However, I do not like her now simply because I liked her then. Into White is like a meal of fresh steamed vegetables, baked fish in a creamy sauce, with mineral water and white wine nearby, and the promise of sweet fruits and other desserts, after weeks of eating food offering empty calories and no nutrition. I am thinking not only of taste, and not only of value and use: I am thinking of worth.
Category: Music reviews
I Dream for You: Meshell Ndegeocello, Bitter
Meshell Ndegeocello is, to me, an interesting, neglected, and valuable talent. She spoke once of being surprised that her record company saw her as a failure. I am surprised by her surprise: we live in a world in which to be an artist or an intellectual is not the expected thing for a black person (rather one is expected to be too distracted by the fantasy of race and the rigors of reality for creative, independent endeavors). If you do not pull or push a plow, work for the post office, or stand in a pulpit telling pretty lies to women with their bibles and sometimes legs open, you have no ordinary purpose, no ordinary role.
Head Full of Paradise: Robyn Hitchcock’s Ole! Tarantula
Eccentricity is one of those facts, one of those strategies, that one appreciates most if there is some sense of reality as contrast: all eccentricity, all fantasy, can render a subject, or a man, merely irrelevant. On some songs, such as the title song “Olé! Tarantula,” Robyn Hitchcock might be offering clues as to how he himself might be seen: he sings, “I feel like a three-legged chinchilla” and “looking at his fingers caressing the keys, if he don’t please you, then you just can’t be pleased.”
The Gates of Hell Swinging Open: Mark Eitzel, 60 Watt Silver Lining
Mark Eitzel’s voice is broad and deep without being loud, and his intonation is sensitive. “The view from the cliffs must have been exciting, and up to the peaks you were bound. Now you’re stranded alone, and the past is unknown, and there is no easy way down,” he sings, substituting “past” for “path,” before continuing: and the song captures aspiration, struggle, and spiritual reversal.
Where Love’s Unwilled, Unleashed, Unbound: Madeleine Peyroux’s Half the Perfect World
Madeleine Peyroux’s Half the Perfect World is a good album and the collection’s first song “I’m All Right,” written by Peyroux with her producer Larry Klein and musician Walter Becker, is a funny-sad take on a love affair, and may be…
Brown Eyed Handsome Man, Music Pioneer: Chuck Berry’s After School Session
Resistance to other people’s self-serving solicitations, whether they involve work, school, or love, is the theme of “Too Much Monkey Business,” and Berry’s guitar rhythms are fast, repetitive, and (now) have the aspect of something classical, as if one were…
We Are Not the Same: U2’s Achtung Baby
The drama and momentum of “The Fly” still reach me, especially when Bono sings, “It’s no secret that a liar won’t believe anyone else.” I have known many people like that. The hushed intensity of Bono’s singing is persuasive, nearly…
Cry for Us All Beauty: Joni Mitchell’s Court and Spark
Joni Mitchell’s voice and phrasing are original, are full, high, quick, rich, sensual. She sounds tones of speculation and skepticism, of expectation and experience; and she is amazing. By Daniel Garrett Joni Mitchell Court and Spark Elektra/Asylum Records, 1974 “It…
Maintaining Jazz’s Relevance: World Saxophone Quartet’s Political Blues and The Roy Hargrove Factor’s Distractions
Which way jazz? Wynton Marsalis, a man who argues ideas, rather than pandering or slandering, has advocated music education for youth and greater media attention for public awareness in support of jazz, very intelligent promptings. Does anyone have to be told that the world in which we live, with the works of Marsalis, the World Saxophone Quartet, and Roy Hargrove, will be the foundation upon which the musicians, music lovers, and citizens of tomorrow will build their own world?
Black Mambazo, Afro Celt Sound System, Femi Kuti, and Angelique Kidjo
African Rhythms, World Sensibilities: Ladysmith Politics as a subject is sometimes less about the real world than about the artist’s supposed feelings and good intentions. Artists who say Yes are usually more welcomed than those who say No. South Africans…