29 June 2005

no myth : acoustic : michael penn

click here to listen
listening time: 3m 44s

drowning in work. here's something from aimee's husband.

oh, wait. here's something i thought of the other day: how to piss off colleague x in a meeting. and make sure you show off your biceps while stressing your point:
man, you're glib. you don't even know what {topic} is. if you start talking about {topic}, you have to evaluate and read the research papers, x, okay? that's what i've done. you should be a bit more responsible in knowing what it is because you communicate to people.
yeah, i'm just trying to fill up this space. ttfn!

24 June 2005

the kindness of strangers

click on the title to listen. note: there's a bit of a glitch in this file. if the song doesn't start right away, click pause then play. also, don't pay attention to the timer, which is out of whack. the total listening time is only 6m 31s.

this is an alternative version of the phenomenal song, from a rare benefit album called rainn songs, produced by atlanta's 99x radio station for the rape, abuse & incest national network. i discovered it during the heydays of napster, but the encoding was very bad, and the song skipped a couple of times. i searched high and low for a copy of the album, and neither the station nor e-bay had it. i couldn't even find it in any of the p2p clients i use. so i finally decided to post in ipodlounger that i was looking for a good rip of this song, and in just a few hours i received a reply -- and the song file -- from forum member ihaveanipod. he or she correctly identified it as the best version of this song.

in fact, this version is too good to be kept hidden in an obscure compilation, so i'm sharing it. enjoy.

22 June 2005

good thing : patty larkin

click here to listen
listening time: 4m 36s

a song that's almost too beautiful for words. i remembered to post it because of the weather. we've had nothing but rain over the last few days, and i'm loving it. i've always found the rain soothing. i first heard this song one quiet sunday morning in bed. i had just woken up, listening to this album. rain was looming, but i kept my window ajar. this song came on just as the rain started to fall, and i relished the feeling of drizzles softly, graciously, almost respectfully touching my face. everything seemed to be in slow motion during those four minutes.

Good Thing
by Patty Larkin
Well I've heard enough
And I've seen enough
And I know enough to know
I know a Good Thing when I see it
And it's a bad thing to let go

Well I've been around
I've been up and down
Until I bent out of control
With your world all in motion
Got to put a ball and a chain on your soul

All those angels running
Picking up the pieces
Putting back together hearts broke long ago
I know a Good Thing when I see it
And it's a bad thing to let go

There will always
Be lovers
With borders of their own
And you may charge across
In a golden chariot
But you will never be home

I had dreams like distant thunder
I had hope like a prayer unheard
Now this is nothing
Less than perfect
In a less than perfect world

21 June 2005

i can't help you anymore : aimee mann

click here to listen
listening time: 4m 52s

i've been trying to like the forgotten arm, aimee mann's latest album, but i can't get past my initial feeling of 'what the hell?' it could be the whole concept of the album. i just can't connect with it. the forgotten arm -- which mann dedicates to "the alcoholic and addict who still suffers" -- follows the relationship of a carnival performer and a down-on-his-luck boxer that begins just before the latter is sent off to war in vietnam. he comes back addicted, and the circus performer has been trying to find a way out of the relationship since. each song is a chapter that unravels disillusionment, despair and ultimately, doom. these themes already make for a strong material that would appeal to those who agree that the most interesting relationships are inherently complex and all too often tragic. but in writing each song, mann forces too much creativity and achieves the opposite. we're distracted by too much meter and rhyme for their own sake, that they end up being a constraint to, instead of a form of, story-telling.
once somebody stationed in kuala lumpur
said he thought you went out but he couldn't be sure.
- dear john

you pulled up and parked your el dorado
we said "hi" and kissed with some bravado
- beautiful
nice. now in your next effort, can we please have less of these silly rhymes and more of the grown-up perspective you demonstrated in the following songs, which are the best moments of the album?
was i the bullet or the gun
or just a target drawn upon
a wall that you decided wasn't worth defending?
- i can't help you anymore

life just kind of empties out
less a deluge than a drought
less a giant mushroom cloud than an unexploded shell
- little bombs
the forgotten arm, a boxing reference to an unexpected punch from what was perceived as the opponent's weaker arm, comes after mann's four consistently excellent studio outputs. although as a concept album it explores and successfully demonstrates mann's dark and twisted view of relationships, no track stands out the way save me did in the soundtrack she created for the film magnolia, or lost in space from her album of the same name. ah, but maybe it'll grow on me after a few more listens.

13 June 2005

sunshower : chris cornell

click here to listen
listening time: just under 6m

i'm typing this while waiting for my flight for a business trip. the flight leaves in 40 minutes.

i leave you with this beautiful song by former soundgarden, now audioslave vocalist chris cornell, from the soundtrack to the underrated 1998 film great expectations. cornell has got to be one of the best male voices in rock. too bad he isn't so prolific as a solo artist.

boarding now. see you all next monday. behave children, and remember: eat! your! vegetables!

09 June 2005

love steals us from loneliness : idlewild

click here to listen
listening time: 3m 12s

this is first single and my second favorite song from idlewild's latest album warnings / promises, which is a solid piece of work and a welcome affirmation of the band's departure from their headier, earlier days. the 13 songs in this album, the very title of which suggests duality, alternate almost predictably between electric and acoustic. die-hard fans from their native scotland are probably crying sellout (it doesn't help that the band is opening for u2 and r.e.m. this summer) but standing on the soft side of alternative rock, i like them better this way. kinder, gentler, ten pints more sober.

my only glitch with warnings / promises is the heavy r.e.m. influence which to my ears is more obvious here than in their previous albums. when roody woomble sings the line happy birthday, are you lonely now in this song, you can almost hear michael stipe cry a similar line in shiny happy people. in fact, the acoustic half of the album could have come from r.e.m.'s out of time, and the electric half from monster. this doesn't necessarily mean that idlewild are losing their original sound; i guess they're on their way to finding a new one, and woomble's sharp, wistful songwriting and vocals make sure they don't falter along the way. get this from the all-acoustic not just sometimes but always, my favorite track:
i wake up hearing unfamiliar voices
convinced they're trying to explain
that if my words were clearer
then maybe i would know what i'm trying to say
just as those long forgotten voices
disappear back into rain
granted, the sedate, even soothing, medoly betrays the more somber reality of the song, but you can take that as a struggle against bleakness. it's hopeful, and hopeful is mature. welcome home, goodnight and the bonus track are also clear winners in this album, featuring vocal harmonies that are more pleasant than what r.e.m. can achieve. (not that anyone can actually harmonize with stipe.) both songs open with acoustic guitars and stay in that mode for the rest of the song. love steals us... as you can hear opens with pounding drums and angry riffs before mellowing out, a brilliant choice as first single because it best shows the band in transition. but it is still edgy, and if they keep it that way idlewild will stay on the good side of alternative pop, perhaps in the company of train, another great, under-appreciated r.e.m.-influenced band.

nine stars out of ten.

07 June 2005

a playlist : ballads from the new school

oneway : drew o'doherty
click here to listen
listening time: 4m 07s
don't i hold you : wheat
click here to listen
listening time: 3m 50s

this is a playlist i made to give a name to this new set of male artists who make personal, intimate pop ballads sans fromage. the music is uncluttered and the words are expressive, not effusive. they're boys who grew up to be boys, fell in love, broke their hearts, and mope with their guitars. there is a trifle sense of immaturity in their stories, and they're not afraid to expose their vulnerability, but the sincerity shines through. you get the feeling they've been through exactly what they're narrating. others:

collide : howie day
back to you : john mayer
chemical : rockwell church
sleeping to dream : jason mraz
loud : matt nathanson
caught up in your love : ari hest
hold on tight : christopher jak
the wanderer : marc broussard

you can download o'doherty's song from his page in myspace, which is an excellent resource for independent music.

update. i e-mailed drew to let him know i blogged about his song, and he replied saying he's currently at work on a full-length album that's coming out soon, which should be something to look forward to. he is currently on tour in cambridge, where he will perform with tom thumb at zuzu on thursday. follow drew's progress in his website.

03 June 2005

cannonball : damien rice

click here to listen to the album version
listening time: 5m 10s
click here to listen to the radio edit
listening time: 3m 26s

a song that's destined to be a classic, despite being overshadowed by the blower's daughter (famously used in the soundtrack to the film closer) and volcano. with cannonball, irish singer-songwriter damien rice creates a masterpiece out of simple words and chords: they've all been said and done before, but the emotion comes alive with his voice and the undulating guitar arrangement that perfectly captures the writer's hesitation and longing.

here are two versions of the song. i actually like the radio edit better; the pause or suspension between the first and second verses works for me. it's only literally a fraction of the song, but it's a charming effect. i enjoy tiny moments like this in a song. this version comes from the bonus disc and is the most accessible song from his album o, which is the work of a weathered storyteller, something you wouldn't have expected since o is a debut album.

31 May 2005

hurdy gurdy man : donovan

click here to listen
listening time: 3m 17s

here's something that randomly played in my ipod while i was getting a grilled veggie sandwich for lunch. it's a 1968 classic from the british folk legend donovan. the song would make for a good soundtrack for a pre-apocalyptic dream. most recently though it was used in the excellent but highly disturbing film l.i.e., which is about child molestation. brian cox turns in an outstanding performance, and the kid should be making more movies, but he doesn't seem to be. a history of the song, from wikipedia:
Released in May 1968, his next single was the swirling psychedelic nugget 'The Hurdy Gurdy Man', a song he originally intended for his old friend and guitar mentor Mac MacLeod who had a heavy rock band called Hurdy Gurdy. Donovan had also considered giving it to Jimi Hendrix, but when Mickie Most heard it, he convinced Donovan that the song was a sure-fire single and that he should record it himself. Donovan tried to get Hendrix to play on the recording, but he was on tour and unavailable for the session. In his place they brought in a brilliant young British guitarist, Allan Holdsworth. Jimmy Page also played on the session, and it is believed that John Paul Jones may have played bass with (possibly) John Bonham on drums. If so, this would make it the first recorded performance featuring the three future members of Led Zeppelin. Both Jones and Page have stated that the idea of Led Zeppelin was formed during the 'Hurdy Gurdy Man' sessions.
The heavier sound of 'Hurdy Gurdy Man' was a deliberate attempt by Most and Donovan to try and reach a wider audience in the United States, where the new hard rock sounds of groups like Cream and The Jimi Hendrix Experience were having a major impact. Most's commercial instincts were spot-on, and the song became one of Donovan's biggest hits, going Top 5 in both the UK and the USA and Top 10 in Australia.
and about the hurdy gurdy: it's a musical instrument.

28 May 2005

jump : aztec camera

click here to listen
listening time: 2m 50s

this is roddy frame's mellowed-out cover of the van halen original. it's a feel-good song that i turn to when i actually need it. the original is great, a classic, i love it. but it's also quite overwhelming. the deafening keyboards, the searing vocals, the air-guitar inducing albeit brief solo in the middle, and not to forget david's outlandish showmanship and eddie's flipped-out perma-smile on the video -- jesus, you've got to be all high, happy, and oversexed to be able to match the energy of that song. which is ironic because it's supposed to be about a man flirting with suicide.

which makes frame's version quite appropriate. set against a background of light-handed drum beats and innocuous bass, this acoustic take on jump is reluctantly positive. frame's lackadaisical vocals accompanied by gentle guitar picks deliver a sentiment that, if it catches you in a sullen state, is both bittersweet and alleviating. i get up, and nothing gets me down. what can be more hopeful than that? on a technical note this song is also a perfect proof of the timelessness of acoustic arrangements. frame made this cover about a year after the original was released -- that's 21 years ago -- but he could have done it yesterday and it would still come out just as listenable.

23 May 2005

the boss of me

i finally finished ripping all of the cd's i care about into my mac, and transferred most of the songs i care about to my ipod. out of 60 gigs, i have just a little over 2 gigs of space left, and i'm leaving that for some pictures. here's a shot of my ipod's screen. well actually, this is a recreation of my ipod screen, shamelessly knocking off a publicity shot from apple's website. i did try to take pictures of it using a digital camera, but they all came out looking like this.


i also tried scanning the thing, but it came out worse.

now all i need to do is get rid of duplicate songs from compilations and best-of collections. i wonder how much space that'll free up.

21 May 2005

satellite (show me the worth of the world) : tabla beat science

click here to rock your world
listening time: the best 8m 48s that you will ever spend on blogger

have a groovy weekend, all. here's something from tabla beat science, the musical collective that includes talvin singh. i have no idea what the vocalist is saying apart from the chorus, or if she (it could be a he, i don't know, i'm too lazy to look at the cd liner notes) is saying anything at all. nor can i guess why this is called satellite. but heck, this record is so much fun. get the album if you too are a fan of the tabla, which i think is very versatile and in the right hands can easily get out of the traditional and asian underground scenes. this album was recorded live in 2001 at the stern grove in san francisco.

update: just looked at the liner notes. it is indeed a female vocalist, and she is ethiopian artist ejigayehu 'gigi' shibabaw. the male backing vocal belongs to istad sultan khan. interestingly, tabla beat science has this to say about the album: "peace and respect to george harrison for opening our ears."

19 May 2005

then i'll be smiling : matt nathanson

click here to listen
listening time: 2m 56s

this song by san francisco-based artist matt nathanson is so beneath the surface i had to google what the word 'awarenesses' means. i've never used that word in the plural form in my life, and apparently it's some sort of a philosophical concept. read the lyrics here. i still don't get completely what the song means, but if my reading is right then matt makes a very poignant statement about shallow friendships. my guess is it's about a guy who has made a series of mistakes in his life and feels that his friends, with their "half concerns," have outgrown him. or it could be the other way around: he gained from his failures a deeper sense of self-awareness that he has outgrown his friends, the liars and fools he's probably referring to, who in contrast have become too self-involved. i may be reading too much into this, but it's only because the words are so captivating, delivered with understated woe, and all blending very well with the beautiful melody of the song.

anyway. matt's a brilliant artist, and i hear he's funny live. i love every song on the first cd of his that i bought, still waiting for spring, which includes this song, and his new one, beneath these fireworks, is even better. matt is what happens when a guy who listened to kiss before 12th grade discovers suzanne vega, indigo girls, and tracy chapman. that's more or less his own description. i'd fly to san francisco to see him. well only if mark kozelek is playing around the same time. then i'll be smiling.

been littered with small awarenesses lately?

18 May 2005

never stop : the brand new heavies

click here to listen.
listening time: 4m 42s

this is the not-quite-funk version of the acid jazz hit, from bnh's album original flava. not sure who did the vocals, probably guitarist simon bartholomew. obviously nothing beats the n'dea davenport version, which is one of the few songs -- of any genre -- that can totally blow you away. but i like this because it's downtempo, which is more often my mood. i'd love to do this on acoustic guitar, substituting the keyboard with heavy strums. if only i knew how to play the darn thing.

17 May 2005

never do that again : ivy

click here to listen
listening time: 3m 32s

ever had one of those moments of uncomfortable silence with your significant other? moments of estrangement that seem to have come out of nowhere? on an ordinary night, one of you will be sitting in the armchair reading a book, and the other will be lying on the couch watching television. this is how you wind down your day, and it's a habit that's as familiar as the pattern of conversation that ensues. one of you will say something trivial or insightful -- perhaps something that you saw or read, or something that happened to you during the day -- and the other will reply with a sentence, a phrase, a soft hmm. it doesn't matter how the conversation develops, or if one does at all; what matters is that both of you are silently taking comfort in each other's presence, aware of the same invisible connection that manifests itself most powerfully when you're making love. tonight, however, words are simply not in order, and every minute that passes without the familiar non-conversation amplifies the possibility that something might not be right. you try to brush the feeling off, yet it remains. suddenly, you start to notice that a neighbor is stuggling with his door key, or that one of the light bulbs in the hallway that leads to your kitchen is dimmer than the others. a light but eerie sense of touble prevents you from collecting your own thoughts. you feel as if something between you and your significant other has been violated, and you have a nagging feeling that it could be your fault. is everything okay? you ask, and the other replies with a yes that you think wouldn't sound as cold if it were true. and so you ask again, are we okay? and you receive the same unconvincing reply. and so you let it go, but not really, and you're left wondering how this moment is going to end.

this is the soundtrack to that moment.

16 May 2005

torn : ednaswap

click here to listen
listening time: 3m 43s

i was going to post something that randomly struck me on my way home today after a three-day weekend break, but i thought i'd better gather supporting evidence first. it goes something like this: when it comes to pop music, vocal standards are lower for men than for women. i'll say no more.

in the meantime, enjoy the original version of torn, popularized in 1996 by natalie imbruglia. i remembered this song because i saw her new cd being promoted on tv earlier this evening, and i wondered, why bother? what possible tv-viewing demographic is her label trying to reach? in fact, who continues to like natalie imbruglia? i will admit, though, that i was a big fan of her version of torn. her voice has the perfect touch of emotional injury that the lyrics require, something the original doesn't achieve. ednaswap's arrangement would work if a male vocalist were singing; it doesn't work with someone trying to sound like chrissie hynde. i don't know. maybe i'm just too tired to think.

good night.

13 May 2005

pressure drop : david kitt

click here to listen.
listening time: it'll be over before too long

i tried to restrain myself from posting this song but i couldn't help it. it grew on me, and i even had it on repeat in my ipod on my commute to work this morning. to appreciate the song, which is originally by the reggae band toots and the maytals, you have to first know how the more popular versions sound like. there's one by the clash, and another by the specials. (click on the bands' names if you'd like to stream 30-second samples on amazon.)

david kitt's version is what it sounds like when you deliberately overdose your best friend, shock him with extra-strength defibrillators (those electric plates they used in the movie flatliners) and hold him at gunpoint to sing a reggae song as soon as he comes to. an acoustic singer-songwriter from dublin, kitt never claimed that his vocals was his strongest suit. where kitt excels, as he demonstrated in his first two albums, is in his ability to exploit it to infuse every song with just the right amount of emotional disquiet – to make his listeners empathetic, as opposed to sympathetic. when i first heard the song song from hope st. (brooklyn, new york), in which kitt observes the sudden slow-motion of our pace in the winter, i wanted to come over to his apartment and help rearrange his furniture.

kitt's version of pressure drop comes from his fourth album the black and red notebook, made up almost entirely of covers, from r.e.m.'s (don't go back to) rockville to jj cale's magnolia. what kitt has done is sap each song of its passion and render it dry. which is normally a bad thing, but kitt, i'd like to believe, did it deliberately. for what purpose? i have no idea. the album isn't mediocre, just puzzling and oddly jaw-dropping.

09 May 2005

million miles from home : keziah jones

click here to listen
listening time: 3m 58s

two months before summer and my mind's already somewhere else. in limbo, to be exact. i had completely forgotten that i have 43,000 air miles expiring at the end of july, so i've been trying desperately to book a flight with very limited success. i'm looking to travel before end of june to either morocco or russia, which means i have to transit somewhere in europe, but in both options i can't get a return seat out of london or zurich. so as a backup i booked a flight to tehran via gulf air, the status of which i'll find out only today. as another backup, i booked johannesburg via cathay pacific, and this one's confirmed. but damn, i want either of my two first choices. i'm wanting to trek the atlas mountains or mount elbrus. must find other ways to get there on miles. damavand in iran should be okay, but what if our good friend from washington strikes again? the drakensberg in south africa i heard is breathtaking, but for some reason i have very little interest in it. give me some altitude i can cover in a week!

oh well. here's a great song by the amazing nigerian-born guitarist keziah jones. he will eat lenny kravitz alive. turn it up, this one rocks.

07 May 2005

a tribute to street musicians

baby can i hold you : orzo
click here to listen
listening time: 3m 20s


his name is orzo, and he's a street musician who played every night at ponte vecchio during our trip to florence last easter. on the evening we sat down on the sidewalk of the bridge, orzo received a visit from a policeman in a blue-and-white car. as if by routine, even before the cop could get out of the car, orzo pulled out pieces of paper from behind the chord sheets laid out on his music stand, walked over his guitar case which had just a handful of coins, and handed the papers over. the policeman leafed through them, gave them back, and left with a friendly salute. this is orzo's spot, the papers must have said, and what a perfect spot it was, getting more foot traffic at this late hour than any other corner of the historic quarter.


street musicians are everywhere, from plaza murillo in la paz to montmartre in paris to insadong in seoul. their presence in such diverse places is an affirmation of popular music as a universal language, touching universal feelings by provoking uniquely personal memories. (we all have stories about chiquitita, don't we?) street musicians don't always play with competence, but they always sing with passion. unfortunately that passion is lost on the majority of people who pass them by without a glance, or is only fleetingly shared by the passerby who drops a dollar, or hums along in his mind on his way to lunch. as a tourist i find them as a source of comfort. comfort that the city i'm alien to is friendly enough to have them. comfort through the familiarity of their songs in a land whose language i don't speak.

i've always been intrigued by street musicians, especially those who do it alone in a country not their own, like these guys. the one on the left is from the chatuchak market in bangkok, and to be honest i can't remember what song he was singing, though based on the way he looks it was probably dylan or cat stevens.

there must be elaborate stories behind them, but i've never had the courage to bother them and ask. what brought them to where they are? are they globetrotters saving up for their next destination? are they trying to escape from unpleasant circumstances at home? that's what i thought when i saw this other guy below in insadong in seoul. i thought he was russian, or from one of the caucasus states. i remember this shot very well. his pronunciation was so bad, i could barely make out a word. he was strumming, words were coming out of his mouth, but was he singing? and then, finally, something comprehensible: oh-wo-wow yesterday...


in any case, i tend to romanticize every street musician as the free spirit can only i wish to be.

that night on ponte vecchio, we shared the sidewalk with a group of 15 to 20 teenage tourists, probably eastern european, who insisted that one of them sing. orzo obliged, and the tourist sang shakira's underneath your clothes. she mimicked the colombian artist's voice very well, which means she probably shoved a ball of sock in her throat too. (no, i've never been impressed by shakira. well, okay, i like her mtv unplugged dig on ojos asi.) orzo obviously likes connecting with his audience. he performed other crowd-pleasers like u2's with or without you, which somehow morphed into the calling's wherever you will go, and america's horse with no name, which became fool's garden's lemon tree. the teenagers danced and sang to this tune. an old man (the one smoking in the picture at the top) started peddling orzo's cd, and since my significant other was having a good time, she insisted that i buy one. it cost 10 euros, quite expensive, but hey, we should all be supporting free spirits.

03 May 2005

cucurrucucu paloma : caetano veloso

click here to listen. it starts off very softly.
listening time: 3m 50s.

very briefly in his college life, my father was in a band that played latin music in hotel lounges, and even though he played upright bass, he was very good with classical guitar, an instrument he played with melancholy everyday since his heart kept him homebound at 36. one of his favorite musicians were the mexican trio los panchos, and he owned one of their lp's that featured this song, composed by tomas mendez and popularized in 1954 by lola beltran. i remember having a laughing fit the first time i heard it as a child; i thought "cucurrucucu" was the funniest-sounding word i'd ever heard. my appreciation only grew the more i heard the song, and this version by the brazilian singer caetano veloso, from the soundtrack to the film hable con ella, is the most haunting and heart-rending rendition of this timeless classic. memories of my father rush in everytime i hear this song. without the requinta, a small, high-pitched guitar that was the trademark of los panchos, my father played this song similar to the way veloso does. it wasn't perfect, but it was his.

by the way, if you liked this song, you'll probably also love this one.

30 April 2005

may day ruminations

this is your life : the dust brothers
click here to listen
listening time: 3m 31s

do you remember how you ended up doing what you now do for a living?

how different is it from what you wanted to be when you were young?

what happened? what changed?

would you rather be doing something else, or is it too late?

28 April 2005

a playlist : songs to get depressed by

grey : ani difranco
click here to listen
listening time: 5m 22s

it's contrived, i know, and i can afford to say this because i'm looking at this playlist from a safe distance. i'm not depressed, not even sad. but i do tend to revisit this playlist once in a while because of the simple beauty of the songs in it. some of these are love songs, some are not, or at least not overtly so, but they all pine over a certain kind of loss and make for good company when i'm out of endorphins. i come from the let-it-flow school of emotional therapy, and in this school we learn to wallow in our misery by listening to songs that tear our hearts. grey by ani difranco is on the top of my list. what qualifies? the dour acoustic melody comes first, the words of pain are secondary. i have about 40 songs in this playlist. here are some of them, with my favorite lines.
grey : ani difranco
what kind of paradise am i looking for?
i've got everything i want
still i want more
maybe one tiny shiny key
will wash up on the shore

wise up : aimee mann
you're sure there's a cure
and you have finally found it
you think one drink
will shrink you to your underground
and living down
but it's not going to stop

i am : train
am i the son i think i am?
am i the friend i think i am?
am i the man i think i want to be?

have you forgotten : red house painters
when we were kids, we hated things our parents did
we listened low to casey kasem's radio show
that's when friends were nice
to think of them just makes you feel nice
the smell of grass in spring
and october leaves cover everything.
have you forgotten how to love yourself?

why don't you find out for yourself : morrissey
don't rake up my mistakes
i know exactly what they are
and what do you do?
well, you just sit there
i've been stabbed in the back
so many, many times

ghost : indigo girls
and i feel it like a sickness
how this love is killing me
i'd walk into the fingers
of your fire willingly
and dance the edge of sanity
i've never been this close

landslide : smashing pumpkins
oh, mirror in the sky, what is love?
can the child within my heart rise above?
can i sail thru the changing ocean tides?
can i handle the seasons of my life?

please please please let me get what i want : the smiths
haven't had a dream in a long time
see, the life i've had
can make a good man bad
boo hoo.

23 April 2005

carry me : nick cave and the bad seeds

click here to listen
listening time: 3m 37s

i decided to post a nick cave song after stumbling upon this striking portrait of the musician by san francisco-based (but soon to be chicagoan) blogging artist eugene smith. based on this photograph, the sketch softens cave's expression, which eugene may have done out of his own interpretation, or by blending it with this other photograph, or both. in any case i think the look in cave's eyes in this sketch very well captures the mood of his music, which can be morose and contemplative, or ironic and humorous, but often angry and always deadly serious.


click on the image to see it in its original size. cave is the kind of songwriter who tends to intellectualize too much. in a lecture on love songs at the vienna poetry festival in 1998, he said:
The love song is never truly happy. It must first embrace the potential for pain. Those songs that speak of love without having within in their lines an ache or a sigh are not love songs at all but rather hate songs disguised as love songs, and are not to be trusted. These songs deny us our humanness and our God-given right to be sad and the air-waves are littered with them...The writer who refuses to explore the darker regions of the heart will never be able to write convincingly about the wonder, the magic and the joy of love for just as goodness cannot be trusted unless it has breathed the same air as evil - the enduring metaphor of Christ crucified between two criminals comes to mind here - so within the fabric of the love song, within its melody, its lyric, one must sense an acknowledgement of its capacity for suffering.
and you can see how much he believes in this even from one of his seemingly more uplifting songs, into my arms, which also has one of my favorite first lines ever ("i don't believe in an interventionist god"):
And I don't believe in the existence of angels
But looking at you I wonder if that's true
But if I did I would summon them together
And ask them to watch over you
To each burn a candle for you
To make bright and clear your path
And to walk, like Christ, in grace and love
And guide you into my arms
what's so sad about it? it could just be me, but listening to it, i imagine him singing to a woman on the verge of death. he is sitting next to her lying unconscious in a hospital bed. there is a wooden cross on the wall against the headboard, and wilting lilacs in a glass vase on the bedside table. he holds her hand, brings it to his lips, and cries. death is in fact a recurring theme in cave's songs; he even wrote one in the first person about a murderer set to be executed in an electric chair. i'm posting a different song because lyrically carry me, which comes from his new double album abattoir blues / the lyre of orpheus, disturbs me the most. here is a man in a dilemma over two unrewarding choices, choices that may lead him to do something harmful, to himself and to someone he loves. he refuses to take action and instead waits for a sign. it's deeply spiritual, which you can tell from its churchlike chorus. listen to it, read the lyrics here, and tell me what you think.

thanks to eugene for letting me post the sketch.

21 April 2005

two songs : sondre lerche and blur

all luck ran out : sondre lerche
click here to listen
listening time: 3m 51s
coffee & tv : blur
click here to listen
listening time: 5m 19s

i've had these songs in my ipod for ages but i never really noticed the similarity until today, when my ipod, which is always in shuffle mode, played one after the other in the order above. i'd always thought there was something familiar about all luck ran out by sondre lerche (who incidentally is from bergen, norway like the kings of convenience below). i just never paused to think hard enough to tell what it is exactly. well now i know, and it's funny it took me so long because i love coffee & tv, especially the video. you remember this, dont you?


well you should, and if you haven't seen it yet, then leave this blog and google it now. it's one of my all-time favorite videos. but i digress.

i think sondre lerche was barely 20 when i bought his debut cd, faces down, and i thought good god, what would this guy be capable of when he's 30? and i mean that in a good way -- just think about all the crap that male poseurs of his age are excereting these days. sondre's voice is so engaging yet he uses it so effortlessly. his songs start off easy on the ear and end on rather disturbing notes. all luck ran out isn't a good example of that because it's pretty linear, but it nonetheless has an addictive rhythm to it.



which he may nor may not have borrowed from blur's coffee & tv. the pace, the rhythm...i think sondre only played it a couple of keys higher. you can almost interchange the guitars on both songs and still come up with nearly the same output. i googled and found two other people who thought the same, though i can't be sure, because one wrote in italian, the other in norwegian. are we tone deaf?

18 April 2005

misread : kings of convenience

click here to listen
listening time: 3m 08s

they're launch.com's one to watch, and i'm nonplussed. i've been hooked on kings of convenience since their first single toxic girl started appearing in indie album compilations about four years ago. they're a rare breed in an artform that's populated with fluff, and i wanted them to remain unknown. i wanted them to remain mine, but i guess that's wishing too far. now that the norwegian duo of erlend oye and eirik glambek boe have been noticed, i only wish they don't fall into ringtone hell.



this song is the first single from their second album, riot on an empty street, which builds on the brilliance of their debut, quiet is the new loud. their music is all vocal harmony and guitars, and this minimalism has led to comparisons with folk legends simon & garfunkel. of course, that's just the easy route the music press has taken to break them into the market. there's really no better way to describe them than a breath of fresh air.

16 April 2005

this is why you should never buy pirated cd's

you just don't get what you pay for!



only in hong kong, people. in case you're too young to get it, that dude above is country singer kenny rogers, who looks about as dangerous as a geriatric cat. the one below is the real kenny loggins, who seems to age gracefully. the songs in the album are by loggins.



this takes the comedy in buying pirated stuff to a whole new level. prior to this i would often find typo errors and misspellings in artist names and song titles. it's more common in movie dvd's. i've seen ahale berry and russell crowr. and i've also seen pirated dvd movies with subtitles from another movie!

13 April 2005

missing : beck

click here to listen
listening time: 4m 43s

this is my favorite track from guero, the new album by beck, the 90s pop rock slacker poster child. guero is a great album, and as far as i'm concerned it's at par with his delicious odelay from 1996. inevitably that's the album guero has been most compared to, since they best showcase how beck can swing from one genre to the next (plus the collaboration with the dust brothers). he does so while maintainting a sound that's uniquely his own, not least owing to his voice. beck drags his voice than sings with it, and it works from the hopping hell yes -- which has a catchy bass line layered with scratches, harmonica, and awkward female ad libs -- to the melancholic broken drum, which sounds like it should be in sea change, beck's last album from 2002.


and then there's missing. listen carefully to his vocals here and you'll find that it's full and assured, a departure from the lazy warbling beck has charmed us with since mellow gold's loser. he showed nearly this much confidence in sea change, a collection of funereal acoustic ballads, notably in the track end of the day. his voice in missing is jarring, almost depressive, and he couldn't have done it better for this song, which itself is mature in its acceptance of loss in spite of continued yearning. it's not contradictory; it's honest and universal.
i prayed heaven today would bring its hammer down on me
and pound you out of my head
i can't think with you in it...

something always takes the place of missing pieces
you can take and put together even though
you know there's something missing...

she rides in a car like a queen on a card
and the guns of her mind aim a line
straight at mine to a heart that was broke

complete lyrics here
if missing is a taste of things to come from beck, then his best work is yet ahead of him.

12 April 2005

why do i care about this?

if you've logged off from a session with yahoo in the last few days you've probably seen it. for a split second i thought wow, eminem's looking sharp. but something wasn't quite right and i had to rub my eyes to see if i read the name right. it's rob thomas, vocalist of matchbox twenty, sans the shaggy hair. and look at the sculpted arching brow and the white pearl earring!

i watched the video of the single lonely no more, from his first solo album something to be, and the similarity ends. but what's this -- rob shimmying in skin-tight pants? don't get me wrong, i like rob thomas. i liked him from his band's debut to his collaboration with santana in smooth. but lately he's becoming a bit of a pussy. lonely no more, catchy as it is, is devoid of the introspection of every song in yourself or someone like you and even mad season. oh well. so what if he wants to attract a larger audience (and with his makeover that probably means preteen girls). nothing wrong with that. and if my nieces ask me how old i am, i can just say, i'm younger than rob thomas and eminem!

10 April 2005

back from europe

been away for over two weeks and i still feel it was too short. not that i didn't enjoy the trip; i did immensely. but the truth is, significant other and i probably crammed too many places in one trip that except for one, we felt bad having to leave each place just as we were getting warmed up. at least i did. all told, we went to six major european destinations in 17 days, including a couple of day trips. it's the curse of the corporate holiday handout. you can only take so many holidays a year, you feel like you need to make the most of it. so you end up planning to go to many different places in a short span of time, you end up taking in not enough of them. of course we could have chosen to stay longer in one or two cities, but it's the curiosity, you know, made more easily doable by the convenience of train travel. and hell if it wasn't fun! here's what we did:

venice. three full days, which means excluding the days we arrive and leave. i fell in love the night we arrived, even if it meant hauling our luggages through three tall, stepped bridges from the bus station. venice's innate charm springs at you the moment you see and smell its canals. walking its cobbled streets and crossing its arched bridges are just as fun as taking the water buses that run the stretch of the grand canal, which truly lives up to its name, not least due to the characterful facades of the buildings on both sides. since venice is one of significant other's dream destinations, and we were there in time for her birthday, we took the expensive gondola ride. twice. yes, our gondoliers did burst into song, and no, neither sang o sole mio. but even in broad daylight, the ride upholds its reputation for being romantic, especially when you enter the quiet tiny canals. and i don't care if we, like other googly-eyed gondola riders, became the subject of camera-toting tourists taking pictures from bridges, it was worth it. here's what it looked like, but the couple below isn't us. i'd never look quite as good wearing a straw hat with a red ribbon.



day trip to verona. i'm sure verona is a fine city, but can i help it if i felt that its top attraction, casa di giulietta, is a rip-off? it's the verona government's unimaginative interpretation of juliet's house, with the famous balcony that romeo stealthily climbed up to as its highlight. for ordinary folk, the building as a residence may impress, but shakespeare would probably cringe if he saw it. if you ever decide to pay juliet a visit, you'll do better than spend 4 euros to get inside her house. just stay outside and read visitors' love notes in different languages, pasted all over the walls of the courtyard, or take snapshots of male tourists rubbing the right breast of juliet's bronze statue, supposedly for good luck in love, which this overzealous dude probably needs:



florence. three full days is clearly not enough to absorb the art and architecture of this gem of a place. and yet, for some reason, it's easy enough to get bored here. it's small, and every corner or square looks like the one you've just been. oddly, the same can be said of venice, but venice never for a moment loses its charm, perhaps because the changing colors of the old buildings and reflections on the canals under the sun give you a different perspective each time you cast a glance at them. of course, florence more than makes up for this with its artistic treasures. two of the obvious highlights are the uffizi, which houses the ethereal the birth of venus and galleria dell'accademia which houses michelangelo's sensual rendition of david. picture-taking isn't allowed in both museums, so if you want to immortalize david in your photo album, you'll have to settle for a good reproduction of it in front of the palazzo vecchio at the piazza della signora. let's cut to the (uncut) chase, shall we:


day trip to pisa. there weren't as many tourists here as i feared, but even if there were, that surely wouldn't have lessened my appreciation of this place. yes, we went straight to the leaning tower, which is actually a bell tower that accompanies the cathedral and baptistry next to it. (apparently, most cathedrals in europe combine all three in one structure, but the italians like to do things differently. the duomo, the cathedral in florence with the famous dome, is another example.) all are magnificent structures in marble, but pale in comparison to the taj mahal which i've already rhapsodized about somewhere below. a curious structure -- it leans about 4.5 meters from the top because of the soft soil underneath -- the leaning tower brings out the silly in us. while most would pose as if they were pushing the tower up, this guy does it a bit differently:


rome, one full day. we've been in 2002, but we had to fly out of rome to get to amsterdam anyway (long story) so we thought we'd spend a couple of days there. it turned out to be fortuitous, because we arrived on the day the pope passed away, and we were able to hear the mass in his honor at st. peter's square the following day. i'm not a catholic, nor religious, but being there and seeing the outpouring of respect for a great man proved emotional for me too. frankly, it made me rethink of the reasons i converted away from catholicism, and although in the end my convictions against it as enforced by pope john paul didn't change, being able to reflect was an enriching experience.



amsterdam. three full days, and definitely worth coming back to. we arrived very late at night, and the morning we stepped out of the hotel, took the tram, and crossed the park leading to the van gogh museum, and nearly got run over by a bike, i said to myself, i can live here. that's always been one of my measures whether i like a place or not, and i'll do anything to move to amsterdam. it's pleasant, it's pictureseque, the people are straightforward and friendly, there is diversity among the people and in effect the cuisine, and i love the fact that bicycles like the one below rule the road. forget the red light district and the accessibility of marijuana, you can get your high for free walking alongside the canals, or very cheaply (29.95 euros a year) appreciating its museums. i'm happy the start and the end of our trip were also its highlights.


we stayed at bed-and-breakfasts during the whole trip, and i recommend every one of them. in venice, we stayed at albergo marin, which is kept spotlessly clean by its friendly owner, gabriele. they also serve perfect cappuccinos. albergo marin is located in the santa croce district, which is far from the main attraction of st. mark's square, but i like it because being away made us explore the areas that receive less tourist attention, yet we remained very close to the waterbus and train stations. in florence, luigi hosted us in his small and homey althea rooms, located in the quiet santo spirito district. it's tucked away from the noise of the historical district, yet only 10 minutes or less by foot from piazza della signora. there are also a couple of good places to eat in the santo spirito square. osteria santo spirito is delightfully innovative, and cafe ricci is frequented by friendly locals. in rome, 58 via cavour is probably worth less than the amount it charged us, but again the location is tops, somewhere in between the colosseum and the spanish steps, and a two-minute walk from the termini station. in amsterdam, hotel washington made for a convenient stay in the museum quarter. our room was huge, the bathroom was impressive, and it was good to listen to english tv programming again after nearly two weeks of nothing but italian.

next project: summer break. last year i trekked in the ruwenzoris of uganda and 'did kili' (reached the summit of kilimanjaro) in tanzania. i haven't any plans yet this year.

where are you going next?

24 March 2005

happy easter everyone

i'm in venice, italy right now, and will be away until about april 9. no new songs until then.

hope your easter break is as good as mine! i'm not having a great time with my meals though. i broke my vegan diet over lunch. had a huge pizza with the layer of mozzarella thicker than the crust itself, and with lots of artichokes swimming in oil. and i paid 8.50 euros for it! dinner sucked too. i could have cooked better gnocci with tomato sauce. what i had was tender but bordered on the raw, while the tomato sauce one can easily tell came straight from a can.

must pick better trattorias tomorrow.

21 March 2005

somewhere over the rainbow / what a wonderful world: iz

click here to listen
listening time: 5m 07s

something to cheer up the monday morning. i first heard this song from the closing credits of the movie finding forrester, and nearly cried. it's a very beautiful medley of the two favorite standards, by the late hawaiian artist israel kamakawiwo'ole, or simply iz. it lights up my mood every time i hear it.

spread the love, people.

19 March 2005

cattle and cane : the go-betweens

click here to listen
listening time: 4m 20s

how do you discover new music? in my case with the go-betweens, it was rather long-winded. i was in singapore in 1997 or 1998, browsing at a music store in a subway station, when the shopkeeper played a song that got me hooked at the intro. it was an acoustic number with a jangly rhythm, the voice raspy but cool. i lingered, and it was love at first listen: the song was in your bright ray, by an artist called grant mclennan. for some reason i didn't buy the album, but i noted the name down. as i expected, the song stuck to my mind, and it wasn't until i returned to singapore months later that i finally bought his album.

it turned out that in your bright ray was the best track, although the rest of the album was still good enough to intrigue me. i searched about mclennan on the internet, learned of his other works, and more importantly, that he was the second half of the little-known and very defunct australian band called the go-betweens. nearly every article i read about them was raving, citing the lyricism of the duo of mclennan and robert forster, and the inevitable comparisons to lennon and mccartney and morrissey and marr. i bought the go-betweens' best-of album, bellavista terrace, and eventually every single album they released, and found the critics to be right. the band reunited about three years ago, and have since come up with two remarkable albums that remain true to their original sound.

it's easy to understand why they didn't achieve commercial success during the peak of their creativity in the 80s. for one, they never employed synthesizers. seriously though, most of their work is rendered to perfection, but as a guitar band, they were so far left of the 80s center that for a first-time listener today, i imagine it would be hard to pin down exactly what era they're from. with notable exceptions, many of their songs are a tad unharmonic, and i would even venture to call some of them experimental. being australians, they also didn't belong to any musical movement, and their lyrics are absent the angry political ramblings of punk-rock icons like the clash.

but i think this detachment only makes the go-betweens more lasting. their greatest strength lies in their songwriting, and cattle and cane is the perfect example -- sentimental and yearning of the past without falling into a gaggle of verbal cliches. the words, the melody, the marching guitar and taut percussion, and mclennan's whispering vocals with forster's haunting ad lib and backing harmonies -- they all give you a strong sense of the incomplete memory the song tries so hard to express, but you can never predict what the next line will be. i call that original.
cattle and cane
grant mclennan

i recall a schoolboy coming home
through fields of cane
to a house of tin and timber
and in the sky
a rain of falling cinders
from time to time
the waste memory-wastes
i recall a boy in bigger pants
like everyone
just waiting for a chance
his father's watch
he left it in the showers
from time to time
the waste memory-wastes
i recall a bigger brighter world
a world of books
and silent times in thought
and then the railroad
the railroad takes him home
through fields of cattle
through fields of cane
from time to time
the waste memory-wastes
the waste memory-wastes
further, longer, higher, older
poetic, no?

18 March 2005

panic : pete yorn

click here to listen
listening time: 2m 39s

pete yorn makes for good listening if you're looking for the sensitive-singer-songwriter type of music in the john mayer mold, but he falls flat in this cover of a smiths classic. his guitar work makes it decent, but the vocals are limp. it lacks the urgency that the title itself suggests, and that takes away the spirit of the song. hearing it on my way from work this evening, it got me thinking: why is it so hard to find a good smiths cover?

let me know if you hear one that does justice to the original.

16 March 2005

rhapsody on the taj

flatfoot meets taj: click here to see my pictures

So I went to Delhi on business last week, and had a chance to see the Taj Mahal over the weekend. You know that feeling when you finally see something so iconic and you get all disappointed? Well it didn't happen to me with the Taj Mahal. From the moment that I saw it from the rooftop of my hostel, I was already rendered speechless, and when I entered the gate to the garden and saw the tomb in the flesh, the sight of it broke my pace and I stood frozen and in awe. The Taj Mahal was one of the first world wonders I learned about when I was a child – a picture of it occupied a spread in my children's encyclopedia – and since then I had been wanting to visit this so-called monument to love. Having seen other postcard-perfect icons – the Eiffel Tower, the Statue of Liberty, the Golden Gate Bridge – only this one has taken my breath away, and I can't be more literal. Something about it breathes. What I find amazing about it is, it's not ornate in the way most other architectural wonders are – like La Sagrada Famiglia, the Kremlin, most Italian and French buildings – and yet it's so visually compelling. It demands your attention. It turns your head to face it. I love its obsessive symmetry. I love the way it changes color when the sun is all over it and when it's covered by clouds. It's the reason God created marble. I clearly remember thinking this when I first saw Michelangelo's Pieta in St. Peter's Basilica three years ago, but the Taj clearly owns the distinction.


I wanted to wrap myself all over it, but I didn't want to look like a pervert with a marble fetish. I was ecstatic. Having longed to see it, and finally being able to do so, was in a way a sensual achievement for me. My entire seven hours there was almost a tantric experience, it was like having a seven-hour orga...never mind, I'm being facetious, you get the idea. But seriously, I'm at a loss for words. The only disappointment was that the Taj wasn't illuminated when the garden's gates closed at 7pm, and for some reason it was an early dark evening. I went back to the rooftop of my hostel before going to bed, and I could only see a hint of its silhouette.


A lot of the time I was there, I was running my fingers through its smooth marble surface, thinking to myself how the workers laid every piece of marble so perfectly, how they managed to achieve the roundness of the minarets and the dome. Suddenly 20 years of construction seemed like an awfully short time. I wondered what kind of relationship Shah Jahan and Mumtaz Mahal had. I wondered how the woman looked like, and what became of the child whose birth cost her life. Corny, I know, but that's how I felt. There was so much emotion that went into the building of the tomb, and it shows to this day.

I'm sorry for gushing. I know some of you might have had a different reaction when you saw it, but to each his own. Anyway, I wanted to share some pictures with you. I couldn't help but take photos of the building from all angles, which is what you'll see in the first set...then after that it's just people. The crowd didn't bother me at all. If you can't beat them, shoot them. Pictures.

15 March 2005

graceland : the bible

click here to listen
song length: 3m 25s

this song was playing in my head on the day i was at the taj mahal grounds in agra, india the other weekend. rightfully so, as it pays tribute to the beautiful structure that was built as a tomb for mumtaz mahal, the wife of mughal emperor shah jahan. i will rhapsodize about the taj mahal in my next post; in the meantime, enjoy the song, which also happens to be one of my favorite lesser-known tracks from the 80s. searching for the lyrics on the net, i was surprised to find that the man who headlined the bible and wrote this song, boo hewerdine, is still in circulation. i sampled his recent tracks, and let's just say let's stick to his old stuff.

graceland
hewerdine/shepherd

would i give you money?
i don't know
the free-est things in life are best
and so put me to the test now
and when i die
will you build the taj mahal?
wear black every day of your life?
i doubt it
you will never see graceland
all my wanting, all my waiting
all my working, all my wickedness
for all my yearning, inside i'm shutting down
you will never see graceland
so what am i doing
without you?
love at second sight would see me through
but not this time
you will never see graceland
what has happened to your favorite 80s band?

12 March 2005

sleeping with the lights on : teitur

click here to listen
song length: 3m 40s

when was the last time you heard a song for the first time and thanked god you found it? i felt that way when i heard this song by teitur, a danish musician who writes simple, melodic ballads and sings them in a voice that's vulnerable and honest. "we got broken wings and we were bound to fall," he sings in this bittersweet love song about a relationship that refuses to move forward. "until the sun comes up, you can hold my hand." as a stripped-down acoustic number it sounds raw and amateurish, but it's also polished and self-assured in the way teitur expresses himself. when he sings "i still sleep with the lights on" in the chorus, you believe him and imagine what it feels like to be in that kind of a relationship. it's disquietingly tender.



tell me about your latest discovery.

07 March 2005

carry me ohio : sun kil moon

click here to listen
song length: 6m 21s

blogging from india. i'm having a sleepless night in a hotel in mumbai. the tv is on, but even cnn is incomprehensible. my room has a view of the arabian sea; i see nothing but darkness, interrupted only by faint yellow light bulbs. i need to wake up in four hours, but i can't even close my eyes, yet neither am i fully awake. my mind is way away. i turn my laptop on. he sings softly in my ear, and he breaks my heart again.
carry me ohio
mark kozelek

sorry that
i could never love you back
i could never care enough
in these last days

her tears fell
on her pages
found me well on her words
i don't know what to do or say

wading through
warm canals and pools clear blue
Tuscarawas flow into
the great lake

riding
back where the highway met dead tracks
ground and now cement and glass
so far away

heal her soul
and carry her my angel
ohio

green green green
what about the sweetness we knew
what about what's good, what's true
from those days

can't count
to all the lovers i've burned through
so why do i still burn for you
i can't say

sorry that
i could never love you back
i could never care enough
in these last days

heal her soul
and carry her my angel
ohio

children blessed
gather round the home she rests
so poor and cold in their midwest
moon and sun

flashes bringing on
my open eyes to lightning storm
the touch of mist felt soft, felt warm
on my face

graving dreams
a million miles ago you seem
the star that i just don't see
anymore

words long gone
lost on journeys we walked on
lost her voice is heard along
the way

sorry for
never going by your door
never feeling love like that
anymore

heal her soul
and carry her angel
ohio

thanks to sadreminders for the lyrics.
how was your sleep?

02 March 2005

a night in lenasia : deepak ram

click here to listen
song length: 4m 10s

i'm flying to delhi in 10 hours and 27 minutes (on business, unfortunately) so i thought i'd post a song that traces its roots from india. a night in lenasia, which comes from the putumayo album asian groove, got me hooked the first time i heard it. flautist deepak ram is at the top of his game with this song. the lilting melody conjures up images of a dreamlike, pretend place, which i thought lenasia was until i googled it. it turns out lenasia is a suburb of johannesburg in south africa that immigrant indians have called home since the late 19th century, a fact that became official when the apartheid established residential segregation according to race in 1950. for an overview of the indian townships in south africa, check this out.