad Seeds

This book loves this guy too. I’ve listened a little and still haven’t been sold. Maybe I need to listen more.

2000s

Heartbreaker (2000) by Ryan Adams

Adams first solo album after the breakup of his alt. country band Whiskeytown (how a band with that name didn’t make it, I don’t know) and the breakup with a longtime girlfriend. This sort of set him on the path of being critics favorite. In keeping with the namedropping theme, Emmylou Harris did a duet with Adams here on the song “Oh My Sweet Carolina.”

Highly Evolved (2002) by The Vines

They were hailed as the second-coming of Nirvana. While I don’t think they had quite that much impact, they had some good tunes. I know Snake has this album and turned me onto tunes like “In The Jungle” and “Factory.”

Heroes to Zeros (2004) by The Beta Band

The band broke up after this album. Apparently being able to sell albums is important also. Goodnight, and stay classy San Diego.