A Sea of C
Hey there everyone, this is Ryan Sitzman again. It’s been a while since I talked
some crap, so I decided it was time for another music review. And let me tell
you, this time around, there’s some real doozies! I also went to a different
music store this time. I had been going to Secondspin.com, at the edge of
Boulder’s beautiful and historical Hill District. By “beautiful and historical,”
I mean “shitty, run-down, and filled with pseudo-hippies.” Even though I don’t
care much for the hill, I still end up there about once a week. So of course,
when my friend Tori came for a visit recently, we inevitably found ourselves
walking around The Hill. The Hill has an abundance of two things: 1) sandwich
shops, and 2) stupid assholes.
Additionally, though, there is a quaint little store called Albums on the Hill,
which sells all sorts of music. And by “quaint,” I mean “in a basement.” So,
since we weren’t hungry for sandwiches, and also didn’t particularly want to
observe stupid assholes, Tori and I decided to go listen to some CDs.
I had been to Albums on the Hill quite a few times before, and every time I go
in there, I feel as though I’ve been transported to the record shop Nick Hornby
describes in the book “High Fidelity.” Despite this feeling, though, the
employees there are always surprisingly helpful, friendly, and knowledgeable.
The only reason I don’t go there more often is an unfortunate one: price. The
CDs there are usually at least a couple of dollars more than at a chain store
like Best Buy or Secondspin.com, regardless of whether or not they are used CDs.
I’ve still not entirely reconciled this situation in my head. At first, I didn’t
really buy into the whole hippie “Buy Local!” mentality. I figured as long as I
at least bought from a store that was located locally, it would at least give
jobs to some locals. But my thoughts began to change after I got screwed over by
a large, soulless corporate chain store (the name of which rhymes with “Circuit
Shitty”). After this unfortunate experience, I started to think that maybe it IS
a good idea to support local businesses, if they at least still provide a
personal shopping experience and helpful employees. Which is exactly what places
like Albums on the Hill give a customer. So, this review turned out to be a kick
in the nuts, financially speaking, but after buying my CDs, I felt something
strange: a smug sense of self-satisfaction.
Which is really the essence of being a Boulder pseudo-hippy. So, we’ll just have
to see where I go to get CDs for the next review.
Anyhow, let’s get into it!
CAMPER VAN BEETHOVEN – “TELEPHONE FREE LANDSLIDE VICTORY”
CRACKER – “GENTLEMAN’S BLUES”
I’ve grouped these two CDs into one review because Cracker and Camper Van
Beethoven have some common threads that tie them together. For example, the last
time that my friend Mike and I saw Cracker perform live here in Boulder, they
played with Camper Van Beethoven. This was convenient because members of each
band perform together under both names; the main difference between the two is
stylistic. Cracker takes more of a straight-forward, pop-like approach to rock.
With the addition of violin, accordion, and other instruments, C.V.B. plays the
sort of music that I imagine cool Russians would listen to, if they weren’t busy
listening to Eurotrash girly-pop (not that that’s bad, though). Both are fronted
and seem to be run by David Lowery, who should be on the fast track to
sainthood, as far as I’m concerned. The other common thread, of course, is that
both groups kick ass.
“Telephone Free Landslide Victory” was recently reissued, and the original album
came out in 1985, I think. It is the first studio album from C.V.B., and at
times this becomes apparent through its less-than-polished feel. Not that that’s
a problem, though. On the whole, the album is put together really well, and you
get the feeling that reissuing the CD was definitely a good thing. There are
additional tracks on the reissue that weren’t on the original album, and the
re-mastered music is very crisp, but the sound never seems overproduced. I was
wondering how the band developed its unique sound until I read their secret in
the liner notes: “Mixed at Samurai Sound Labs & Chris Molla’s-Enormous-piece-of-squid-in-the-fridge-studios
while most everybody was naked or wearing massive FUR BOAS & platform SHOES.”
Evidently band attire does affect acoustics. In any case, though, the music is
great.
Songs like “The Day That Lassie Went to the Moon,” “Border Ska,” and “Take the
Skinheads Bowling” are lighter and more carefree. Others are slightly darker.
All songs, though, are infused with superb musicianship. And with
24 tracks, you sure get your money’s worth, and there’s bound to be a song for
everyone.
Skip forward, then, to 1998, when Cracker’s “Gentleman’s Blues” was made.
Let’s just get one thing out of the way: Cracker is the most underrated band in
the US. They may have had a few small radio hits with songs like “Low” and
“Nothing to Believe In,” but the huge success this band deserves seems to have
eluded them thus far. That may be a good thing, though, since they continue to
make excellent music that is funny, insightful, and very listenable (if that’s a
word). “Gentleman’s Blues” is Cracker’s fourth album out of six so far, and it
was the only one my collection was missing.
I had delayed buying it because my friend Mike had seemingly indicated that it
wasn’t as good as their other stuff, but I may have misunderstood him, since I
think it’s definitely Cracker at the top of their repertoire. The album starts
off with three great, catchy songs: “The Good Life,” “Seven Days,” and “Star.”
It slows down slightly with “James River,” but picks right back up again with
“My Life Is Totally Boring Without You,” and keeps up the momentum for most of
the rest of the album. There are also a few offbeat moments like in “I Want Out
Of The Circus,” which hint at the lingering influences of Camper Van Beethoven.
Additionally, “Trials and Tribulations” sounds like it could be a single from a
new White Stripes album, if it didn’t predate that group’s mainstream fame. All
in all, though, this is an excellent CD, and I would recommend it to basically
anyone.
SOUNDTRACK – “COLD MOUNTAIN”
I should say from the outset of this review that I’ve not actually seen to movie
“Cold Mountain,” but I don’t think that fact will really hamper this review. I
should also say that this is a really, really good CD. My interest in this CD
was originally spurred when I was driving around the flower van, and the college
radio station played a song from this album. It was really beautiful and sad at
the same time, and I thought, “Wow, this is the kind of stuff I want playing at
my funeral!” (IF I die, that is…I’ve not died yet, and just because everyone in
history has died up till now doesn’t mean that I necessarily will, I suppose).
After listening to the CD over and over, I’m not exactly sure which song I heard
on the radio, since many of them are beautiful and sad at the same time.
One aspect of this album that I’m particularly fond of is the presence of Jack
White. I know that his group The White Stripes have its share of detractors, but
I’m definitely not one of them, especially not after hearing his performances on
this album. Since the movie is set during the Civil War, there are many
traditional songs from that era, and Jack performs three of them, as well as a
few that he himself wrote, in a traditional style.
“Never Far Away,” one of the ones he wrote, is very simply done, and wouldn’t
feel too out of place on a White Stripes album, if he just added the pounding
drum of his sister Meg.
Also, I feel embarrassed to admit this, but I don’t really know who Alison
Krauss is, but she sure sings the hell out of a few songs here. One, “The
Scarlet Tide,” was initially just about the most beautiful thing I’d ever heard,
until Tori pointed out the lyrics: “We’ll rise above the scarlet tide / That
trickles down through the mountain / And separates the widow from the bride.”
Ouch! Heavy! But the song still SOUNDS mighty purty, and I’d definitely
recommend it to those who don’t have a good command of the English language.
(That song, by the way, was co-written by Elvis Costello, who also kicks ass; I
looked for some of his CDs to review for this issue, but they were all too
expensive, and I couldn’t find the one I wanted).
Another Krauss song, “You Will Be My Ain True Love,” was written by Sting, and I
believe it was nominated for an Oscar, despite the fact that much of the world
is still scratching its head, wondering what in the heck an “ain”
is. The soundtrack is rounded out with other traditional songs, a few original
instrumental compositions, and a very nice choral piece at the end performed by
Sacred Harp Singers.
When I listen to these CDs, I try to imagine the ideal situation in which to
listen to them. And for this CD, I think I actually lived out that situation. As
I mentioned, my friend Tori recently came out for a visit, and I listened to
this album as I drove back after dropping her off at the airport. That drive
turned out to be the ideal time to listen to this CD.
The songs evoke feelings of happiness and joy, but also the feeling that one is
making a journey of the heart, and those times are slightly melancholy and
haunting. The sounds conjure up images of true love, of sacrifice, and of
wanting to be with the person that you love, and they complimented my mood
perfectly as I drove back to Boulder. Unfortunately for you, dear reader, this
is not an easily replicated situation, so maybe you could listen to it while
cleaning your bathroom or something.
NICK CAVE AND THE BAD SEEDS – “NOCTURAMA”
Wow, just typing those words, I feel like I’m a musical boy who has just taken
the first step on the path towards being a musical man. I will say right off
that I don’t quite “understand” this CD, and when I listen to it, I feel like a
kid eavesdropping around the corner while his parents have a dinner party. The
guests are talking about grown-up things, and even though they’re using some
words he recognizes, he can’t make sense of the conversation as a whole. But
just being a spectator is somewhat exhilarating and exciting, and for the time
being, that may have to be enough.
I really like this CD, though. Nick Cave and the Bad Seeds was initially
recommended to me by Paul, my coworker and fellow Flower Delivery Guy.
According to Paul, who is a big Nick Cave fan, there are two Nick Caves:
Crazy Bastard Nick Cave, and Crooner Nick Cave. This CD, which was released last
year, falls into the latter category. Paul says he prefers Crazy Bastard Nick
Cave and gave me a few recommendations, but when I was at the CD store, the only
used Nick Cave CD that they had was this one. And I really like it. Most of the
songs are rather slow, and Nick’s deep, sad voice floats over piano and
generally minimal accompaniment. The first three songs, “Wonderful Life,” “He
Wants You,” and “Right Out Of Your Hand,”
are like this, and the album first picks up the tempo significantly about
halfway through “Bring It On.” This song illustrates my main confusion with the
album’s message: I don’t know what the hell the message is, or if it even has
one. In this song, as in most of them, the lyrics seem relatively independent of
the songs’ sounds, and it’s hard to tell if Nick is being hopeful or depressing.
Not that there can’t be ambiguity; on the contrary.
And perhaps that’s what makes me like this CD most. It makes me think and
actually wonder what, if anything, Nick is trying to say to me as a listener.
Other songs in the album, such as “Dead Man In My Bed,” are a lot quicker and
harder, and they perhaps hint at the Crazy Bastard Nick Cave of old.
And Nick deserves a special commendation with his song “Rock of Gibraltar,”
in which he surprisingly finds quite a few words that rhyme with “Gibraltar.”
The final song, though, is perhaps the most impressive.
“Babe, I’m On Fire” is both harmonious and cacophonous at the same time.
It’s basically an over-14-minute-long orgy of loud, quick, and jarring sounds
made by drums, guitars, an organ, and Nick himself. The lyrics take up four
pages in the liner notes, and the pattern can be seen in the following excerpt:
“The man going hiking says it / The misunderstood Viking says it / The man at
the rodeo / And the lonely old Eskimo says / Babe, I’m on fire / Babe, I’m on
fire.”
So, what is the ideal situation in which to listen to this CD? Well, except for
the anomaly that is “Babe, I’m On Fire,” most of the album’s songs can be
listened to in the following unique scenario:
Say you’ve just run over something while driving late at night, but it’s dark,
you’re scared, and there’s no one around, so you just keep going and speed
towards your home. You’re not sure what you hit, but you have the persistent
thought in your head that it was probably a person. You speed home, faster and
faster, and hurry inside your house when you get there.
You close the blinds, turn off the light in the front room, and pour yourself a
tall, hard drink. You sit on the couch and silently sip your drink in the dark,
and the phrase “Did I kill him??” continually drifts in and out of your
mind….NOW is the perfect time to pop this CD into the stereo.
JIMMY CLIFF – “THE HARDER THEY COME”
This reggae CD represents a bit of a gray area. I know that this is technically
a soundtrack album to the movie by the same name, but I wanted something a bit
different to round out this issue’s music selections. Plus, Jimmy Cliff does
half of the songs on the album, and it was even filed under “Cliff,” not
“Harder,” at the CD store. So I figure this album counts as a “C” album.
As with “Cold Mountain,” I have not seen this movie, either, but I was once
again inspired by the college radio station to check out this CD when they
played a track from it. And it’s a great CD. The album and the movie were
released in 1972, and when listening to this reggae CD, I felt as though I was
getting reconnected to my roots….yeah, right. I DID feel, however, that I was
becoming more aware of the roots of reggae, and how the music was used as a
forum to express both anger and frustration, but also hope that one could escape
the oppressive system of the day. It’s really made me want to see this movie, so
I will have to rent it next time I have a bit of free time (ie January).
As I said, Jimmy Cliff does half of the songs, and those ones are pretty well
known, at least by those who might be at least slightly into reggae.
The title track is great, of course, and if you listen to it, it feels like
you’re listening to the inspirational prototype that motivational speakers would
follow decades later. A sample: “Well the oppressors are trying to keep me down,
trying to drive me underground / And they think that they have got the battle
won / I say forgive them Lord they know not what they’ve done / ‘Cause as sure
as the sun will shine / I’m gonna get it, what’s mine…and then the harder they
come, the harder they fall, one and all.” Plus, even though the messages are
generally great in this CD, the music is even greater, and even on a snowy day,
it’s hard not to feel like you’re walking around in Jamaica.
Damn, I want to see this movie now. I have a feeling it’s the coolest thing to
come out of ’72 since the TV show Kung Fu!
Well, I should hang it up for now. My B.O. is starting to smell like coffee,
which can mean only one thing: shower time! Stay tuned for some exciting D’s,
coming soon to an email box near you. In the meantime, take
care, and listen to some music. ---Ryan