“I” by the Magnetic Fields
The Magnetic Fields is the springboard for the sonic experimentation and songwriting skills of Stephin Merritt, a rather odd, baritone voiced fellow who espouses a rather morose yet humorous lyrical bent that he backs with catchy and straight laced melodies that are influenced almost equally by synth pop, folk, rock, experimental music, bubble gum pop, Tin Pan Alley and even country rock
Merritt made his name with a serious of synthesizer dominated albums that he tended to play all the instruments on but really made his name with the classic, triple album “69 Love Songs” which was exactly that: 69 songs, 23 per disc, that explored a wide range of musical emotional, lyrical and arrangement ideas that broke him through to a wider critical and (somewhat) wider commercial world. It was undoubtedly the pinnacle of his busy career and the album that he’ll likely be remembered for 100 years from now.
However, Merritt didn’t retire from music: he even expanded into other bands with The 6ths, the Gothic Archies and even solo work taking up much of his time. However, the Magnetic Fields remained his most celebrated and renowned band and each new disc seemed to explore new ideas and concepts such as 2004’s “I” which was the first of several to ignore his normally highly synthesizer based style in favor of a more folk, acoustic guitar and piano oriented direction.
Merritt is a smart guy and doesn’t do things in half measures: the album is filled with guitars, banjos, pianos, harpsichords and a variety of other appropriate folk based instruments that explore a variety of moods and styles but which focuses on a single letter throughout…I…
The name of this album is no coincidence: Merritt thoroughly explores a more introverted, highly personal style which contrasts heavily with his more story telling based songwriting style of the past. Every single song starts with the letter “I” and eight of twelve songs would seemingly point directly at Merritt himself.
So many people want to point out the “introspective” albums as the obvious “masterpiece” by a songwriter or band: alternatively, people (like me) often find introspective albums to be a lame grab at getting critics to hail your album as a masterpiece.
I find this to be true of “Sea Changes” by Beck which, while a great album, felt a bit stiff and fake to me. A bit too much like a Bowie-esque change of style (which Beck had made a career pulling) and now, after his breakup, it was time to “get for real.”
I could be wrong about that album (and most people tell me I’m a complete idiot for that opinion and I’d rather not dwell on it) but I do feel that drive for creating a pain filled, heart wrenching masterpiece to be a bit at odds with reality.
I have a feeling that Merritt does too: he is obviously exploring more introverted music and lyrical approaches here but he’s not quite bleeding his heart the way I see other artists pull. He still sings his plaintive, simple (and some would say, awful) monotone baritone that doesn’t really pull any heart strings but gives each song a distance.
On the one hand, this avoids the problems with “heart ache for the sake of heart” that I feel from so many albums but on the other hand it makes it hard to really “feel” for Merritt on these songs. Merritt often skirts with emotionality (and the song “I Shatter” makes me cry every time) but it’s usually a more formal, songwriting emotionality rather than a true confession.
Which is why I enjoy this album more often than not: he isn’t puking his emotion all over an overly emotive audience but simply singing simple (but not too simple) songs with introspective (but not too introspective) lyrics giving you a slight glimpse into the mind of one of rock’s true curmudgeons.
For example, take a look at “I Thought You Were My Boyfriend.” Merritt, one of rock’s most “whatever” homosexual artists (he never hides it but never forces it in your face and did name is record label “Big Gay and Loud” or something to that effect) addresses a lover who loved and left him directly. He’s had similar songs but not one where he seemingly addressed a lover in such uncertain terms.
And in songs like “In An Operetta” he combines his love of non-rock music with a seemingly sincere desire to watch a beautiful operetta that soothes his aching heart with its plaintive melodies and simple minded lyrics. Of course, all this talk of “Violetta” makes one wonder if Merritt had somebody in mind or if he was stretching for a rhyme.
“I Wish I Had an Evil Twin” is an intensely darkly humorous song that finds Merritt wishing he had an evil twin that could do all the things to people, the dark things, that he wished he could do himself. You laugh along with him but part of you believes him which makes it rather disconcerting and one of the more effective songs on the album.
In the end, there isn’t a bad song on the album (Merritt is one of our most consistent writers) and while it lacks the “epic” feel of “69 Love Songs” it maintains a similar vibe (without synthesizers) while probing a bit more deeply and touching lightly on unhappy and heart wrenching emotions.
Does it feel a bit like a “Sea Changes” time-to-get-serious moments? In a certain way: the formal conceptual idea of “I” means Merritt probably forces a bit of the introspection that highlights the album. However its diversity of approach and high melodic and lyrical content helps it rise above the doldrums, similarly to “Sea Changes” but without the same sense of “trying so damn hard to break your heart” that I get from “Sea Changes” meaning it actually hits me a bit harder.
Maybe I’m a freak. I dunno. Both are good albums. Own both.
Songs to YouTube:
Any of the songs I just mentioned work fine although “I Was Born” is worth a spin due to its morbid lyrically concept. I won’t ruin it for you but it should give you a feeling of what it would be like to hang out with Merritt for a few hours.
“Looking On” by The Move
Since I just reviewed Jeff Lynne’s “The Idle Race” and am currently listening to a wide range of Jeff Lynne and Roy Wood related products (having purchased the discography of both men recently) I decided I’d try out a review of the first of their “The Move” collaborations: 1971’s “Looking On.”
I actually listened to the first two albums by “The Move” before getting to this one and thought of reviewing them first but I decided to stick with “Looking On” because a) it was the first of three collaborations between these two talented men b) it’s rather underrated and ignored throughout both men’s careers and most importantly c) I’m currently listening to it. Talk about “real time” reviewing!
“Looking On” came at a point when the original line-up of “The Move” had completely collapsed, leaving just Roy Wood, Bev Bevan and replacement bass player Rick Price left to pick up the pieces.
Wood had been trying to seduce Lynne to join “The Move” for a few years but was unable to due to Lynne banking on the success of “The Idle Race.” After the failure of their superb second LP, the Lynne written and produced “The Idle Race” it became clear to the ambitious Lynne that he had to change things up. And moving to a highly successful band like “The Move” was a great idea.
In theory: Wood was already moving past “The Move” (pun not intended) as a sonic idea and wanted to integrate strings and classical ideas into rock and roll. He and Lynne were on the same page (“Come with Me” from “The Idle Race” should be all the proof you need of that) and both were ready to create a group called “Electric Light Orchestra” to explore those ideas.
But contract obligations ruined their plans: “The Move” owed their record label a few albums. So the two decided to stop touring and crank out the albums they needed to finish their contract. “Looking On” was designed as a swan song but they would record one more album before retiring “The Move.”
Wow! Sorry to drown you in so much history but I think it’s important to understanding this rather…unique album. “The Move” were a highly successful psychedelic pop band that had been turning towards a heavier sound for some time (being in the band’s natural inclinations) and Lynne was fresh out of the idyllic “Idle Race” and was perhaps hungry for a…more ballsy sound.
So, “Looking On” sees the two (Bevan and Price are good at their instruments but aren’t exactly key creative forces for the band) creating a heavy, heavy, heavy sound that completely betrays their past styles. Of course, going “heavy” made sense with the times but…not the way these guys went heavy.
They basically go heavy while betraying their pop sensibilities.
Opening “Looking On” starts as a plodding, mastodon of a song with heavy, heavy guitar tones and a slow, slow tempo. Wood was never a great “riff” writer so the song sort of sits there looming at you angrily without affecting you for quite some time.
Thankfully, the band was smart enough to throw in an excellent, emotionally engaging instrumental section with wild guitar solos, sitars, saxes and an epic, moving melody that helped end the song on a high note and get the listener engaged.
Basically, “experimentation” is the name of the game here and the band goes all out. “When Alice Comes Back to the Farm” starts out as a precursor of Wood’s later “Wizzard” group: it starts with a heavy, slide riff with a bluesy, nearly “country” feel that is nice without being incredibly catchy.
Then, out of nowhere, the music stops and a striking and loud cello riff pops up for a few seconds. Why hello, ELO! I knew you were coming. Roy then overdubs an army of saxophones during the verses and choruses that has to be hard to be believed.
And then there’s the infamous “Brontosaurus” with it’s “Lady Madonna” rip riff that lumbers along like a…brontosaurus with the insane and inane “you know she can really do the brontosaurus” chorus gradually transforming into a completely convincing and exhilarating fast paced rock and roll jam.
Lynne makes two huge contributions with the slowly building, immaculate, melodic epic “What?” that serves as a precursor to his ELO approach to writing ballads. It builds in a slow, slow way as Lynne pops out great melodies, one after another while he and Roy overdub as many manic instruments as possible to create a near symphonic sound without the use of a symphony or mellotron.
Even better is Lynne’s “Open Up Said the World at the Door” which is highlighted by a wild multi-part song structure, great Lynne melodies and harmonies that sound EXACTLY like Queen (who had yet to emerge on the scene, I remind you) with great drum performances from Bevan (including a drum solo highlighted by a section being played backwards). Later in the song, a pounding piano riff is balanced with a delicate yet hard hitting oboe part by Wood that sounds EXACTLY like Roxy Music (who, again, hadn’t yet emerged).
A stern piano, bass and guitar rhythm pound out an epic coda as Wood shows off some epic guitar moves that illustrate how sadly underrated the man is in ever aspect of his musical career.
“Feel Too Good” is basically Wood’s version of “Open Up” and features some of his wildest guitar playing of all time and an out of nowhere and mind boggling accapella“doo wop” outro.
The whole album is like that: if the song is under written or potentially unengaging (which most, frankly, are), Roy and Jeff throw in wild instrumental sections, weird slide guitar solos, overdubbed saxophones, odd chanting voices layered with special effects, thick, thick bass tones and wild, ear catching melody and rhythm changes.
Does this sound like a head spinning, exhilarating art metal experience? It mostly definitely is all of that and more. However, those looking for the delicate melodies of the earlier “The Move” albums, the quaint psychedelia of “Idle Race” or even the ambitious classical stance of “Electric Light Orchestra” are going to be sorely disappointed.
And this lack of pop sensibility is a flaw: none of these songs will stay in your head for very long unless you sit around and listen to the album for days on end, which I would avoid: you may end up going quite mad and end up in the “Cherry Blossom Clinic.”
But weird sonic details will stick around in your head, like the odd moog bass that pops up out of nowhere in “Brontosaurus” and thickens the sound even further. Or the relatively simple yet hard driving boogie of “Turkish Tram Conductor Blues.”
And then there is the lyrics. You won’t really remember any lyrics or song concepts beyond “She can really do the brontosaurus” which should give you a sense of the lack of lyrical sense common throughout the album. Which is a shame, as both Wood and Lynne have some minor, yet solid lyrical insight: gone are the intriguing looks into insanity and obsession, replaced with…odes to dinosaurs.
Roy and Jeff were obviously more concerned with fully expressing themselves for the first time without the interference of a record company or the confines of writing pop singles. They quite obviously focus on the music arrangements before anything else (including, concise, clever melodies and biting lyrics).
However, fans of weird, wild music that maintains some sense of focus without dipping into pointless avant guardisms or dissonances should really enjoy this album. Especially if they like early “Led Zeppelin” and “Blue Cheer.” An obvious must buy, along with everything else by “The Move.”
Songs to YouTube:
“What?” should give further evidence to “Lynne Haters” that the man does have godly talents.
“When Alice Comes Back to the Farm” gives a little insight into the future development of the first Electric Light Orchestra album.
Finally, “Open Up Said the World at the Door” is worth it just to hear the sounds of Queen and Roxy Music before either existed.
Television “Adventure” Review
The last 70’s was a magical time for debut albums: 1976’s “The Ramones”, 77’s “Nevermind the Bollocks,” 77’s “The Clash” as well as “Talking Heads ’77.” All these bands had something to say about old guard music and that message was: fuck off, we gun do our thing now.
Perhaps my favorite debut and band from that period is “Marquee Moon” by Television. Anybody that’s heard the album can understand why: creative, sprawling guitar interplay; a non-faked sense of epicness; concise, catchy songwriting; drive, power and intensity; wild dynamics; beautifully crafted, intricate guitar solos; truly poetic (yet biting) lyrics. All of this combined with a garage rock punch that made Television stand toe-to-toe with “The Ramones” in intensity but with better chops and more diversity.
Such an album would be hard to follow in any circumstance: as a result, 78’s “Adventure” by Television is often ignored, overlooked and disparaged. “How could Television top ‘Marquee Moon’?” is a question that has haunted the band, main songwriter, singer and co-lead guitarist Tom Verlaine and their fans as soon as the album came out.
Naturally, they couldn’t and the band was smart enough to realize that fact. Instead of trying to top it, they simply made another Television album: a collection of well written, catchy songs with intricate, unique guitar interplay and great lyrics.
The big difference between this album and “Marquee Moon” really lay in one single word: softer. The band has toned down their energy and rawness considerably on this album. The rawness of the Andy Johns production has been replaced with a “cleaner” production with more “sheen” (if that makes sense) to it that definitely puts it a notch lower in the eyes of many fans.
There is also a distinct lack of “epicness” on the album that seemed to be the stock in trade of “Marquee Moon”; no longer are there 10 minute songs that seem to contain the drama of 10 songs. Instead, songs are written around self contained song structures, easier to understand melodies and simpler ideas.
So, the band has softened up, simplified and lost much of the “raw” and “epic” feel of their first album. Clearly, “Adventure” is crap right? Not even close. Tom Verlaine and Television were too smart and too good to release a bad album. Instead, this is an album of “smaller” pleasures and “simpler” ideas.
Let me put it this way: I feel its only a disappointment compared to “Marquee Moon.” If this was their debut album, it would be hailed as a masterpiece of songwriting and guitar interplay that strikes a solid balance between punk aggression and folk simplicity.
Yes, a song like “Fox Hole” would have hit much harder with “Marquee Moon” production but isn’t that song something as it is? The intricate two guitar riff and great “pinch harmonic” at the end of the riff that helps give it a unique sound; the simple but catchy riff and chorus of “Fox hole! Fox hole!”; the solid (but not exceptional) anti-war lyrics and the occasionally dissonant guitar playing of Verlaine and Richard Lloyd.
Lloyd really doesn’t get enough credit for Television’s success: his rawer, edgier, less schooled style of guitar soloing is a great contrast to Verlaine’s smoother, more technically adept style. Some of the best leads on the album are Lloyd’s and help add an edge to the album.
Plus, things don’t really get much better than “Glory.” What a great way to open the album: a somewhat simple but catchy riff opens things up, Verlaine pops up with a complex but catchy verse melody that leads flawlessly into a catchy and uplifting chorus and a lyrical message of celebrating the greatness of life.
And how could an album be bad with songs as effortlessly complex and moving as “Careful’? The way if shifts between simple verse riffs (with great country rock-ish leads popping up here and there) into a simple but catchy chorus and a great bridge section with solid piano, organ and even hand
claps makes the mind boggle at how easy it all goes down without drawing attention to itself.
Not everything is perfect, of course: Television had a hard time with “dirges” (“Torn Curtain” from “Marquee Moon” being perhaps the slowest and weakest song on the album) and “The Fire” is perhaps the weakest tune on the album. Its slow, slow and has a nearly funeral-esque atmosphere that doesn’t really work with Television or the album in general. And it’s six minutes seem infinitely longer than “Marquee Moon”’s 10.
Plus, the opening riff to “Ain’t That Nothin’” sounds way too close to the riff of “Marquee Moon” for its own good. Yes, it’s different and the song itself sounds nothing like that classic song but I always get uncomfortable when the song starts as I keep expecting a different song to pop out of the ether.
However, not even “Marquee Moon” was perfect so we shouldn’t hold these problems too heavily against the album: even “The Fire” has interesting melodies and guitar ideas but simply drags for far too long.
“Adventure” is a fine album with great songs, great playing, great ideas and great lyrics that is worth a place in any Television (or punk) fan’s collection. However, I do feel that the opening riff repetition in “Ain’t That Nothin’” does speak of a certain limit in Television’s sound: a third album after this may not have been a good idea. It was perhaps a good thing the band broke up at this point before they made a bad album.
And yes, I know of the self titled album but that was a long time later and was basically a Verlaine solo album. I haven’t heard it though so I won’t judge it.
Welcome Back (Or Why I Disappeared, Came Back and Reviewed “Idle Race”)
And so my little break stretched on and on until it had been nearly a year before I posted anything…so much has changed in so many ways but one thing remains…I love music…and I love writing about music.
Hello fans of “Culture Fusion Reviews.” I hope things are treating you well. I’m doing well. I won’t go into it but I will briefly explain my abrupt departure and my triumphant return as quickly as possible:
- New jobs
- Life in general
- Sustaining interest
And there is the biggest problem with writing blogs: keeping up an interest and sustaining an interest. I decided to come back because my new jobs have balanced out, my love life is non-existent (in a good way) and I had a burst of interest to write about music again.
New format though: not doing complete discographies in a mad rush. This is part of what drove me crazy and bored me to tears. Just doing the last album I heard. And the last album I heard was…
“Birthday Party” by the Idle Race.
“Who the hell?” you may say and you wouldn’t be the only one. Idle Race is one of a million “also-rans” of the psychedelic era that had a somewhat unique vision, a decent songwriting voice and excellent production and solid-to-raving reviews (Marc Bolan of T-Rex was a huge fan) that simply didn’t have the “it” factor to make it big and which disbanded after a few years.
However, you can pick up a two CD collection named “Back to the Story” that includes everything they recorded: three albums and a variety of singles and non-album tracks. None of their songs were a huge hit and you hardly ever hear them mentioned but as a footnote…and the only reason they maintain that footnote status is because of their connection to Electric Light Orchestra.
That’s right, ELO: the pomp and circumstance, cello, violin and guitar “classical” prog-pop band led by somewhat controversial songwriter-guitarist-producer (and owner of huge hair and aviator glasses) Jeff Lynne. Basically, the Idle Race was an early proving ground for Lynne’s songwriting, arranging and production genius.
So, is it any good? That’s an interesting question. It’s not ELO: it’s very much a product of its era. This means the songs are generally very gentle excursions into musical whimsy: a 23 second orchestra version of “Happy Birthday to You” is the second track on the album; sound pans from speaker to speaker; music hall melodies clash again mellotrons and off-beat vocal harmonies; pianos, horns and strings take up a huge section of the sonic blueprint, sometimes drowning out the band themselves (also consisting of drums, bass, guitar and piano; catchy, sometimes complex melodies sustaining interest throughout as the arrangements shift on a dime to give the album a surprising sense of diversity.
Basically, it sounds like any number of minor first rate and major second rate psychedelic bands of the time (not an insult: second rate psychedelic bands are sometimes the most fun) falling more on the “whimsy Sgt. Pepper” vibe as opposed to the “psychotic space ravings” of early Pink Floyd. It’s gentle music for gentle people with an occasional burst of fuzz guitar and bass to wake you up. Basically, they often sound like a rougher, tougher “Left Banke” but without so many intense classical leanings.
The lyrics, however, are a different story. Lynne has never been a super amazing lyricist: for ELO: at his worst he’s competent while at his best he can be insightful and interesting. But the Idle Race, and especially this first album, is an interesting study in “musical and lyrical contrasts” similar to the “Steely Dan” method of contrasting gentle, smooth music with wild lyrics (but with different sonic focuses).
Lynne explores areas of madness, depravity, lust, love and the seedy, crazy side of the world in a way he never really touched in ELO. Songs like “I Like My Toys” are nearly child-like in the music and arrangements with a lyrical message that crouches the concept of “toys” with “madness” in a unique way.
To me, this contrast between musical gentleness and lyrical strangeness is what helps the album stand out a bit from the psychedelic pack: while not exactly a completely unique idea the band pull it off well and in their own unique style. Yes, the basic style is very similar to the whimsy sides of the Beatles psychedelic style but delving even deeper into near child-like levels of silliness and musical lightness.
The production is solid and typical of the time with lots of experiments in filtering, panning, sound effects and a dense layering of sound giving the album a somewhat uniform but still appealing sound. Of course, the album isn’t perfect and has some flaws (the uniform sound, the sometimes grating childishness of things as well as Lynne’s continuing obsession with de-emphasizing his great voice) but it serves as an early taster for greater things for Lynne and serves as a good case for understanding why the great Roy Wood held Jeff in such high esteem and why Jeff was able to briefly conquer the world with ELO.
Songs to check out on YouTube:
First song “Skeleton and the Roundabout” is a harbinger of their general style and of the silly delights of the rest of the album: carnivelesque melodies and arrangements, great vocal melodies, solid band performances and arrangements as well as a lyrical message that will have you scratching your head (in a good way).
“Follow Me Follow” continues in a similar vein but in a more sentimental manner foreshadowing Jeffy’s skills with love ballads.
“Lucky Man” a great music hall atmosphere with solid vocal harmonies, a great refrain and a lyrical message that touches on insanity.