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Archive for the ‘Celia’ Category

Day 60. Bach, The Clash and Cat Stevens.

Thursday, March 25th, 2010

I ripped both of the Cat Stevens greatest hits tonight as well as the ‘Clash on Broadway’ box set. A few weeks back I heard ‘If You Want To Sing Out, Sing Out’ at Joe Bar cafe in Capital Hill, which of course made me think about ‘Harold & Maude’. Such a beautiful movie, and I think that as a result, I tend to associate rather ‘live life’ feelings with hearing Cat Stevens. He’s also someone that I know both Tamiko and I associate with our early childhoods. What surprised me a little tonight though was that I only had these two collections on CD. After a little looking around I realized that ‘Teaser And The Firecat’ and ‘Tea For The Tillerman’ are on vinyl. One of the things that sounds a little strange about the CDs is that this is music I really got to know on my dad’s record player (and I think I can even hear where the cracks and pops are supposed to be in ‘Moonshadow’). I don’t have any specific memories about Cat Stevens though… they all seem more distant and fuzzy to me. The almost seem like they are someone else’s memories in some ways (maybe because we are supposed to, at 35, be different people then we were at 5). But his music has been in my subconscious for probably most if not my whole life, and I tend to associate that feeling of being young (though not necessarily childish) with his music.

My Clash discs are definitely on the front part of my CD shelf, but it was the box-set that got picked for tonight. ‘Clash On Braodway’ is a great collection… and seeing this set is one of my first memories of working at the Tower in Roseville. We had a very small box-set section (for two reasons – first that box-sets weren’t a huge item yet, and second because we were a small store) and I remember seeing this set on the shelf, prominently facing out (one copy) the first week I was working there. Well – the first week I was working in the record store (new employees generally started out in the video side). It had come out just in time for Christmas and I was hoping to buy the set. But money was short. So I figured I would wait for a couple weeks. Then it sold. Then it came back in and I was broke again. Then I got some money for my birthday, and when I went to pick it up, it had sold again… and I think this went on in one way or another for close to two years. I finally got it in ’93 (I am pretty sure I got it for myself for high school graduation… but definitely had it for the summer). And I’m pretty sure the discs rotated through my old 77 Corolla until I moved to Berkeley. One bit of irony – ‘Police on My Back’ had just finished one night coming home from Tower on Watt (a couple nights before I moved to Berkeley). ‘The Magnificent Seven’ was on and I get pulled over for the light being out on my rear license plate. I am given a warning, and don’t think much more about it (what are the odds of getting pulled over again for this?). Well, two nights later (two nights before I move to Berkeley) I get pulled over again… same cop! And she remembers me! “Are you going to get that thing fixed?” she asked.

“I get paid tomorrow!”

“OK – just make sure you fix it” and all I get is another warning. I figure I’ll take care of it on my lunch break at work the next day and plan on walking over to an auto-parts store around the corner from Tower. I get to work (listening to The Clash again) and park… then have a few minutes before work is supposed to start, so I decide I’ll go get the light. I turn the ignition and hear a terrible crunch. I look under the car, and my starter is sitting on the ground. So I wind up walking to the auto parts store, get a light AND a starter, then fix both in the parking lot during my lunch break. I got the car fixed, but decided at that point that there would be no more Clash in the car until I got to the Bay Area with the car in one piece.

I also continued the Bach box today. Was able to finish ‘Volume 2’, the works for keyboard. Nice performance of the Goldberg Variations and I also listened to the Partitas. All good so far. I also started Volume 3 (the first part of the cantatas).

‘Where Do The Children Play?” was just playing on my computer and Tamiko just told me her memory of the song. In first or second grade she had an advanced reading class and they were given the lyrics to read and figure out. Another kid memory.

Will Celia or Mira hear Cat Stevens in elementary school? We’ll see… Tamiko and I just finished registering Celia for kindergarten… I wonder what songs she’ll hear.


Day 58. Violent Femmes, Beethoven.

Tuesday, March 23rd, 2010

“Add It Up’ has got to be one of the best angry young man songs ever written. It is one of the few songs on the first Violent Femmes albums that has Gordon Gano playing some electric guitar, but it is still amazing how loud parts of this song are with just guitar, acoustic bass guitar and a single snare drum. I’m ripping four Violent Femmes CDs tonight, the first album, ‘Hallowed Ground’ (with some of the darkest music I think the Femmes ever made, plus some of the most out there – with some heavy thanks to John Zorn and his Horns of Dilemma), ‘Why Do Birds Sing’ and the ‘Add It Up’ compilation from ’93. I have a couple others in the back shelves of the book cases, but I’ll have to dig for those. The first album is – I really don’t know how to put it – every whiny teenage loser kids album of anthems? It certainly was there for me during my low points. What amazes me is how fun it is to listen to now since it makes me think ‘phew! I’m not there anymore’. And I get the sense that this is probably the case for the band as well. ‘Hallowed Ground’ is a solid album as well, but the Violent Femmes really were one of those bands who did their best and brightest on the first record. (Pink Martini, from last night, I think is also in that camp). And while ‘Blister In The Sun’ gets it’s fair share of radio play on ‘alternative’ stations still, ‘American Music’ from ten years later is really their big hit (though really no where near their best song… just more accessible I guess).

I got to see the Violent Femmes once at the Fillmore in San Francisco, and what a show that was. The group came to the stage THROUGH the middle of the audience playing snare drum, a trombone and a cymbals… hopped on stage and rocked out a great show. I’m still amazed how much these three guys were able to do together as a band (though at this point Victor DeLorenzo had been replaced on drum(s)… what a strange audition that must have been – ‘So, can you play a snare drum?’ ‘Sure’ ‘OK! You’re hired!’). Brian Ritchie played some pretty mean marimbas on ‘Gone Daddy Gone’ and it seemed like all three of them were picking up instruments here and there as needed. They looked like they were having lots of fun (to say the least). And opening that show was Carmaig DeForrest and his ‘Death Groove Love Party’… Carmaig only put out a handful of discs that were probably only available around shows in SF, but they sure were fun. Hmm… may need to rip that one in the next day or two.

There is something poetic though about how I wound up ripping the Violent Femmes tonight. Before bed, Celia came downstairs to pick out tonight’s rips and pulled out a couple of blank CD cases (because they were a pretty red), then she saw the first Violent Femmes record and said ‘Daddy! There’s a little girl on that one!’. So – Violent Femmes it was, because my daughter saw the little girl on the cover. The Violent Femmes – part of the soundtrack to my breakup with Tamiko (which, if it had stuck, would have meant no Celia in this world… WAAAHHHH!!!!). And it’s not like I can put it on for her tomorrow and say ‘Celia – here is the music with the girl on the cover!’… how do I explain ‘Kiss Off’? She’ll recognize that the man singing is counting, but why does he forget what 8 is for? Or ‘Gone Daddy Gone’ when one of her biggest fears is that I might leave in the middle of the night? (This as a result of a poorly planned trip on my part where I had to leave for the airport one time at 3am). No – I think Celia will just have to live in mystery of this disc for a bit of time.

I am beginning to suspect that part of my romanticization / longing for Berkeley must partly be a result of the strong, vivid memories that were formed there. Memories so strong and clear that I am actually surprised by them… am I still capable of these strong memories of what seem to be simple, small everyday details? I mean – I can still form them when the moment calls for it. I can still remember how both of our girls felt the first time they were in my arms for instance. But the memories that I am talking about are more about these moments that are NOT earth shattering life changing moments, but I can still recall the temperature in the air and the quality of the sound in a specific space. I described some of this a few days ago regarding Charlie Parker, and tonight is another one… this time around it is the first time I heard Beethoven’s String Trio, Op. 9 movement IV. Of course I didn’t know what it was (I was still acquiring mostly basic knowledge of classical repertoire) but I was walking (quickly) between the Tower in Berkeley to get to orchestra rehearsal. And as I walked past Henry’s on Durant, the little cafe at the street level (in the picture above, at the left edge of the frame) had the radio on over a couple of crappy in-ceiling speakers. And that is where I heard it… the last movement is fast and virtuosic and I stopped in my tracks and snuck a seat on the sidewalk. It was an early fall day, still warm with a little bite of cold in the air as the fog was getting ready to roll up to the Berkeley hills, the sun was about to set and there was a great golden color coming up the street, and I just sat there for about four minutes listening to the music hoping it was the radio and I could find out what it was. I was half expecting that if it WAS the radio someone would come up and ask if I was going to buy anything while the piece was named and I would miss it… but no. It ended and it was the Rostropovich / Anne Sophie Mutter recording of the Beethoven trio. It was Beethoven! So ‘classical’! I was so surprised (I really was expecting Haydn or Mozart or someone I hadn’t heard of before) since most of the Beethoven I knew up to this point were the moodier ‘hits’. Then I got up and headed off to orchestra rehearsal (Berlioz – ‘Symphonie Fantastique’) and found a recording the next day (as well as the score in the library).

Isn’t that a great story? I was able to walk down the street, hear classical music, sit down for a few minutes, listen and find out what it was in amazing surroundings! And like I said – I can still feel what that whole moment was like…

Day 52. R.E.M.

Tuesday, March 16th, 2010

Events of the past few days have kept me from ripping CDs until this morning. The days have been filled with a mixture of things – anniversaries and adversaries, bugs external and internal, comfort, family and smoking melted combs. It is also the end of a quarter and the beginning of spring (break). My friend Christina suggested we ‘smudge’ the house with a sage burning to begin again – get rid of the evils of the past few months and start fresh. The idea is appealing, but as I was discussing with my friend Jill the other day, even the bad has its purpose and I feel like with all that has been going on with us here at the Parmura household, me, Tamiko, Celia and Mira have learned and are figuring out quite a bit. These past months have been pretty rough in different ways for all four of us. When it comes down to it I wouldn’t get rid of the crap we have had to deal with. I know we are growing because of it. But I have also found myself with music from my ‘angry young man’ days running through my head off and on. So today I ripped a good chunk of my R.E.M. CDs (‘Life’s Rich Pageant’, ‘Document’, ‘Green’, ‘Out of Time’ and ‘Monster’). If all is calm after tonight’s class listening session, I may try to work in the first couple Violent Femmes albums as well, maybe some early Cure. While I did have a good amount of Ministry and Nine Inch Nails that I played during my senior year of high school, I am glad that the mostly melodic and ‘angry’ alternative 90s staples mentioned above are what I still listen to when I feel a little agro and need to get some energy out. I’m more comfortable with my masculinity now then I was in 1992.

I have ‘Life’s Rich Pageant’ on at the moment, but earlier I had ‘Green’ on with the girls. Mira (who is recovering from a stomach bug, as well as a hard night at the urgent care to make sure she didn’t have a bladder infection) started to dance in my arms when ‘Pop Song ’89’ came on. I actually hadn’t even listened to ‘Green’ or ‘Out of Time’ for awhile. Then main exception is my yearly mix-disc ritual where I rip ‘Losing My Religion’ as part of the first round of cuts for that years disc (only to have it weeded out as the music is cut down to the 80 minutes needed for a blank CD). It’s a great song, but too obvious to just have thrown onto a mix disc without carefully leading into and out of it. Maybe this year. Probably not

For the most part now I tend to put on ‘Life’s Rich Pageant’, ‘Document’ and ‘Automatic For The People’ now when I listen to R.E.M. Yes, I know which one doesn’t belong with the others but I will unapologetically say that it is a great album, And I think you can be a good R.E.M. fan and like songs like ‘Drive’ and ‘The Sidewinder Sleeps Tonight’. Along with the first Violent Femmes album, one of the Cure greatest hits albums and the Pixies ‘Trompe Le Monde’, this album was part of the soundtrack for a getaway weekend with some high school friends to Fort Bragg.  Tamiko and I were going through our ‘He’s still in high school and a loser and being WAAAAY to immature for his college girlfriend’ break-up (complete with my purple hair) and a few good friends (Josh, Cheryl and Molly) decided we needed to head to Molly’s families beach house in Fort Bragg. And we all (just friends) spent a good chunk of time jumping off sand dune cliffs, hiking around and relaxing on the beach between figuring out what we could find at the grocery store to eat. Later in the year, some tension was created among the four of us because of someone else I dated and the other three, as well as other teenage tensions among the four of us towards each other. The four of us, by the end of the school year pretty much weren’t talking much to each other (and looking back now, I imagine uncertainty about where we would be ending up after high school was probably a big part of the problem). But for that weekend and a couple months afterwards, we had lots of fun together just hanging out.

One thing that is hard about the ‘soundtrack’ for this weekend in Fort Bragg though is the fact that, for me, lots of things sucked. Tamiko and I were breaking up and it was really hard (though we obviously get back together and I think we both see that time now as a great period of growing up for both of us – though especially me – and I also think that we were a much stronger couple afterwards). If I ever tell Celia this story, she would probably say – ‘Dad, this sounds like a horrible time for you! Would you want to remember it? No!’. (Celia has begun to rhetorically answer her own questions) But the fact of the matter is, these three friends really kept me together that weekend and, while they may not know it, I am very grateful for this. And while the break-up sucked, lots of good came from it eventually.

Like almost any real thing that happens in life, it is difficult for there to be clear-cut good times and bad times. I remember times when I was a kid and really sick (especially one very scary trip to an ER because of a severe asthma attack when I was 4 or 5, another time when I had a finger nail ripped off of my finger). And I have a feeling that Celia will remember when she is older about the time Mira seemed really sick and we needed to take her to urgent care. Celia was terribly worried about Mira last night, and very sad that she couldn’t go with us… but for now (and maybe in 20 years?) I have the image of a slightly feverish Mira in my arms dancing to R.E.M. with Celia smiling at the table while she is eating jammy toast. Celia knows her sister is feeling better. Maybe R.E.M. will subconsciously trigger this memory for her.

Day 39. Beethoven and the Powerpuff Girls.

Sunday, February 28th, 2010

Celia grabbed ‘Heros and Villians: Music Inspired By The Powerpuff Girls’ and the 1963 Herbert Von Karajan Beethoven symphony recordings tonight. I am quite tickled by the combination.
Over the next few hours, I will hear what I consider to be some of the greatest recordings of the greatest music of all time. But first – Devo, Shohen Knife, bis and Frank Black. Tamiko and I spent quite a bit of time watching the Powerpuff Girls early on in grad school. 10 minutes of sillyness with some pretty decent writing. ‘Meet the Beatalls’ is an episode I just referred someone to the other day (written almost completely in Beatles lyrics – pure genius). As for the music on the disc, it is rather hit or miss. But the bands above provide some pretty good tracks, especially Shohen Knife’s ode to Buttercup. I don’t think Celia or Mira are old enough for the Powerpuff Girls yet… but I am looking forward to the day when we can watch them together.
I think the Karajan discs are probably the recordings I sold more of then anything else during my record store days. Or it may be better to say, these are the discs I recommended to more people then anyone else (because I am pretty sure that even if I suggested and sold 50 of these sets, it would still pale in number to the thousands of copies of pop hits I would have actually taken cash for). These older analog recordings sound great, and the performances are stunningly beautiful. Quite possibly the height of Deutche Grammophone’s recording days matched by the height of Karajan’s conducting. I believe Karajan had recorded complete sets of the Beethoven symphonies two or three times before these DG recordings with his orchestra (Berlin). And he would go on to record the complete cylce two more times (once in the 70s and again in the 80s so they could be captured digitally), but it is the 1963 recordings that stand above and beyond the other recordings.
I tend to like my Beethoven played with smaller orchestras though. In fact I prpbably like other recordings here and there better then individual performances on these discs. But these performances really are the standard of standards for these pieces, and the quality and musicianship across the whole set really hasn’t been matched before or since. While tempos may be slower then what Beethoven may have wanted or the orchestra bigger, what these recordings seem to capture for me is a sense of what Karajan was doing as an interpreter in his time. This was HIS orchestra (he had been appointed director for life in 1955) and he had been shaping its sound for quite some time. And the Beethoven symphinies were the backbone of his repertoire. As recording technology improved he was always at the forefront, eager to explore new possibilites. I think in the 70s and 80s, this actually hurt his recorded documents however. These recordings were mostly recorded (I believe) in a church in Berlin, and the recording engineers were in a building across the street because of the lack of space. After a take was done, Karajan would run across the street to hear the recording and judge whether or not to do another take. But recording technology in these days wasn’t as advanced as they would be in the 70s… and while I am sure there is some editing in these discs, they feel more dynamic and musical to me then the performances from the 70s that seems unrealistically smooth and even (and the poor early digital technology couple with his old age make the recordings from the 80s particularly difficult to listen to). These are quite fiery at times, as well as amazingly dramatic.
The recording of the 7th on these discs is especially beautiful. It is the stand out of this set. The first movement has excitement (the transition from the opening Adagio to the Allegro almost sounds avant-garde in it’s clarity). The second movement is by far the most deeply moving version of this piece I have ever heard, and it provides stunning contrast to the third and fourth movements. Karajan is often given credit (in his live performances) for shaping a beautiful dramatic arch through an entire piece, and while his reocrdings sometimes lose this it is far from the case in this recording of the 7th.
Time to put it on actually…

Day 27. Arvo Pärt.

Sunday, February 14th, 2010

Right before Celia was born I began looking for discs that we could play for her that would let her know it was bedtime. I figured if we had a few discs that we could play for her every night she would take become accustomed to hearing certain pieces of music and associating them with sleep. The first disc that wound up in her CD player was Arvo Pärt’s ‘Alina’ with three versions of ‘Spiegel Im Spiegel’ and two versions of extended performances of ‘Fur Alina’. I think that disc was in Celia’s CD player for almost 4 years. When Mira was born, a copy was put into HER bedroom CD player (where it still sits). Celia has moved on to Dowland or Bach for her bedtime listening, but every night for about 5 years now, I have heard Arvo Pärt’s ‘Alina’ either during story time or over sound monitors. On one hand, once you know the music it can disappear into the background easy enough. On the other, the music is simply beautiful and I can lay there, holding my girls for a few minutes before they go to sleep and listen to the music.

At one point I mentally dictated ‘Spiegel In Spiegel’ in my head. When I first heard it I just thought of the piece as a simplified ‘Moonlight Sonata’. For the most part it really hasn’t stood up that well for me. It doesn’t bother me, but I don’t find it to be an amazing piece. It is great for the girls to fall asleep to though… simple, calming and pretty. ‘Fur Alina’ on the other hand (and specifically the recordings on this disc – extended improvisations on a two minutes piece that stretch on for about 10-11 minutes each) is a stunningly beautiful work. I actually think this performance is a masterpiece. It sounds so simple, and the piece itself analyzes quite easily. After B octaves in the low end of the piano, the upper voice moves in a stepwise B minor melody against a broken B minor triad in the right hand, all in the upper part of the piano. It seems ‘Ode To Joy’ simple, but I imagine it took an immense amount of revision to arrive at. This piece marked Pärt’s change of style in the ’70s, and it was a drastic one. From a serial complexity to a simplicity that, from a composers point of view, is extremely difficult to achieve.

If I finish reading to one of the girls and ‘Fur Alina’ is on, I lay and listen to it through. The piece makes the piano vibrate a shimmery B minor, and the music is a beautiful mixture of dissonant 9ths and resonant minor chords. The music almost always reminds me of my first trip to Copenhagen. It was my first trip to Europe and on my first morning there (a Sunday morning) I walked out of the hotel to explore a little. I wound up standing in a large snow covered courtyard surrounded by old buildings and cold, quiet air:

I didn’t see another person for probably an hour when I got back to the hotel with some very cold feet and fingers. It was an amazingly peaceful feeling mixed with drowsiness from jetlag. And I get this feeling of cold expanse mixed with calm when I hear this music. Then, I wrap my arms around my little girls to make sure they are warm and comfortable for a good night’s sleep.

Day 25. Bruce Springsteen and the E Street Band.

Friday, February 12th, 2010


I was 9 when ‘Born In The USA’ came out and I got the LP that year for Christmas. Two years later the live box set (’75 – ’85) came out and it was that year’s Christmas present as well. While ‘Born In The USA’ is a good album, when I got the box set all of the pre-‘Born In The USA’ stuff was finally introduced to me. My dad had ‘Born To Run’ but I don’t really remember hearing it growing up. But that morning after I broke open the shrink wrap, my dad grabbed the second disc and immediately put on ‘Rosalita (Come Out Tonight)’. I felt like this was a completely different Bruce Springsteen and I saw the E Street Band as more then just the backing group. Hearing how all of these guys played together (and how Springsteen introduced all of them in the middle of ‘Rosalita’) made the group seem more like a hard working team. Stories of 3-4 hours concerts and the energy on these live recordings seemed super-human to me, and I wanted to be able to do this. It was these records that made me REALLY want to be in a rock band.

I bought ‘Greetings From Asbury Park’ and ‘The Wild, The Innocent And The E Street Shuffle’ on LP that next year, and I’m pretty sure I basically let my dad’s ‘Born To Run’ disappear into my collection. Except disappear wouldn’t be the right word since I played it pretty constantly. And these three albums have never really left my music rotation. In Nick Hornby’s book ‘Songbook’, he talks about how ‘Thunder Road’ is the song he has played more then any other song in his life. And it is a great song… easily one of my favorites. And I wouldn’t be surprised if it is in my top 50 songs as well. But I am almost positive that ‘Rosalita’ is in the top 10. If I’m doing work and need a kick to get going again, I put on ‘Rosalita’. If I have a little bit of time alone and want to play something loudly, ‘Rosalita’ is close to the top of the list. I’ve listened to this song for 25 years of my life, and I’m stunned how good I still think it is.

But as much as I love ‘Rosalita’, my favorite Springsteen song is on ‘Greetings From Asbury Park’. When I first moved Roseville from San Jose, for some reason I put on ‘Greetings From Asbury Park’ right after I got my stereo set up in my new bedroom. And while I was unpacking, ‘For You’ caught my ear and I stopped for a few minutes and listened. I remembered this moment when I first moved to Berkeley and started renting a room on Page Street. This time, I was living on my own for the first time and moving to the Bay Area (with little money and a low paying job) for many reasons. I wanted to be a musician, I wanted to go to UC Berkeley, and I didn’t want to move to Texas with my parents. But the main reason, the one that really makes the reasons above look like excuses to satisfy parents and others, was that I wanted to live and be with Tamiko. As I was unpacking, I remembered putting ‘For You’ on when I first moved to Roseville (where Tamiko and I would meet) and I immediately got my stereo hooked up, speakers plugged in, and put on ‘Greetings From Asbury Park’. I have done this as a bit of a ritual since then… every place I have moved the stereo is one of the first things set up, I dig out the LP, and I play ‘For You’. It makes wherever I am, whatever new strange apartment or house feel like home within a couple of minutes. And it reminds me that while I am a composer, musician, teacher and many other things, when it all comes down to it I am Tamiko’s husband and now the father to our kids. I can’t imagine being anything else to anyone else… I’m very lucky.

Day 13. Debussy and Ravel.

Monday, February 1st, 2010

Today’s picks were from the Debussy section, which meant there would be some Ravel as well. After actually learning both of these composers works, I am amazed at how easily they are grouped together when their music really is quite different. It is almost impossible to find one composer’s quartet without the other for instance, or discs of orchestral music.

All that was really picked by Celia today was a two-disc set by the Nash Ensemble of both composer’s chamber music (including one of my favorite pieces, the duo for violin and cello by Ravel), a disc containing each composer’s quartets (plus Fauré’s late piano trio) and a Herbert Von Karajan disc of orchestra music (leading the Orchestre de Paris). The recording of ‘La Valse’ on the Karajan disc is amazing. The Orchestre de Paris provides a sharper sound for Karajan then Berlin usually did during this time period, but Karajan brings a strong Austrian understanding of the waltz to the performance. Most people think of waltzes as oom-pah-pah background music, but for J. Strauss and the other composers of the Viennese  waltz tradition the dance was actually quite racy. A friend once described it as ‘a vertical expression of a horizontal intention’. And Karajan conducts it in this way – with slight moments of holding back here and there, until the self-destruction that Ravel composed finally explodes. Because of the program associated with Ravel’s waltz (a nostalgia for the Europe that WW I destroyed) the tension and release here is one of self-destruction.

After listening to the Karajan recording I decided to grab the 4 disc set of Jean Martinon’s recordings of Debussy’s orchestra music and his 2 disc set of Ravel’s, both re-released on EMI discs. All these recordings also use the Orchestre de Paris and were originally releases as quadraphonic recordings. I would love to find a DVD release that takes advantage of this original recording, but in the meantime these stereo versions are well worth having. In fact – I think the Ravel recordings are the best ones out there. Martinon’s recordings share a deeper understanding of the composers themselves. While the Karajan is about Karajan doing what he does to Ravel and Debussy, the Martinon recordings let the composers themselves come through much more clearly. I’m looking forward to listening to these again tomorrow.

Day 1. ABBA, Air, Elliott Smith, The Smiths, Mozart and R.E.M.

Wednesday, January 20th, 2010

I want to avoid going through my whole collection and ripping the CDs in the order they are stored on my bookshelves. This does make packing the discs away a little tricky after I rip them, but it also gives me a wonderful randomness to this whole process. To make things a little more random, I went into the extra bedroom this morning at asked Celia and Mira to pull a few discs off the shelves. Celia went for some red spines (ABBA and Air), and Mira just went to the shelves and started to pull discs down. Whether or not Mira did this in response to my request isn’t known – this is what Mira does when she is around the CD shelves. Today, Mira grabbed off the The Smiths and Elliott Smith. R.E.M.’s ‘Automatic For The People’ was just above those and fell down with the ‘Smiths’, and I also grabbed ‘Marriage Of Figaro’.

I got ABBA for Tamiko some time ago (a download that I burned to disc), and I admit they are quite a guilty pleasure. It’s hard not to have fun when ABBA is playing. I remember listening to ABBA in spanish class in high school (ABBA Oro), and I love to hear Tamiko sing along with them. Celia loves to dance to them (and she loves to dance to Kylie Minogue, who I am sure would not be who she is without ABBA). And as Mira gets her feet under her, I imagine she’ll enjoy them too. What a stark contrast their music is to Elliott Smith’s. The two discs I ripped today were his first album (fairly dark, just Elliott and his guitar) and ‘From A Basement On A Hill’ (released after his suicide). His first album is a wonderful, moody record, and in hindsight probably hints at what will happen in his future. ‘From A Basement On A Hill’ is simply to sad for me to listen to. I have never even listened to the whole thing. When I first bought it, I got about halfway through it before I turned it off. It was just too sad for me at the time, and I have never brought myself to listen to the whole thing. The unfinished quality of what I remember hearing was quite fitting.

The Smith’s ‘The Queen Is Dead’ and R.E.M.’s ‘Automatic for the People’ both bring along lots of high school memories. Heavier on the R.E.M. side though. Not that I don’t appreciate The Smiths, but I was always more of an R.E.M. fan. And while I really got into R.E.M. with ‘Document’ and ‘Green’, ‘Automatic For The People’ was one of my favorite albums of theirs at the time it came out. I understand why it didn’t catch the ears of a lot of other R.E.M. fans, but the more acoustic, orchestrated feel of this album spoke to me at the time. A couple of weeks ago ‘Monty Got A Raw Deal’ was featured in an NPR interview about songs and game shows. And hearing only 30 seconds of the song left me wanting to hear the whole album again. ‘Man On The Moon’ doesn’t stand up as well for me now (a casualty of radio overplay) but ‘Try Not To Breathe’ and ‘Everybody Hurts’ strike me as even more amazing the I remember. And the strings in ‘Drive’ still sound unexpected to me… fresh and dark at the same time.

‘Marriage Of Figaro’ is one of my favorite operas. But over the past couple of years, I have started to feel it is just wrong to only listen to opera. It is such a visual and dramatic medium that so much is lost when you only hear it. A couple years ago I thought I would eventually want to replace all my opera recordings with DVDs, but when I finished transferring the disc today I played a few tracks (as part of my streaming test). And it is so amazing to hear this music. Sure, the visuals and staging are missing, but a Mozart aria has no problem standing on its own. The recording is a live one (with John Eliot Gardiner conducting, Bryn Terfel and Alison Hagley). I watched the video a couple of times during shifts in the video store at Tower, and it is an amazing performance. Gardiner shapes an amazing performance, and the sound quality is stunning. I look forward to listening to the whole thing again very soon.