Brilliant Disguise (1987) – Bruce Springsteen

Bruce Springsteen 1987
Bruce Springsteen 1987

Thanks to my school friend Daniel Olsen at secondary school I had been following the Boss a year or so shy of the release of Brilliant Disguise. I distinctly remember seeing this remarkable music video appear on the Saturday morning top 40 ‘Rage’ music program which I obsessively tuned into. Brilliant Disguise became my favourite song in my ‘Bruuuuce’ collection up to that point. His staring down the camera for 4 minutes in real time as the camera looms in and telling it straight about the demise of a relationship catapulted Bruce into my short-list of favourite artists. I was besotted by his transparency and authenticity that he would even consider attempting to deliver this song the way that he did in that highly synthesised and manufactured pop-era. Not only that, but the lyrics and melody floored me:

I heard somebody call your name
from underneath our willow
I saw something tucked in shame
underneath your pillow
Well I’ve tried so hard baby
but I just can’t see
What a woman like you
is doing with me
So tell me who I see
when I look in your eyes
Is that you baby
or just a brilliant disguise

Brilliant Disguise was released as the first single from his album Tunnel of Love in 1987. It represented a serious departure from his anthemic rock output in his previous record – Born in the USA which remains one of the greatest selling albums of all time.  Brilliant Disguise reached No. 5 position on the Billboard Hot 100 chart and No. 1 on the Mainstream Rock chart in the United States. I was in awe at his versatility as a songwriter to be able to leap so far away from the tried and tested formula of his previous music to something so melancholy and country-esque pondering love gone wrong. In 1989, the album was ranked #25 on Rolling Stone magazine’s list of the “100 Best Albums of the Eighties.

Like much of the Tunnel of Love album, “Brilliant Disguise” was recorded in Springsteen’s home studio, called Thrill Hill East, between January and May 1987. The analogies to Springsteen’s personal life at the time are evident: he had recently married then-model and actress Julianne Phillips, and the two would divorce in 1988. The references to marital problems are quite direct, as in the lyrics:

“Oh, we stood at the altar
The gypsy swore our future was right
But come the wee wee hours
Well maybe, baby, the gypsy lied.”

The video of the song below was shot in black and white, and it effectively reflects his emotions as he sits uncomfortably on the edge of a chair. This very personal performance can make it difficult to watch, but it reflects the themes of the song.

References:
1. Brilliant Disguise – Wikipedia

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Coronavirus IV: Last Week Tonight with John Oliver (HBO)

Video news report at Last Week Tonight:

I normally find John Oliver a bit smarmy and his humour hit and miss, but this episode was a gem. At the start he looks at the perils of working at home and a local news reporter’s cat pulls focus during a live shot. A must-see even if you see nothing else in this report.

John Oliver discusses how Coronavirus is impacting the US workforce, from mass unemployment to the problems faced by essential workers…… (Watch entire video report).

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Posted in Movies and TV, News, politics

Bright Horses (2019) – Nick Cave and the Bad Seeds

Nick Cave in concert, Stockholm, Sweden - 18 Oct 2017

Bright Horses is the first song from Nick Cave to feature here in the Music Library Project.

Nick Cave is one of Australia’s most successful musical exports in Alternative – Indie music. When people cite great influential songwriters and poets of the last few decades Nick Cave’s name is often in the mix. Today’s song Bright Horses is from his most recent record Ghosteen (2019) which was written in the aftermath of the death of Cave’s son Arthur in 2015. This record is recognised as one of his most powerful, a meditation on mortality and our collective grief.

Nick’s trying to process and wrestle this grief is all there to see on Bright Horses. He at his most rudimentary here in terms of just letting his heart do the writing. I find my eyes welling up with tears as he clambers on to find faith and hope in this time of extraordinary suffering. It’s as though this grief has opened a new transcendent portal in his consciousness.

And everyone has a heart and it’s calling for something
And we’re all so sick and tired of seeing things as they are….

Oh, oh, oh, well, this world is plain to see
It don’t mean we can’t believe in something, and anyway
My baby’s coming back now on the next train
I can hear the whistle blowing, I can hear the mighty roar

Read full lyrics here.

The horses become the metaphor for his son’s memory, or his spirit. His wild care-free spirit with its mane full of fire. And Nick imagines himself sitting by his side, holding his hand. He knows the memories aren’t a replacement for his real son, and it won’t bring him back, but he’s sick and tired of using logic to explain to himself what has happened – horses are just horses, fields are just fields, the world is full of tyrants, and that his son really isn’t the little shape dancing at the end of the hall. But that ‘doesn’t mean we can’t believe in something’.

Upon its release, Ghosteen was met with widespread critical acclaim. It received several perfect scores and is the highest-rated album of 2019—as well as the second highest-rated album of the 2010s—on Metacritic. Ghosteen marks the 40th anniversary of Nick Cave’s recording career and more songs from this record will feature in this music library project.

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Breath (2000) – David Bridie

David Bridie 2000

The music from Australian singer-songwriter David Bridie features prominently in my music library.  Today’s song Breath is from his debut solo album Act of Free Choice (cover above) released in 2000. Unlike the high-art pop music he composed with his band My Friend The Chocolate Cake his solo music is much more experiential and introspective in nature. He seemed to have been exploring a new world of sound by creating a sonic visual to allow the listener to immerse themselves. It took me considerable time to succumb to these haunting songs from Act of Free Choice including today’s track Breath, but I’m well and truly on board now.

slowly shut your eyelids
feel all overcome
something’s working beautifully
something’s this much fun
but can you taste it
sort through it
bite into it spread it round
you didn’t see it coming
now you just hold your breath

I couldn’t help but think of Australian writer Tim Winton’s words in his book by the same ‘Breath’ which I reviewed here  – “It’s funny, but you never really think much about breathing. Until it’s all you ever think about.”

PopMatters described Act of Free Choice ‘as one of the most quintessential Australian albums ever recorded. The album, a blue fog of shuddering drum loops, haunting piano scales and sky-sweeping atmospheres, evokes the lonely stretches of Australia’s outback, while narrating a generation’s worth of political strife’. 

David Bridie remarked about his solo music and Act of Free Choice: ‘I love working with sound and I love working with story and Australia has an abundance of both. Some wonderful stories and characters….. And the landscape here is this wide brown land is awe inspiring…It is a large, big sky country. It can kill you at a moment’s notice if you aren’t prepared.. There is an intense beauty as well. The sound is quiet, there are harmonic frequencies in the wind, on the salt lakes… the land over powers you, and it is great respite from the mundane city life.’

References:
1. Wake to Dream: An Interview with David Bridie, Australia’s Best Kept Secret  – PopMatters

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Piano Concerto No. 2 in G minor, Op. 22 (1868) – Camille Saint-Saëns

Camile Saint Saens

Camille Saint-Saëns (1835 -1921)

Today’s music piece is the Piano Concerto No. 2 by Camille Saint-Saëns. Saint-Saëns was born in Paris and was one of the most remarkable child prodigies in music-history, which included Mozart. Before he was three years old he displayed perfect pitch and enjoyed picking out tunes on the piano and by the age of ten he made his official public debut, at the Salle Pleyel, in a programme that included Mozart’s Piano Concerto in B♭.

Early in his career he was a church organist which earned him a handsome living. The Parisian parish where he performed had 24,000 parishioners and if you consider the organist fees from the hundreds of wedding and funerals Saint-Saëns lived very comfortably. He was enthusiastic for the most modern music of the day, particularly that of Schumann, Liszt and Wagner, although his own compositions were generally within a conventional classical tradition.

When he became a teacher he scandalised some of his more austere colleagues by introducing his students to the aforementioned composers. Saint-Saëns further enlivened the academic regime by writing, and composing incidental music for, a one-act farce performed by the students. He conceived his best-known piece, The Carnival of the Animals, with his students in mind, but did not finish composing it until 1886, more than twenty years after he left the Niedermeyer school.

Saint-Saëns wrote the Piano Concerto No. 2 in just 3 weeks and reportedly had very little time to prepare for the premiere. But it remains probably his most popular piano concerto. Fellow French composer Georges Bizet who has featured here before wrote a transcription of the concerto for solo piano. The performance below of the Piano Concerto No.2 is by the London Symphony Orchestra with Arthur Rubinstein on piano. Arthur Rubinstein has been described as one of the greatest pianists of the twentieth century. He played in public for eight decades! Coincidentally a composer by the name of Anton Rubinstein conducted the orchestra at the premiere.

References:
1. Wikipedia – Piano Concerto No. 2 (Saint-Saëns)
2. Wikipedia – Camille Saint-Saëns

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The Boys of Summer (1984) – Don Henley

Don Henley 1984

Boys of Summer is one of the most indelible rock songs of the 1980’s and was number one on the Billboard Top Rock Tracks chart for five weeks. In a 1987 interview with Rolling Stone, Henley explained that the song is about aging and questioning the past—a recurring theme in Henley’s lyrics including his classic The End of the Innocence. Like The End of the Innocence, Boys of Summer was one of my favourite songs growing up and when I hear it now I reminisce fondly of my youth.

The music was composed by Mike Campbell of Tom Petty and the Heartbreakers. He showed it to Tom Petty, but they didn’t feel it fit on their record. So he played it for Don Henley who changed the key, wrote the lyrics, recorded the vocal and the rest is history.  The music video also won many awards. It was a French New Wave-influenced piece directed by Jean-Baptiste Mondino. Shot in black-and-white, it shows the main character of the song at three different stages of life (as a young boy, a young adult and middle-aged).

Interesting Trivia:

  • Henley explained the ‘”Deadhead sticker on a Cadillac” lyric as an example of his generation selling out. ‘I was driving down the San Diego Freeway and got passed by a $21,000 Cadillac Seville, the status symbol of the right-wing upper-middle-class American bourgeoisie – all the guys with the blue blazers with the crests and the grey pants – and there was this Grateful Dead “Deadhead” bumper sticker on it!‘
  • In 2010, Henley won a lawsuit against Chuck Devore, who was running for a US Senate seat in California. Devore – a Republican – used “The Boys of Summer” and “All She Wants to do is Dance” in his campaign advertising, which didn’t go over well with Henley.
  • MTV exposure from this song’s video raised Henley’s profile but cost him a degree of anonymity. With the Eagles, he was tucked away behind a drum kit, and rarely on TV.
  • Tom Petty introduced Mike Campbell onstage as “the co captain of this ship and my right hand man.” In Petty’s book he tells the story about that song; Campbell brought the demo to the studio where Petty was recording with the Heartbreakers and yes by his own account, he passed on it. Being in a creative funk due to several factors (read the book) he and Iovine were struggling with the album. When Petty heard “Boys Of Summer” on the radio he recognized the song as being almost note for note the demo Campbell had brought to the session and confronted Campbell, incensed that Henley had gotten the song from him. When Campbell reminded Petty that he had rejected the song, Petty’s notorious temper flared and he punched a studio wall and broke a bone in his hand requiring surgery to repair it. That resulted in more delay in finishing his album, and strained relations with the producer Iovine. Petty later admitted that he had dismissed Campbell’s demo out of hand, and had lost out on a great song.

References:
1. Songfacts – The Boys of Summer
2. Wikipedia – The Boys of Summer (Song)

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Singing the Enhanced Community Quarantine Away (Part 2) — The Open Concavity

I thought I would share the following post from Tina who is a follower of my blog. Tina and her brother have lovely voices and they introduced me to a wonderful new song, which I have shared with family and friends alike here in Colombia to sooth these quarantine blues. Thanks Tina!

Oh well, just to use some of the spare time I have from being a homebody (due to our own version of “lockdown” in the Philippines), I sing songs whenever I am in the mood. And last week was kind of a productive week for singing for me because I sang two songs and share […]

via Singing the Enhanced Community Quarantine Away (Part 2) — The Open Concavity

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Posted in Music, Reflections

Boundary Rider (2005) – The Go-Betweens

It’s a toss-up between today’s song Boundary Rider and Finding You as to which Go-Betweens song I would take away with me to my Desert island. That should tell you everything you need to know about what I think of this song. Boundary Rider is from their classic ‘ultimate’ Australian 2005 album Oceans Apart and is the second song to feature here from that album. The instrumentals which lead into the song impress me so much I find myself chanting them to my daughter. I love how the instruments coalesce to form this thrifty, but sleek rhythm. Then there’s this…

There’s a boundary rider
at the five mile fence
bloodwood, bones + steers

And the sky’s so deep
you can’t find your sleep
keeps you walking through these tears

I think quite simply Boundary Rider is one of the most underrated Australian songs I’ve ever heard. It’s a brilliant song which seems to get better the more you hear it. I’ve said it before and I’ll say it again: no Australian band like The Go-Betweens encapsulates more instinctively the quintessential Australia ‘sound’. They have the essence of Australia coursing through their music and Boundary Rider is at the top of the musical pecking order in demonstrating this.

A Boundary Rider is a person employed to maintain the outer fences of a cattle or sheep station. After co-founder of the Go-Betweens Grant McLennan’s father died, his mother eventually remarried and the family then relocated to a cattle station in central Far North Queensland. McLennan’s songs which evoke the impressions and imagery of the regional background of his childhood include “Cattle and Cane”, “Unkind and Unwise”, “Dusty in Here” (about his father), “Boundary Rider” and “Bye Bye Pride”.

Please enjoy Boundary Rider from their concert at the Tivoli theatre…

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COVID-19 Media Resources

Media Resources:

I have been trying to curb my reading of COVID19 news from mainstream media web sites. The only benefit I see from traditional media form is local news about the status of Corona virus infection. Nationwide and international news seems to be highly sensationalized, partisan and frankly depressing to read on a regular basis. The reason for this post is to relay some VERY recent podcasts / programs which I found extremely educational and informative. I haven’t seen or heard anything close to these interviews / programs in the mainstream media and I hope you may find them insightful as well:

Peter Attia 1#The Drive – Peter Attia March 31, 2020
#102–Michael Osterholm, PhD: COVID-19—Challenges ahead & reasons for optimism and concern

Peter Attia has become my Number 1 go-to resource on all things COVID-19. This is “content” and “public service”. In this interview we have two good plain spoken Docs together. It would appear according to Dr Osterholm that COVID-19 will not be contained until more than 60% of the population is infected (immunized) or a Vaccine becomes available, whichever comes first. A vaccine is still at minimum 18 months away. (Listen to entire interview)

Glen Lowry Show#Bloggingheads.tv – Gimme Shelter | Glenn Loury & John McWhorter [The Glenn Show] – March 30, 2020

This podcast debate offers a distinct look at the virus from what one may be accustomed to seeing. These two African American University professors with contrasting political leanings have a robust, but respectful discussion about the state of American politics and leadership as COVID-19 starts to cause widespread mayhem to New York. Their debate about Trump and his administration was particularly informative as it was entertaining. I admire how they used their quarantine restriction to open up to each other other about their individual health and family.  It was also really sweet how John McWhorter introduced his 2 lovely daughters on the podcast. (watch entire podcast)

#The Drive – Peter Attia March 31, 2020
#101 – Ryan Holiday: Finding stillness amidst chaos

This podcast was utterly fascinating especially when they delved into Lessons taken from the life of Winston Churchill—stillness, structure, routine, hobbies, empathy, forward thinking, and more. Ryan Holiday, bestselling author and author of Daily Stoic, discusses practical ways to find stillness and apply the insights of stoic philosophy in the midst of COVID-19 chaos. Ryan discusses the importance of taking back a feeling of control, the benefits of structure and routine, and the idea of being prepared for anything. (Listen to entire podcast)

Posted in Health, News, politics

Murder Most Foul (2020) – Bob Dylan

There I was this morning reading the BBC news homepage…Corona, Corona, Corona, Corona, Bob Dylan, Corona. Wait, this quarantine business isn’t making me see things I wondered? After rubbing my eyes..I read ‘Bob Dylan releases first new music in eight years‘. I even took a photo to make certain others could verify it:

BBC news homepage Bob Dylan

“Greetings to my fans and followers with gratitude for all your support and loyalty over the years,” said the Pulitzer and Nobel Prize winner in a statement.

“This is an unreleased song we recorded a while back that you might find interesting. Stay safe, stay observant, and may God be with you.”

‘Murder Most Foul’ which pivots on the 60’s and Kennedy assassination seems mainly to explore the idea of art and human creativity as a constant. At least, that’s my first read on things. It’s a bit like a musical interpretation of his musicares speech and Nobel lecture. The soft narration, the far-off musical accompaniment, the almost rambling assortment of words.

I love the instrumentals and his voice here. It’s very much in line with his ‘Stay With Me’ singing approach (which I discussed here) and I imagine he recorded it around the same time. The background music definitely reminds me of his Shadows In The Night record which I think is a modern classic. It’s funny too since ideally I desired from him an original album with that style. Hopefully there’s more.

The only thing that put me off about Murder Most Foul is Dylan’s insinuation of widespread conspiracy in the JFK assassination comparable to Oliver Stone’s movie JFK (that which I wrote a long article here refuting its claims), but it’s Bob so I’ll try and not let that dour this grandiose moment.

Obviously the timing of this release is not coincidental as we enter ‘Lockdown’. Bob is recognizing the gravity of the current situation, and maybe suggesting that this pandemic is the biggest, most historic thing that he’s ever seen since Kennedy’s death. I’m not a big fan of Dylan’s long nostalgic songs especially the title track ‘Tempest’ about the Titanic, and Murder Most Foul has many cliche-weak lyrics. It’s not the Bobby Fischer of the early 70s playing, that’s for sure, but Murder Most Foul feels poignant and relevant.

Wake up, little Susie, let’s go for a drive
Cross the Trinity River, let’s keep hope alive
Turn the radio on, don’t touch the dials
Parkland hospital, only six more miles
You got me dizzy, Miss Lizzy, you filled me with lead
That magic bullet of yours has gone to my head
I’m just a patsy like Patsy Cline
Never shot anyone from in front or behind
I’ve blood in my eye, got blood in my ear
I’m never gonna make it to the new frontier

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