"Songs From The Big Chair"

Tears For Fears:  “Songs From The Big Chair”

Secondhand Vinyl Album

Original Release Date:  1985 PolyGram Records

(My Rating:  5 Stars also THIS IS AN END OF THE WORLD SURVIVAL PICK!!!)

Side 1

Shout

The Working Hour

Everybody Wants To Rule The World

Mothers Talk

Side 2

I Believe

Broken

Head Over Heels

Listen

   The album, “Songs From The Big Chair,” by Tears For Fears has accomplished the near impossible.  My love of this record runs so deep it actually made this admittedly OCD blogger create a NEW category while rating her music.  At this time I would like to introduce the first selection in the, “END OF THE WORLD SURVIVAL PICK,” rating.  Basically the title is self-explanatory, this is one of the albums I would try to preserve for any post-apocalyptic society that may find themselves rebuilding the culture of music.  Also, it's one of those records I would selfishly try to save simply because I couldn't bear to think about never hearing it again.  I guess I began thinking about creating a category like this after recently re-watching one of my favorite movies, “Seeking a Friend for the End of the World.”  During this film actress, Keira Knightley, plays the role of a flaky twenty-something who decides the only thing she needs to grab while fleeing her apartment during a riot, spawned by the impending end of the world, is her favorite records.  I thought, “Uh, yeah that makes sense.  I better start planning what to take now.”  Hence, my new category is born.  I have a feeling I may need a wheelbarrow to carry all of my selections when the fateful end actually arrives.  This all being stated, I believe it’s probably fairly obvious that I absolutely adore the album, “Songs From The Big Chair.”  Oddly enough, I have no recollection on how I actually acquired this record.  It’s like one day it just appeared among the others.  I’m thinking it's arrival was probably a divine intervention thing intended to get me prepared for well…you know…"THE END."

   The first thing I’ll state about this album is that I find it incredibly hard to review it in the usual song by song manner.  Here, more than any other record I’ve reviewed so far, is an example of a true concept piece.  However, I would like to note that the specific concept introduced by the band Tears For Fears differs significantly from the themes presented by so many other groups.  Instead of creating a record with an easily categorized topic, “Songs From The Big Chair,” forms a cohesiveness through mostly instrumental sound.  (Example:  The Band’s self-titled record was a concept album that could easily be defined as a work paying homage to 19^th Century Americana.  The Tears For Fears record, “Songs From The Big Chair,” is much more complex to label. During this album there is no definite theme linking the songs other than pure cohesion of sound.) 

   In addition, this album presents a solid case for the idea that even hit singles can sound so much better when enjoyed in their original format.  In fact, this blogger would be willing to argue that it’s the songs in between hits like, “Shout,” and the iconic 80’s anthem, “Everybody Wants To Rule The World,” that actually elevate this record to greatness.  Particular examples of this can be found during the song, “The Working Hour,” where it became extremely clear to this listener that not only was she going to have to add a category to her rating system, but she was going to have to redefine her idea of what genre the band Tears For Fears actually fits into.  During this song a grand piano perfectly accompanies gorgeous saxophone solos and crystal clear vocals, creating a feeling reminiscent of smooth jazz…but the good kind…like the ridiculously good kind.  Later in the album the song, “Mothers Talk,” skews a listener’s perception yet again by creating an almost industrial feel through drum sound worthy of current band's like, Nine Inch Nails.  At this point, a reader may be wondering how it’s possible to transform noise from smooth jazz to industrial techno during the course of one album and still maintain a perfectly cohesive sound.  I have to admit that even after about twenty listens I’m still wondering too.  For this reason I won't hesitate to define Tears For Fears founder, Roland Orzabal, a musical genius.

   It’s this blogger's opinion that the height of this bands' talent is best exhibited on Side 2 of, “Songs From The Big Chair.”  Here it’s virtually impossible to decipher where one song ends and another begins.  This is most prominently displayed during the piece, “Broken,” where the band provides a medley type song, featuring many of the album's overall sounds.  Suddenly, this collaboration of noise is interrupted by yet another hit single, “Head Over Heels.”  Interestingly enough, as soon as the last note of this song is uttered the album launches straight into the instrumental chorus line of, “Broken,” again as if, “Head Over Heels,” was just a euphoric dream that actually never was on the album in the first place.  Again, in this case I blame divine intervention.  Perhaps the song, "Head Over Heels," never did exist. Furthermore, maybe the whole album, "Songs From The Big Chair," is simply a beautiful dream, because concoctions of sound that include aspects of new wave, jazz, industrial techno, and pop are simply too good to be true.

-r.

"Head Over Heels":  https://www.youtube.com/watch?v=ZZyGDiUnta4

"Cher"

Cher:  “Cher”

Secondhand Vinyl Album

Original Release Date:  1971 Kapp Records

My Rating:  (3 Stars)

Side One

The Way Of Love

Gypsys, Tramps & Thieves

He’ll Never Know

Fire & Rain

When You Find Out Where You’re Goin’ Let Me Know

Side Two

He Ain’t Heavy, He’s My Brother

I Hate To Sleep Alone

I’m In The Middle

Touch And Go

One Honest Man

   To begin, I would first like to address that I’m aware that the album entitled, “Cher,” pictured above is also known by the name, “Gypsys, Tramps & Thieves.”  Apparently, this record was originally released simply as, “Cher.”  However, eventually it was re-released under an alternative name.  Of course, this was only after the song, “Gypsys, Tramps & Thieves,” received massive attention as Cher’s first solo number one hit.  I decided to review this album under its’ original title, considering the copy I own was obviously pressed before the renaming.  This all being stated, I can certainly understand why Kapp Records eventually decided to feature the song, “Gypsys, Tramps & Thieves,” as the title track of Cher’s album.  

   Apparently, much like the rest of the United States during November 1971, this blogger admits to having a total addiction to this song.  It's without a doubt my favorite piece on the album.  One can only describe it as being that tune on the stereo that ends and you immediately press the repeat button.  The final lyric states, “But every night all the men would come around, And lay their money down,” and this blogger thinks, “Again!” before Cher has finished uttering her last note.  If not for the fact that I only possess this song on vinyl, I could realistically imagine myself listening to it about forty times in a row.  However, that’s a lot of maneuvering a turntable arm, especially considering this gem of a story is literally shy of three minutes long.  I refer to, “Gypsys, Tramps & Thieves,” as a, "story," because that’s exactly what it is.  While hearing the lyrics of this song, I envision the tale of a beautifully exotic bohemian girl’s scandal being revealed by the rich and sultry voice of Cher, yet another beautiful exotic bohemian girl.  Not only does this song provide a narrative full of provocative plot lines, (underage sex and unplanned pregnancy), it also possesses background music by accomplished studio musicians, The Wrecking Crew.  In order to substantiate these musicians' skill level I'll mention that this group eventually became known as record producer, Phil Spector’s, house band.

   Unfortunately, it seems The Wrecking Crew was not available to play on every song of the album, “Cher,” which brings me to my biggest criticism of this record.  Despite the fact that songs like, “He’ll Never Know,” and, “I’m In The Middle,” are solid examples of the talent Cher had already mastered over her vocal instrument, this blogger couldn’t get rid of the feeling that she was often singing along to elevator music.  In short, most of the instrumental portions of this album are not worthy of a voice as unique and expressive as Cher’s.  During these songs a listener begins to feel like they’re sitting at a karaoke bar only to suddenly be shocked back to life by the unexpected utterances of a vocalist who has far surpassed her surroundings.  The best example of this can be found during, “When You Find Out Where You’re Goin’ Let Me Know.”  Between this song’s cheesy jazz flute solos and poor lyrics, this listener found herself cringing at the sinful waste of Cher’s talent.

   However the album, “Cher,” does possess several promising moments as well.  Despite the fact that I’ve never been partial to the sound of the flute, the song, “One Honest Man,” nicely features the passionate emotion Cher so often artfully conveys.  During this song she pleads with a listener, “Why can’t I find me one honest man?!”  It’s this blogger's opinion that through these simple lyrics Cher’s voice embodies enough feelings of weariness, bewilderment, and plain anger to muster feelings of empathy from any female listener.  I found myself singing along and nodding, “Yeah, why can’t I find me one honest man?!”  However, keep in mind that Cher was still married to Sonny at the time she released this song, therefore her legitimate feelings on the matter are rather questionable.  Of course, we all know that relationship ended in divorce.  Yet, not being privy to their private matters, one can only guess that either Cher really believed in the lyrics of, “One Honest Man,” or she’s one hell of an actress. (A fact that's actually been proven true)

   Additional highlights on this album include Cher’s version of James Taylor’s song, “Fire & Rain.”  During her rendition, this otherwise, “folksy,” song gets a rather, "amped up," makeover merely from Cher’s husky voice.  Likewise, it’s this same voice featured in the song, “Touch and Go,” that hints at the future power diva Cher would ultimately transform into.  Of course, I specifically use the word, “hint,” because that’s all the album, “Cher,” is really able to achieve.  Considering the overall length of this record is only about a half hour it’s not possible for a listener to form a solid image of who the artist Cher would become.  However, this blogger loves the idea of those she came from.  That’s right, play it again, “They’d call us Gypsys, Tramps & Thieves…”

-r.

“Gypsys, Tramps & Thieves”:  https://www.youtube.com/watch?v=eWeezUxIzaE

"Whipped Cream & Other Delights"

Herb Alpert’s Tijuana Brass:  “Whipped Cream & Other Delights"

Secondhand Vinyl Album

Original Release Date:  1965 A&M

(My Rating:  4 Stars)

Side One:

A Taste Of Honey

Green Peppers

Tangerine

Bittersweet Samba

Lemon Tree

Whipped Cream

Side Two:

Love Potion No. 9

El Garbanzo

Ladyfingers

Butterball

Peanuts

Lollipops And Roses

   “It’s easier to skin an amoeba than to catalog the “Typical Tijuana Brass Fan.”  This is a quote I took right off the back cover of the album, “Whipped Cream & Other Delights,” by Herb Alpert’s Tijuana Brass.  Apparently back in 1965 it was standard for a record company to print a direct message to the listener regarding the artist they were about to indulge in.  During A&M’s synopsis of Herb Alpert’s Tijuana Brass it’s explained that this group attracted the likes of, “teens, hippies, squares, and little old ladies.”  This statement combined with the obviously, edgy for its’ time…heck, edgy for any time, album cover got my full attention.  I thought, “Heck, count this, “old lady,” in!”

   The only way I can think to describe the album, “Whipped Cream & Other Delights,” is it's an instant time warp back to the 1960’s.  One moment I’m in the year 2016, lighting the end of my incense stick, when all of a sudden the album’s first song, “A Taste Of Honey,” instantly makes this listener feel like she’s at some kind of, “swinging,” party on Haight-Ashbury, circa 196something.  Even before the first whiff of Nag Champa rises out of my burner, I have the overwhelming urge to slap on some serious cat eyeliner, put on the hugest mod style Lanvin pendant I can afford, (which would be none,) and transform my incense stick into a cigarette resting at the end of a very long holder.  Let’s just say, by the end of the first song this listener was ready to change her name permanently to Holly Golightly and refer to everyone in the room as, “Darling.”  Too bad, I would look totally insane doing so considering I was listening to this album in a room by myself.

   However, it’s difficult not to fall into, "party," mode while listening to a record like, “Whipped Cream & Other Delights.”  Not only does this instrumental album full of bright shiny horns, jazzy xylophone solos, and skilled acoustic guitar playing make this blogger want to get out and socialize, it seems the songs presented undeniably dictate the way the mood of a gathering will go.  For instance, much like the first song on the record, “Bittersweet Samba,” and, “Green Peppers,” are both toe tapping numbers that inspired this listener to find the nearest dance partner available.  It's at this time I’d like to formally apologize to my poor cat who experienced only a bitter samba that evening.  Despite my cat’s obvious distress at having to dance with a, “crazy,” lady, I think it’s fair to claim that even he couldn’t deny that Herb Alpert’s Tijuana Brass is not only a master at music, but also the spaces in between.  An example of this can be found during the song, “Green Peppers,” where there is a perfectly timed pause that inspired this woman to literally shout, “Darling!,” just for the fabulousness of it.

   During a later part of the album the song, “Whipped Cream,” continues the party type vibe while adding an almost comical flair to the mood.  Like the album cover this song has a flirtatious feel to it, however it’s slightly more whimsical than this listener expected.  Here the Tijuana Brass convey a sense of humor, perhaps at the absurdity of the idea of a fantasy woman covered in, “Whipped Cream.”  At this point the record seems to be saying, “Yeah, the party’s gotten a little out of hand.  Now people are naked and slathered in food.  It’s ridiculous, but boy it’s fun!...except for that lady dancing with her cat and yelling, “Darling!” She’s just weird.”

   Finally, I'd like to address the subject of why, “Love Potion No. 9,” is undeniably my favorite song on this album. While I enjoy the, “party,” atmosphere provided by the previous titles I’ve discussed, “Whipped Cream & Other Delights,” also addresses the more intimate moments that can be found during a social gathering.  During the songs, “Ladyfingers,” and, “Lemon Tree,” Herb Alpert’s Tijuana Brass is able to create a kind of dialogue between instruments that reminded this listener of what it was like to steal private moments of conversation with someone, “special,” while the rest of the room rioted on without you.  It’s these songs that display the more tender side of a group that seems ready to, “rock,” all night long…and, "rock," they do, as clearly displayed by the song, “Love Potion No. 9.”   I guess some listeners may consider this song the, “racy,” one of the album.  Between the measured, “blat,” of the horns, the hypnotic crash of the symbols, and the imagery on the album cover one could question what kind of establishment Herb Alpert was used to having his parties at.  Surprisingly, it’s this song that doesn’t make me feel like I’m at a social gathering.  When I listen to, “Love Potion No. 9,” I feel like I’m at home alone listening to my favorite song getting fired up for an outing.  This song is what I’d like to define as a confidence anthem.  When this blogger hears, "Love Potion No. 9," she knows she a budding socialite who belongs at Herb Alpert’s Tijuana Brass party wearing a fabulous Lanvin pendant...or not.  Too bad by the end of the album I always find myself back in 2016 wearing absolutely no Lanvin, only Levi's.

-r.  

"A Taste Of Honey":  https://www.youtube.com/watch?v=z_KDPUTyDyQ            

"Second Helping"

Lynyrd Skynyrd:  "Second Helping"

Secondhand Vinyl Album

Original Release Date:  1974 MCA

My Rating:  (5 Stars)

Side One

Sweet Home Alabama

I Need You

Don’t Ask Me No Questions

Workin’ For MCA

Side Two

The Ballad Of Curtis Loew

Swamp Music

The Needle And The Spoon

Call Me The Breeze

   I’d like to begin this review by stating, “When the least compelling song on an album is, “Sweet Home Alabama,” a listener can be sure they’re in for one hell of a ride.”  While I’ve always considered myself a fan of the band, Lynyrd Skynyrd, I’m ashamed to admit my exposure to their music never ventured past the typical, “Greatest Hits,” collections.  Recently, I stumbled across the album, “Second Helping,” at a local record store.  I was immediately attracted to the colorful illustration on its cover, as well as the individual band member photos featured on the back.  Despite what one might think of their music, it can’t be denied that these dudes look like they were a whole lot of fun to hang out with.  It’s here that I’d like to interject that the song, “Sweet Home Alabama,” and the album art accompanying it have little to do with why a person should immediately seek out this record.  To put it simply, my reasoning for finally purchasing, “Second Helping,” was embarrassingly, “wack.”  However, thank God I followed it.

   Now don’t get me wrong, “Sweet Home Alabama,” is a darn fine tune.  It even inspires this admittedly die-hard Yankee to sing along to lyrics that dis on her beloved musician, Neil Young.  Keeping this in mind, it’s this blogger's opinion that, “Second Helping,” provides much better examples of this band's unbelievable talent.  While it may not be the most memorable song on the album I believe, “Don’t Ask Me No Questions,” gives the best depiction of Lynyrd Skynyrd's overall persona.  Despite the fact that this song seems to be addressing the trials and tribulations that accompany fame, this listener can’t help but attach her own meaning to the chorus line, “So, don’t ask me no questions, And I won’t tell you no lies.”  To explain, whenever I hear a Lynyrd Skynyrd song, I immediately feel like an outlaw.  Regardless of this song’s true intended meaning, I can’t help but label these musicians masters at portraying a seamy underbelly vibe through likable, even lighthearted, songs.  I credit this mostly to the unbelievably talented lyrics written by lead vocalist, Ronnie Van Zant, whose  rollicking swagger rivaled even the most impressive guitar solos on this album…and there’s more than a few.

   In fact, one of these spectacular solos can be found during the song, “The Needle And The Spoon.”  Here, is yet another example of this band’s uncanny ability to transform the, “dark,” side of life into a damn fun rock song.  By the end of this track, Ronnie is preaching, “Lord, they’re gonna bury your boy!  Don’t mess with the needle, Now, I know!” to his audience over a chorus of Godly guitar gobbledygook that could drown out almost any vocalist.   However, Lynyrd Skynyrd’s insane instrumentals still don’t have enough gas to outrun the guttural chanting of this twenty-something singer.

   Keeping with the outlaw theme, the song, “Call Me The Breeze,” is another tune that can’t help but inspire the imagery of freewheeling, rambling man, drifters who maraud around the country side breaking laws and hearts everywhere they go.  Basically, think of it this way, “Call Me The Breeze,” is a song that warns women everywhere of the heartache that is bound to happen to them if invited on the band’s tour bus after the show.  Think lots of dust and screeching tire tracks immediately after you emerge, hair disheveled, from their vehicle.

   Of course, a true lady would never think of doing something so inappropriate were it not for songs like, “Workin’ For MCA.”  Yes, it’s true rock and roll anthems like this that get a girl all excited to hang out with these popular mavericks, for a night…or twenty minutes.  I can honestly say that a song like this could make even the most conservative, northern 36 year old slingshot her cable knit turtleneck onto the stage just to get the attention of these self-proclaimed rock stars.  It goes without saying that, “Workin’ For MCA,” is the song that makes a woman say, “Screw it, I’m getting on that bus after the show.”

   Lastly, this listener’s favorite song on the album, “Second Helping,” is without a doubt, “I Need You.”  Here, raw emotion is conveyed by simple lyrics that have Van Zant confessing, “Oh baby, I love you,  What more can I say?”  My answer is, “Absolutely nothing, Oh baby, you got me!”  It truly is a mystery how Lynyrd Skynyrd continues to rock so hard on a song that possesses such a slow tempo.  However, it’s also a mystery to me how despite the warning these rowdy rebels gave me during, “Call Me The Breeze,” this woman still falls in love with these talented bad boys every time.

-r.      

"Workin' For MCA":  https://www.youtube.com/watch?v=CTtaflRXBCg

"Crowded House"

Crowded House:  “Crowded House”

Secondhand Vinyl Album

Original Release Date:  1986 Capitol Records

(My Rating:  3 Stars)

Side One

World Where You Live

Now We’re Getting Somewhere

Don’t Dream It’s Over

Mean To Me

Love you ‘Til The Day I Die

Side Two

Something So Strong

Hole In The River

I Walk Away

Tombstone

That’s What I Call Love

   To begin, I’d like to examine a concept that became extremely clear to me while listening to the album, “Crowded House.”  I’m almost embarrassed to admit that I have a terrible habit of labeling any record that’s cover art looks remotely abstract, and was released in the mid-eighties as New Wave.  I believe I do this because I really admire the New Wave genre.  I can imagine my father reading this post now and asking, “What the heck is the New Wave genre?”  Well dad, according to Google, New Wave music is, “A musical genre of pop rock created in the late 1970s to mid-eighties with ties to 1970s punk rock.”  I guess I’d call this a basically accurate description.  Of course, I might follow it up with, “Dad, think lots of synthesizers, drum machines, vocalists with British accents, and of course, asymmetrical hairstyles.”   I can imagine my father’s blank stare in response.  This all being stated, my explanation of the New Wave genre would be totally unnecessary when regarding the band Crowded House and their self-titled album, due to the fact that it’s simply not New Wave. You're now asking, "What?!  The album cover has that surrealistic feel, and isn’t the release date 1986?  What the heck could we possibly be dealing with here?"  Brace yourselves people, because I’m here to tell you that mid-eighties… GASP…Pop music…sigh, also used synthesizers and abstract album art.  Sneaky, isn’t it?

   I initially snagged this album because it has the song, “Don’t Dream It’s Over,” on it.  This popular song is, not surprisingly, one of my favorite 80’s ballads.  When I hear this song I immediately want to grab the nearest 5’4” juvenile delinquent with a mullet and slow dance with him.  Of course, keeping in mind that I'm 5’9” and 36 years old this would be a rather awkward looking scene that would probably end up with me taking a quick trip to jail.  However, during this song I can’t help but feel like the gangling, still 5’9," teenager I was so many years ago.  Yes, slow dancing was a hunched over, ugly experience for me then as well.  I guess what I’m saying is a song like, “Don’t Dream It’s Over,” inspires a lot of nostalgia in this listener.  Not only that but it’s sublime keyboard solo, mixed with stylistically wavy guitars coerce an audience into an expectation of a New Wave album.  I mean, how many Pop bands are able to construct a lyric like, “Try to catch the deluge in a paper cup.”   

   Well, it's now clear to me, at least one.  I think the most glaring proof of this band’s Pop status can be found in the songs, “Now We’re Getting Somewhere,” and, “Mean To Me.”  Despite the fact that both of these pieces contain extremely promising examples of what Crowded House is capable of doing with instruments, this blogger couldn’t help but envision some sort of cheesy sitcom montage while listening to them.  Suddenly, I was yanked from the song, “Don’t Dream It’s Over,” and the charm of my artless adolescence, only to feel like I was being force fed imagery from a show like, “Friends.”   Here, people are laughing, line dancing, and probably throwing cake at one another in at least one scene, all the while having perfect hair.  In this blogger’s opinion these songs are about as realistic as the sitcoms they remind me of.  While vocalist Neil Finn deserves credit for attempting to convey some honest emotion during these songs I can’t help but feel like it’s all just too perfect, even the, “gritty,” parts seem planned.

   I will state that the song, “Hole In The River,” was a nice surprise on this album.  During this particular number the album takes a turn towards a darker, more narrative driven piece.  Here, Crowded House was able to display their awesome quirk filled instrumental interludes without getting cutesy.  No longer was this blogger thinking about the iconic, “Rachel,” haircut.  I was thinking crazy carny music.  Which, if one really considers it, is probably closely related when it comes to freaky things.  The song, “Hole In The River,” proved to this listener that the band Crowded House was capable of not only using the sounds of keyboard runs and bright shiny horns for upbeat, “good,” Pop songs, but also for just a glimmer of the, “evil,” New Wave genre.

   In conclusion, I would like to clarify again that the record, “Crowded House,” is a Pop album of the ‘80’s.  Granted, it’s a complex one, full of interesting sounds provided by a talented group of musicians…horns especially.  If you like horn sections this album may be your thing.  However, despite the really dense instrumental tidbits going on here the majority of this album seems a little too, “fun,” for this blogger.  I was around in 1986 and even as a kid I didn’t think life was that perfect.

-r.

“Don’t Dream It’s Over:”  https://www.youtube.com/watch?v=J9gKyRmic20

A Few Words About Bowie

   Since hearing the news of David Bowie’s death, I’ve been wrestling with the idea of what I was going to say on this blog.  Before knowing of his passing, I’d intended this week’s post to be the usual random review of one of my vinyl albums.  Initially, I thought I would just proceed as usual with this plan.  However, once I actually sat down to compose this post I realized it wouldn’t be right to not acknowledge the impact David Bowie’s music has made on my life.  Keeping this in mind, I was not about to write a review on an icon who just passed away.  In my opinion, a time of mourning is not a time of critique.  I concluded that the best I could do, would be to pursue the route that I do best.  I would write a stream of consciousness piece regarding an individual that often played a starring role in the soundtrack of my life.  I can only hope that the words I choose here are worthy of a man whose own words I have found myself repeating many times…often boisterously…and horribly off key.

   I will never forget one of the first parties I attended upon moving back to my home state of South Dakota.  At the time, I was in a rather fragile emotional state.  I had recently endured a fairly lengthy and extremely painful breakup which had caused me to, "hightail it," back to the safety of not only the, “boring,” rural plains, but also my parents basement until I could piece together the shambles of my life.  I remember I had just started a new job, when a coworker of mine asked me if I would like to join her and some friends at a house party that evening.  I hesitantly agreed, petrified of my seemingly growing inability to relate to the general public.  However, at the time I was a heavy drinker and knew that after a few I would at least be able to relax. 

   The night proceeded fairly painfully.  Due to the fact that I knew virtually no one at the gathering, and seemed to have absolutely nothing in common with the people there I began to predict a bleak future in my newly acquired surroundings.  I believe it was at this time that the host, bless his charitable heart, must have sensed my growing despair and led me to his shelf of music telling me to pick out whatever I wanted to hear.  Yeah, we’re talking CD's people.  Man, I miss those things.  Anyway, there it was staring me right in the face, a fairly complete David Bowie collection!  I looked no further, grabbed the predictable choice of, “The Rise and Fall of Ziggy Stardust and the Spiders from Mars,” and threw it in the stereo, skipping ahead to the song, “Starman.”

   What happened next was truly magical.  Again, keep in mind I was a pretty big mess at the time.  For about nine months I had barely spoken to anyone other than immediate family.  It was a HUGE deal that I had agreed to go to a social gathering.  My confidence had been destroyed by past events and issues that were still plaguing me.  Basically, I was just one big bubble of social anxiety ready to burst at anytime.  However, on this particular evening, right when I thought I may start screaming and jump out the nearest window in order to avoid another horrifically awkward conversation full of lies on how I, "found myself so happy to be back in South Dakota",…yes, on this evening David Bowie arrived and rescued me.

   All of a sudden I found myself theatrically belting out the lyrics, “There’s a Starman waiting in the sky.  He’d like to come and meet us but he thinks he’d blow our minds.”  Considering this was the most I'd said the whole evening... and I was kind of singing, kind of half hysterically screaming many of the party goers looked rather shocked in response to my voice.  However, I didn’t care.  I loved the song, “Starman.”  It was a song that friends and I had sung together millions of times in the past…the way past…the good times before all the bad.  Sitting there drunk in that roomful of strangers, silently mourning the loss of my relationship, confidence, and independence it felt amazing to say, “Fuck it, this just feels good.”  So, I kept going, “There’s a Starman waiting in the sky.  He’s told us not to blow it cause he knows it’s all worthwhile,” I shouted.  Some of the people at the party started to laugh at my, “drunken,” outburst, but others began to join in.  Soon about four of us, including the host, was bellowing, “Starman,” at the top of our lungs.  It felt amazing.  I was singing.  I was singing so passionately I was spitting, but most of all at that moment I was smiling.  Finally, I caught a flicker of the person I used to be. Finally, for just a moment I'd returned to being that overly cocky girl at the party who wasn’t afraid to sing out of key.  Of course, after that evening of drunken sing-alongs I returned back to my socially paralyzed state.  However, at that particular party I realized I had the ability to find an individual in me I thought I had completely lost.   
   In conclusion, if I could speak to David Bowie now I would say, "Mr. Bowie in a way your music brought me back from the dead.  I had the ability to love the song, "Starman," during a time that I hated life most.  It's realizations like this that assured me I still had the capability and desire to become the woman I ultimately knew I was destined to be."  That's why I know David Bowie can't be dead. He resurrects the dead.  Like Bowie's character, Ziggy Stardust, we all rise and fall during the course of our lives.  However, I suspect the most talented and extraordinary individuals among us ultimately end up going to live with the spiders from Mars.  The rest of us plain Earthlings just sing about them.
-r.

"Starman":  https://www.youtube.com/watch?v=4B5zmDz4vR4

(I highly suggest singing along)

"Blind Faith"

Blind Faith:  “Blind Faith”

Secondhand Vinyl Album

Original Release Date:  1969 Atco Records

(My Rating:  5 Stars)

Side One

Had To Cry Today

Can’t Find My Way Home

Well All Right

Presence Of The Lord

Side Two

Sea Of Joy

Do What You Like

   Upon finding this record at one of my favorite secondhand music shops, I was delighted to see the name of the previous owner written in perfect cursive on the back of the album cover.  There it was in the upper right hand corner in pristine script, albeit faded over time.  Susan Jordan it said, and at that moment I knew Susan and I should have been friends.

   To expand, I have a strange proclivity for collecting items that have been previously owned.  I love the idea that I’ve found a treasure that not only someone else valued, but also helped shape their history.  I imagine that an item embodies the story of its’ previous owner, whether it be a vintage paisley skirt or a Blind Faith album.  Lucky for this blogger, I generally create a pretty entertaining story for each of my secondhand finds.  This being stated I’m certain that, Susan Jordan, the previous owner of my, “new,” Blind Faith album must be dead.  I know that you’re thinking, “You say that about everything that you thrift.”  I admit this statement is true.  However, never have I felt more vehemently certain than when I first heard Susan’s record, because nobody living would give this treasure away.

   The album, “Blind Faith,” opens with the song, “Had To Cry Today.”  From the beginning, I realized this music was serious Rock & Roll and required a loud volume.  Let me repeat, the first song on, “Blind Faith,” needs…no… deserves, to be played LOUD.  Immediately, a listener realizes the type of musical miracle that is happening between these future rock icons.  Clapton’s repetitive guitar riffs combined with Winwood’s soaring vocals create an almost mantra feel, transforming this song into something like a prayer.  It’s this bloggers opinion that during a song like, “Had To Cry Today,” it’s simply not important what the actual lyrics are.  It’s merely the sounds that matter.  By the time a listener gets to the, darn near holy, guitar solo they find themselves already converted to the cult of Clapton.  In eight short minutes the song is over and this blogger couldn’t help but long for another cup of Blind Faith’s Kool-Aid.

   Thankfully this is served through the beautiful juxtaposition of the following song, “Can’t Find My Way Home.”  This particular piece shows a complexity of lyrics that the first song crushes by pure power.  During, “Can’t Find My Way Home,” Steve Winwood proves his voice to be as compelling as Clapton’s guitar playing.  The difference is Winwood inspires empathy, whereas Clapton’s playing on, “Had To Cry Today,” is pure aggression.  Let me point out the staggering fact that this range of emotion is felt by a listener all within the matter of the first two songs!

   Later on the album, Winwood’s uncanny capacity to evoke emotion is again demonstrated by the song, “Sea Of Joy.”  I have to say that it’s this song in particular that I believe best showcases Steve Winwood’s incredible vocal abilities.  Is it because his vocal performance is perfect?  To answer that question simply, “No.”  It’s because of the absolute urgency one can hear in his voice while singing the lyrics.  While singing, “Sea Of Joy,” Winwood sounds honest.  His voice reaches octaves, uncomfortable for most, causing it to be unpredictable and almost needy.  Mostly, it sounds human, amongst songs that are so damn good they seem anything but. 

   Of course, one can’t review the album, “Blind Faith,” without addressing the song, “Do What You Like,” a piece of music that lasts fifteen minutes long and is about as abstract as the aforementioned topic of religion.   Despite its’ rather trying length, I believe this song to be a perfect example of the decade it was recorded.  In this blogger’s opinion, the drawn out, jam session solos performed here are not only a testament to the abilities of the band, Blind Faith, but also to the culture of the 1960s.  I found it incredibly hard not to imagine a young Ms. Susan Jordan, circa 1969, sitting on an Indian carpet, while burning incense, and listening to, “Do What You Like.”  Maybe that’s because Ms. Rayna Hallman, circa 2016, was doing that very thing.

   Lastly, my absolute favorite song on the record, “Blind Faith,” is, “Presence Of The Lord.”  Oddly enough, it’s the only piece on the album written by Eric Clapton.  I find this song to be not only painfully beautiful, but equally inspiring.  “Presence Of The Lord,” continually leaves this listener pondering what her lord is.  The only conclusion I seem to come to is, I feel closer to my version while listening to Clapton’s passionate playing.  This song proves that nirvana can be found in the most unexpected places.  (Such as, a used record store)  Now in the year 2016, I sit listening to Blind Faith by candlelight and hope that the possibly deceased Susan Jordan has, “finally found a place to live, in the presence of her Lord.”    

-r.

"Sea Of Joy":  https://www.youtube.com/watch?v=cOZ5VcQIiFc