A Night at the Opry

“Country musicians first performed on radio in 1922, and, within a few years, radio stations initiated the first barn dances — ensemble variety programs with the relaxed, chatty atmosphere of a family gathering.”

— the Country Music Hall of Fame & Museum’s exhibit “The Dawn of Country.”

Heading south for our most recent vacation, we finished up in Nashville — and I wasn’t going to visit Music City without taking in at least one show. After catching Ringo Starr at the historic Ryman Auditorium proved prohibitively expensive, I pivoted to the spot all the travel guides (as well as local friends) had recommended in the first place — the weekly Saturday night performance at the Grand Ole Opry.

Make no mistake: coming up on its 98th year, the Opry is a well-tuned corporate machine, effortlessly parting multitudes from their cash with a smile — but it’s also an affordably priced, entertainingly old-school variety show. Broadcast live in multiple formats, the program consciously carries on traditions developed from its radio roots through country music’s ongoing breakout to the broader public (and if you’ve ever wondered where Garrison Keillor got the idea for A Prairie Home Companion, look no further). Regularly booking a mix of promising rookies and seasoned veterans, inviting rising stars to become “family members” and providing an environment open to impromptu guest shots and team-ups, the Opry deliberately claims a gatekeeper role, anointing a core of artists that cover a fairly broad spectrum of what country music is today. With no mass-culture superstars on the bill, September 23rd’s Opry was an enjoyable example of how all this works in practice.

To kick it all off, throwback quartet Riders in the Sky stepped to the mikes, blending smooth harmonies and lively instrumental work into affectionate renditions of vintage cowboy songs and Western swing. There were plenty of corny antics, too; bassist Too Slim provoked fiddler Woody Paul into a face-slapping “Dueling Banjos” duet as guitarist Ranger Doug and accordionist Joey the Cowpolka King looked on in bemusement. (It’s no surprise that, in his true identity of satirical college journalist Fred LaBour, Too Slim convinced the counterculture that Paul McCartney was dead back in 1969.) But after we’d laughed ourselves silly, these long-time Opry members cooled us down with the gorgeous title track off their latest album Throw A Saddle On A Star, then whipped up a fiddle-focused hoedown for an exhilarating finish.

Making her second Opry appearance, vocalist Riley Clemmons was an engaging bundle of nerves, nearly beside herself with excitement that she’d been asked to return. But emotions of the moment and self-deprecating jokes about her advanced age of 23 aside, Clemmons was all business, making the most of her short set. An enthusiastic crooner in the Carrie Underwood mold, she put across her faith-based songs “Church Pew” (her new album’s title track) and “Jesus Cries” with plenty of heartfelt sentiment, ably backed by the Opry’s onstage band and backup singers.

20-year-old singer/guitarist Sam Barber was next up, the first of two debut performers taking the leap from streaming services to the Opry stage. Exhibiting raw yet remarkably well-honed talent, Barber’s unsoftened Missouri accent (complete with occasional growl from the gut) and his determined strumming on “Straight and Narrow” (the first song he wrote, at the age of 16) grabbed the audience hard and strong in his acoustic solo slot.

Recent Opry inductee Charlie McCoy, one of those multi-instrumental Nashville cats who’s played on albums by everybody (Elvis, Dylan, Willie & Waylon, etc. etc. ) in the course of 12,000 sessions, brought the first half of the show to a rousing finish. After laconically drawling a humorous ditty about the consequences of “Thinking with My Heart” (“A heart doesn’t know how to figure out/ Whether to run or to jump/It ain’t got a clue; zero IQ/After all it’s just a pump”), McCoy pulled out his trademark harmonicas for a lyrical film score excerpt, then a lightning-fast “Orange Blossom Special” that nearly left the band eating his dust — and left the audience hungry for more. Cue the intermission!

Continue reading A Night at the Opry

VIN, Baseball, Auld Pop, my Dad and Me.

by RICHARD K. MUNRO

(SEPT 26, 2016)

So today was Vin Scully’s last game ever at Dodger stadium and there was a thrilling extra-inning game won by a clutch homer by Charlie Culberson. I wish my father and Auld Pop could have been here to enjoy it with us!

My cousin Helen Munro (born 1943) was discussing how she lived to keep score at home with Auld Pop and listening to Red Barber and then Vin Scully. She went many times to Ebbett’s Field as did my parents but I went only once (in utero in August 1955 (see my mother’s ticket below!)

My grandfather came to love baseball with his friend “American” Johnny Robertson and they saw many big league games and Texas league games together in the 1920’s and 1930’s. I know also they played shinty while with the Argylls in Greece and on at least one occasion played baseball with Canadians and Americans (while wearing kilts!!!).

To the left of my grandfather THOMAS MUNRO Sr. you can see AMERICAN JOHNNY ROBERTSON and to his right a very young boy his nephew JIMMY QUIGLEY

Auld Pop, it is said had quite a wallop. So I know he played the game in America probably pre 1910 and certainly in the 1920’s when he was in his early 30’s.

I know his favorite player was Zack Wheat and Wheat played for the Dodgers in the 1910’s and 1920′. Auld Pop’s favorite players were Wheat, Duke Snider (he passed on an autograph) , Jackie Robinson, Johnny Podres and Gil Hodges. He saw the Yankees play many times (he always rooted against them). He saw Bob Feller no-hit the Yankees and Joe Dimaggio in 1946 and some years ago my son and I met Bob Feller in Bakersfield and had a nice talk with him (he signed our books and memorabilia for no charge)

So Auld Pop saw many great moments at Ebbets field and even lived long enough to see them on color TV in 1959 and in April 1962 at Dodger stadium. So my father and Auld Pop saw (and met in person at the ballpark and in Brooklyn many Dodger players many future Hall-of-Famers).

But Auld Pop could only go to so many games; he followed the Dodgers on the radio day to day with Red Barber (up to 1953) and later Vin Scully and by reading the Daily News and Red Smith in the Herald Tribune.

But Vin Scully played a very important part of Auld Pop’s life.

One curiosity that my cousin told me about this past week is that Auld Pop would NEVER go to July 4th games or celebrations. He would stay home by himself and listen to Scully and Barber on the radio. he would retreat to my father’s cellar den which he called his dugout or bunker. It was soundproofed. He would sip on beer and Four Roses whiskey and smoke. He just couldn’t stand to hear fireworks or the noises of firecrackers and cherry bombs. My cousin Helene Munro -Auld Pop called her Buntie- said the noise made him very anxious and sometimes even give him uncontrollable tremors. She remembered seeing him on the edge of his bed, shaking and she would (she was just a girl at the time) say she would stay home with him and she ladled whiskey into him and held his hand until he calmed down or fell asleep. But listening to baseball was calming to him and he taught Helene and my father the basics of the game and how to keep score.

He used to read to me Red Smith articles just as much as comic books or the Bible and he used to show me the intricacies of the box score. One of my favorite books was the classic MY GREATEST DAY BASEBALL.

This was a gift from Auld Pop, December 25, 1959. After he died my father read it to me also. I still have my copy.
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2You and Jorge Orrantia

I was thrilled that Auld Pop had seen so many greats players. Both my father and Auld Pop read the book to me. It was a gift from him for Christmas , 1959. After he died I cherished that book like I cherished his collection of Scottish records.

Life was tough on Auld Pop. He suffered the loss of many friends and loved ones and was lonely at the end of his life -he was the last surviving member of his squad, his company and his Regiment. He suffered the loss of the Dodgers when they left Brooklyn. But he always had baseball in the newspapers and on the radio.

Even on the 4th of July when he huddled alone or with my cousin in “the dugout” or “Jaja’s Bunker.” On those days, listening to Vin Scully, my cousin said Auld Pop would not drink to excess and even laugh and joke and tell stories. My cousin Buntie (little Button) and I were very close to Auld Pop as some of you know. As a little boy, I had no idea how his entire life had been an odyssey of survival and a veritable journey of the cross. Later I learned more. He went to the Western Front in January 1915 and at 2nd Ypres suffered 36 continuous days of vicious combat , ambushes and bombardment. For a few days he was missing in action in No Man’s Land doomed to death or a fate as German POW. But the Leal n’ True men and the Dins -led by American Johnny Robertson came to his rescue. So he survived.

And thanks to them my father, my cousin, my mother my sisters and I could enjoy so many great moments with Auld Pop. And some of the best were at the ballpark, with the newspaper and with Vin Scully and the other announcers on the radio (at later TV but in those days there were few games on TV).

Baseball was a very soothing hobby and pastime for Auld Pop and the sweetest cream was the dulcet voice , good humor and conviviality of Vin Scully whom my grandfather would see sometimes at a distance in Mass on Sundays in Brooklyn.

Vin always went to Mass with his mother and father and I think my Auld Pop told my cousin they would go Saturday night or Sunday morning. My Auld Pop -so my cousin told me- very much appreciated Vin’s salute to veterans on Memorial Day etc. And on the 4th of July when Auld Pop dare not leave the house there was Vin Scully “It’s time for Dodger baseball!

and

“Hi, everybody, and a very pleasant good (afternoon/evening) to you, wherever you may be.”

Next Auld Pop and Johnny Robertson, Vin Scully was the most beloved “legendary” heroes. He was the Bard of Brooklyn, and Irish Minstrel. He was the voice of the Dodgers and the voice of Baseball. Vin Scully was truly the Babe Ruth of sports broadcasting. Thanks for so many great memories as the announcer of so many games and six World Series.

Ne obliviscaris. Do not forget. You meant so much to veterans and disabled people who weak in limb and endurance could not go out as freely as they might have wished. You were their best friend and better than any whiskey or doctor or pill.

I close with some great Scully moments: It’s a mere moment in a man’s life between the All-Star Game and an old timer’s game.

During the 1980 Major League Baseball All-Star Game held at Dodger Stadium

It’s a passing of a great American tradition. It is sad. I really and truly feel that. It will leave a vast window, to use a Washington word, where people will not get Major League Baseball and I think that’s a tragedy.

(At the end of the last NBC Game of the Week, October 9, 1989).

Ah, yes, baseball is an acquired taste and it has to be taught and savored.

***

Scully: A little roller up along first; behind the bag! It gets through Buckner! Here comes Knight and the Mets win it!

Famous call from Game 6 of the 1986 World Series

***

(Roberto) Clemente could field the ball in New York and throw out a guy in Pennsylvania.

I saw Clemente play many times; hyperbole but almost the truth! Of course, he would have to be playing on the border!

***

And to me his most legendary call.

I heard this recording at the Hall of Fame with my father. My cousin (living in LA at the time and keeping score) heard it live.

This is from the radio transcript of 1965. This is Vintage Vin:

” It is 9:46 p.m.

Two and two to Harvey Kuenn, one strike away. Sandy into his windup, here’s the pitch:

Swung on and missed, a perfect game!

(Crowd cheering for 38 seconds)

On the scoreboard in right field it is 9:46 p.m. in the City of the Angels, Los Angeles, California. And a crowd of twenty-nine thousand one-hundred thirty nine just sitting in to see the only pitcher in baseball history to hurl four no-hit, no-run games. He has done it four straight years, and now he caps it: On his fourth no-hitter he made it a perfect game. And Sandy Koufax, whose name will always remind you of strikeouts, did it with a flourish. He struck out the last six consecutive batters. So when he wrote his name in capital letters in the record books, that “K” stands out even more than the O-U-F-A-X.”

Word-for-word transcription of Scully’s call of the ninth inning of Sandy Koufax’s perfect game on September 9, 1965.

***

There is only one word for Vin Scully: INVINCIBLE. Thanks for 67 years of companionship and laughs and much simple happiness and joy. We will miss you, Vin Scully and we will never forget you.

You will remain an American and a Dodger and a Baseball legend.

Ave et vale. Hail and farewell.

Or as they say in the Irish “slan leat gu brath!”

Steven Wilson’s The Harmony Codex

Harmony Codex

The always intriguing Steven Wilson has a new album coming out September 29: The Harmony Codex. Brad Birzer and Tad Wert share their thoughts on this new work by one of modern music’s most gifted artists.

Tad: Brad, I think you’ll agree with me that one thing we can expect from Steven Wilson is the unexpected. When he was in No-Man with Tim Bowness, he created an interesting amalgam of ambient/techno/pop that was unique. As the leader of Porcupine Tree, he spearheaded the resurgence of progressive rock in the 2000s that wasn’t afraid to pay homage to the “dinosaurs” of the ‘70s like Pink Floyd, Genesis, Emerson Lake and Palmer, and Yes. His solo career has been a rollercoaster ride – which I have enjoyed – where he has produced music in practically every style. I think he has deliberately worked to escape being pigeonholed as a “Progressive Rock” artist, and he asks his fans to simply appreciate him for his music, whichever mode it happens to be.

Which is my long-winded way of introducing our thoughts on his latest work, The Harmony Codex. The first time I listened to it, I wasn’t particularly struck by any song, as I immediately was with his earlier album, To The Bone. But then I listened again, this time with headphones, and holy cow! This is an amazing album. It really came alive when I heard the songs in the soundstage Wilson has crafted.

Brad: Tad, thanks so much for staring us off on this conversation.  As always, my friend, it’s an honor to talk music with you.  

I have not yet listened to The Harmony Codex with headphones.  What an excellent idea.  Maybe tonight I will do that.

In the meantime, I have listened to the album (so graciously provided by Steven Wilson’s PR firm) numerous times since we received the review copy the other day.  In some weird way, it’s become a part of me this week.

I agree with you that it didn’t do much for me on the first listen.  In fact, I thought it way too overproduced.  Our own Carl Olson has likened it to Kate Bush, but it struck me as far more Tears for Fears, Elemental-period.  I’m not sure I would say this now after so many listens, but I also wouldn’t say at this point that it’s overproduced.  The album has truly grown on me to the point that I absolutely love it.  Again, I couldn’t imagine the past week without it.  I am jealous of those who were able to hear the album in an Atmos-equipped room.  That must’ve been quite the experience.

I guess this takes me back, personally, to my own musical “relationship” with Steven Wilson.  I first heard “Trains” on an album rock radio station while doing some shopping in northern Indiana over two decades ago.  I immediately went to a very good store in Fort Wayne and purchased In Absentia as well as Up the Downstair Case and Signify.  Yes, it was a very good CD shop!  A kind student, finding out my new found-love love, then gifted me with Stars Die: The Delerium Years.  

I fell in love with Wilson and then proceeded to buy everything I could from him–everything from his contribution to OSI, to his No-Man work with Tim Bowness, to his later Blackfield albums.  When his first solo album, Insurgentes, came out I was thrilled.  

I now, twenty-one years later, have a huge Steven Wilson collection.  Everything he has written directly as well as probably 95% of what he’s remixed for other bands.  And, of course, I happily own the deluxe edition of his autobiography, etc.

All of this is a very long way of admitting, I wasn’t sure what to expect from Wilson on this new album.  To me, the absolute height of his profound musical ability can be found in Hand.Cannot.Erase, what I think is my second favorite album of all time.  His lowest point, though, was The Future Bites.  At least to me, though I know there are good things on that album.  Yet, the whole project came off as cynical.

Still, I very much worried that The Harmony Codex would be The Future Bites, Part II.  I am so very thankful that Wilson took his music in a different direction.  While I think The Harmony Codex shares some production values with The Future Bites, it is an album that stands on its own, far closer to, say, Grace for Drowning than to The Future Bites.

Anyway, I eagerly await the deluxe edition of The Harmony Codex I ordered from Burning Shed.

Tad: Brad, my love affair with Wilson’s music followed almost exactly the same path as you – I bought Fear of a Blank Planet, because Alex Lifeson of Rush played on it. I was hooked, and I quickly picked up every album I could find that Wilson was connected to. It didn’t hurt that Snapper/KScope was reissuing all of No-Man and Porcupine Tree at the time. Like you, I was exposed to OSI through Wilson’s vocals on their debut!

As far as The Harmony Codex goes, I wouldn’t say it’s his best, but it is very satisfying to listen to. I would like to know who and what influenced him while he was composing the music for this album. I hear Middle Eastern motifs in the first track, Inclination, classical minimalism in the intro to Impossible Tightrope, which then morphs into a jazz/rock fusion workout that sounds like something Herbie Hancock might do in the early ‘70s. The title track sounds almost baroque in its melody. For me, the weakest song is the single, Rock Bottom, but the other songs have set a very high bar. I think my favorite is the closing track, Staircase: nine and a half minutes of beautiful music that held me riveted from beginning to end. The break that features the bass bursting out of the mix is incredible!

You’ll notice that I haven’t spoken much about the lyrics – as I mentioned in an earlier dialogue of ours, a song’s melody has to attract me before I’ll invest any time in pondering the words. Wilson’s lyrics can be problematic for me, particularly from earlier in his career, because they dwell on some very dark subjects. In Absentia, for all its pleasant melodies, is about a serial rapist/killer. And I agree Hand.Cannot.Erase is an outstanding work of art. However, its subject matter – a young woman who dies alone in her apartment and isn’t missed for months –  is so heartbreaking that I have a hard time listening to it! You’re the lyrics man, so what are your thoughts on Wilson’s words in The Harmony Codex?

Brad: Yeah, Wilson can be really, really creepy when it comes to his lyrics, and he’s previously been obsessed with truly dark subject matter.  On not just one album, but several, he follows killers, drug addicts, and other miscreants.  

Hand.Cannot.Erase works so well for me, because he does have some hope at the end of the album, and I think he nails grief perfectly on that album.

As such, I think the weakest song on the new album is “Actual Brutal Facts.”  I can’t quite make out all the lyrics, but the muffled distorted  voice weirds me out quite a bit.  I like the music to the song, but the lyrics seem chilling.  Maybe I’m wrong on this, as I’ll need to wait until I see the lyric sheet.  As it is, the song tires me out.

And, Tad, I must admit, I’ve not been able to understand all the lyrics on the new album, so I can’t really pass judgment on them.  I will have to wait for the physical album to pass any real judgments.

Wilson employs that same creepy voice on the final track, “Staircase,” but it doesn’t seem as oppressive on this one.  In fact, I agree with you, Tad, this is an excellent track.

Maybe my ultimate answer to you about the lyrics, Tad, is this.  My favorite track on the album is the instrumental, “Impossible Tightrope.”  In an interview, Wilson mentioned that he followed Mark Hollis’s lead (from Spirit of Eden and Laughing Stock) in recording far more than needed and then edited the various pieces and contributions together.  He said the “Impossible Tightrope” on the bonus cd of the deluxe edition will sound very different from the one released on the main album.

Tad: That’s very interesting that Wilson openly talks about late-era Talk Talk being a big influence – I hope he does a surround sound remix of Spirit of Eden. That would be a dream come true for me!

I’ve been listening to The Harmony Codex a lot the past 24 hours, and I have a new favorite track: “What Life Brings”. It’s the shortest one on the album, and it has the prettiest melody Wilson has composed in years. Just when you think it’s going to be a predictable, fairly pedestrian song, he introduces a slight modulation in the key that raises it up to a thing of beauty. Wilson is the master of that.

I agree with you about “Actual Brutal Facts” – it leaves me cold. It sounds like he’s trying his hand at hip hop, and it doesn’t work for me. That said, on the whole I think The Harmony Codex is one of Wilson’s better albums. It has a nice flow overall, while covering quite a few different styles of music. It’s definitely “proggier” than his previous two albums. Personally, I enjoy his explorations into various styles – he’s such a gifted musician, anything he does sounds good!

Brad, as always, it’s a blast to do a dialogue with you – your enthusiasm and brilliant writing raises the bar for me!

Frost*: A Million Reasons to Love Milliontown

Milliontown

Greetings, Spirit of Cecilia readers! In this post, Brad Birzer and Tad Wert discuss a classic prog rock album that is a mutual favorite of theirs: Frost*’s debut, Milliontown.

Tad: Brad, I have you to thank for making me aware of this wonderful album. I think you mentioned it in some social media post years ago, and I replied, “What’s Frost*?”. You immediately sent me a link to a video of Jem Godfrey and Dec Burke playing an informal duet performance of Hyperventilate, and I was hooked. Fortunately, I was able to snag a copy of Milliontown before it became unavailable. 

So, Brad, to paraphrase John J. Miller, host of The Great Books podcast, “What makes Frost*’s Milliontown a great album?”

Brad: it’s always good to start with John J. Miller, bookmonger extraordinaire and a man possessing excellent taste in music!  He’s also great to have a beer with.  Someday, Tad, we have to get you up to Hillsdale so you can meet your true brothers!

As to what makes Milliontown such a great album–there are, throughout the album, a million things going on at once, and it all could’ve readily have devolved into pure chaos.  But Frost* always holds all things together.  Indeed, it’s the genius of the band.  And, by the time we’re immersed in the opening track, “Hyperventilate,” we’ve been happily flooded with a wall of sound as well as outrageous digressions.  Again, though, it all comes together as a beautiful whole.

I’m really glad I sent you that video of Godfrey and Burke.  To me, that clip captures the essence of Frost*.  Playful yet professional. 


Back to Milliontown as an album.  Strangely, the first time we hear a human voice on the album, it’s a distorted recording that opens track two, “No Me No You,” and then the singer sings with absolute urgency.

Things slow down considerably with “Snowman,” track number three.  This song has almost a ballad feel, something that could’ve been from Genesis’s And Then There Were Three.

Things revive, rather seriously, with track four, “Black Light Machine.”  Yet, the lyrics are dark–about a psychopath.  The lyrics here really get into Steven Wilson territory.  Still, this is probably the poppiest song on the album, even though it’s a little over 10 minutes in length.  Again, a paradox of Frost*–combining the poppiest tunes with the darkest lyrics.

The hyperness of Frost* continues with the penultimate track of the album, “The Other Me,” a funky prog song, sounding a bit like Thomas Dolby and a bit like mid-period Tears for Fears. [the order of these songs, by the way, is different on different releases of the album.  My review, here, reflects the song order as on 13 Winters]

And, of course, this brings us to the greatest track of the album, the magisterial 26-minute, “Milliontown,” Frost*’s equivalent of “Supper’s Ready” by Genesis.

So, Tad, what makes you think this is a great album?  And, what are your thoughts about the individual songs?

Tad: Brad, for me the test of whether an album is great or not is simple: do I listen to it again after my initial experience of it? When I get a new album, I typically enjoy it for a week or so, giving it half a dozen spins. After that, it gets filed away and I’m unlikely to pull it out again. Some albums, though, stand the test of time, and I never tire of them. Genesis’ Abacab, Yes’ Going For The One, Big Big Train’s The Underfall Yard (among other BBT masterpieces), Glass Hammer’s Ode To Echo, Spock’s Beard’s V, Gazpacho’s Night, Steven Wilson’s The Raven That Refused To Sing are all albums that I return to again and again, and I always find something new to delight in. Milliontown also falls into that group.

I think it’s the perfect balance of pop appeal with the – as you so aptly put it – barely controlled chaos that makes this album so compulsively listenable. “The Other Me” is a great example of this – it features a chorus that begs to be sung along to, while underneath all kinds of weird noises are percolating and bursting out at odd times. Atonal, screaming guitars compete with beautiful piano lines, while the vocals veer from a whisper to a scream. It is a raucous, glorious roar of music, and I love it.

“Snowman” is another favorite. As you mentioned, it slows things down, with its very simple, almost childlike melody, but I’m a sucker for a pretty tune, and this is one pretty tune! Jem Godfrey’s production is perfect, keeping things relatively spare and open, which allows the vocals to feel more intimate.

I agree with you that “Black Light Machine” is very poppy, and I love that. It’s just an aural rush of exhilaration, which, of course, belies its dark subject matter. No matter, I enjoy every second of its 10+ minute length. Dec Burke’s guitar solo is outstanding here, as well.

And then there is the epic title track. Wow! Burke’s vocals at the beginning are simply haunting, while Godfrey’s keyboards carry the gorgeous melody. I am in awe of how so many perfect melodies spill out in the course of this one song. Godfrey was definitely plugged into his muse when he composed this song. The time flies by every time I listen to it –  there’s a frantic, swirling climax of everyone hurtling to a final whoosh!, and when you think it’s over, Jem closes things out with a very sweet coda on solo piano.

In his notes to the reissue set of Frost*’s first three albums, he says that he wasn’t happy with the original mix of Milliontown, so he rerecorded some parts and remixed it. I have to agree that as good as the original version was, the new version that was released in 2020 is better. 

Like Glass Hammer, Frost* has featured a rotating cast of members, but the one constant, Jem Godfrey, has meant that there has always been a recognizable Frost* sound. I think the current guitarist/vocalist John Mitchell is a terrific partner for Godfrey, but Burke’s work on Milliontown is superb.

Brad: Wow, Tad, this is an awesome response.  You really nail the genius of Frost*. Thanks for your comments about the individual songs, especially.

And, you’re right, of course, the band really centers around Jem Godfrey and his rotating cast of brilliant musicians.  

Have you had a chance to listen to Island Live yet?  “Milliontown” sounds just as wonderful live as it does in the studio, though the vocals are a bit muted on the recording.

I’m also in complete agreement with you about what makes a great album.  I’m with you–most albums get a few weeks of time on my playlist, then get filed away.  I have shelves as well as boxes of CDs–my favorites displayed in a glass cabinet.  

Certain albums, though–and your list is very close to mine–find themselves in constant rotation, and I come back to them frequently.  I would also put Milliontown in that constant rotation category, though, frankly, every Frost* album fits in this category.  I probably come back to Falling Satellites and Day and Age as often as Milliontown, especially when I’m on not infrequent long car drives.

A few months ago, I posted my top 200 albums–all ones I consider more than mere moments of time.  Frost* featured prominently.

I’m eager to know what the band is doing next.

Tad: Brad, I just finished listening to Island Live, and you are right – it sounds wonderful. The 2-cd/Blu-ray is already sold out, and it just came out in June of this year!

I also listen to Falling Satellites and Day and Age as often as Milliontown – the former is more pop, albeit a far more elegant strain than what passes for “pop” today – while the latter was my favorite album of 2021. Mitchell’s love of classic Police really comes through on that album.

Well, Brad, I think we’ve done Milliontown justice – I hope readers who are unfamiliar with it are moved to check it out!

Special Notes on How to Learn English

By Richard K. Munro, MA

SPECIAL NOTES ON ENGLISH LEARNING

Do you believe that English is easy or hard? Most would say English is a very difficult language. It is like learning two languages at the same time.  Nabokov, who learned English as an adult said famously, “learning English was like moving from one darkened house to another on a starless night during a strike of candlemakers and torchbearers.” I think Nabokov captured exactly the fear and confusion of people trying to learn English from scratch. Yet, Nabokov following another ESL student Joseph Conrad survived and became one of the great English language authors. Yes, English can be weird(peculiar). It can be understood through tough thorough thought, though! (Yes, that is correct English!) Can anyone think that English is (facile) easy, that is to say, it can be learned by a little effort or effortlessly? No. The truth is this: some things about English are easy and others are, to put it mildly, devilishly difficult.

The grammar of English is relatively simple. The word order (syntax) of English is regular. However, spelling English words and pronouncing English words can be a challenge as compared to the Spanish German, or Italian languages which are mostly phonetic. The scope of English vocabulary and the variety of its dialects is daunting. Spanish has regional dialects but none is so far removed from standard Spanish as English or American dialects are from Standard English.

But English is not a remote or exotic language but a language firmly in the mainstream of European/Western languages.  Therefore, if we use an etymological or “historical” approach to vocabulary development it will help the English speaker learn Spanish or French words but, furthermore, since many common Spanish or French words have cognates in academic English. Similarly, a Spanish or French speaker can also better (ameliorate) his or her English vocabulary the same way.

Of course, English has a huge (enormous) vocabulary. It takes much reading and study to understand and acquire these words and learn to PRONOUNCE them clearly. But, compared to other languages its grammar is relatively simple.

On the other hand, though READING English words may be easy to recognize and interpret, you have four jobs with every English word:

1)to understand the basic sense or meaning of a word (denotation)

2)to know how to pronounce it correctly; its diction (orthoepy)

3)To know how to spell the word (orthography)

 4) To understand additional senses of meanings of a word (connotations) or words that sound alike (homophones and homonyms!)

Number one and two are the most critical.

Many people have difficulty with English spelling (#3) their entire lives. Spelling is just a matter of practice and simple memorization.

Spanish is like a disciplined Roman Army organized, regular with very few silent letters.  English is more like a chaos of tribes or charismatic church revival by the river or clandestine poker game in a speakeasy. No one would ever say English was uniform or behaved like an Anglican tea or church service! English is more like a rodeo! Or New York baseball fans crying in unison, “BUM! BUM! BUM!” when the umpire made a bad call.

Number four –connotations- is very important and comes from regular reading, study, and analysis of words. Besides learning the connotations of words the learner must learn many idioms (or expressions) plus attain a certain level of cultural literacy so as to understand references and allusions found in stories, articles, and books.

English has an extraordinary richness (or wealth) of vocabulary, idioms, and expressions. It is not unusual for a word to have many synonyms that mean the same or NEARLY the same thing but each word may have a different nuance or shade of meaning that gives that word a special tone or a positive or negative connotation.

A house is a basic need or shelter, as is a residence or a habitation but a shack, hovel, shanty, cabin, tenement, wickiup, wigwam, teepee and Motel 6 do not evoke the same meaning as palace, mansion, palazzo, villa, country house, chateau, townhouse, penthouse apartment or Hilton Hotel. It should be obvious to anyone that the first group represents very humble habitations while the second group represents domiciles of varying degrees of luxury.

Reading English is not that difficult but understanding spoken English and speaking English clearly are difficult problems.   

I will present shortly another essay specifically on HOW TO LEARN ENGLISH, to PRONOUNCE IT and TO SPELL IT.  

Glass Hammer Takes Off For The Cosmos

Arise

Having just finished posting a discussion of three classic Glass Hammer albums, comes news of the upcoming release of a new album! Arise is the title, and it is a completely new direction – thematically – from the Skallagrim Trilogy that took up their previous three albums.

If there is one constant in the career of Glass Hammer, it is change. I am not aware of any musical group that is always pursuing new directions, both lyrically and musically as Glass Hammer. The miracle of them is the consistent excellence of their output, regardless of the path they take.

Arise is a sci-fi epic, and I mean a true epic. It follows the voyage of an android sent to explore some deep space anomalies. The mission is called Android Research Initiative for Space Exploration. As we travel with our android ARISE, we encounter exoplanets: some beautiful (Arion), and some seemingly malevolent (Proxima Centauri B). There is also a “curious anomaly detected at WASP-12” – a rift in space where mysterious entities bent on destruction are entering our universe.

Communications from ARISE eventually cease, but strangely enough, “inexplicable sightings of the presumed-destroyed spacecraft Deadalus have emerged.” I don’t know if this indicates that the saga of ARISE will continue or not, but it looks like there could be more to come.

Musically, the album is not as heavy as the Skallagrim Trilogy, but it definitely rocks. Wolf 359 features Hannah Pryor on lead vocals again and she sings beautifully over a relentless beat. Arion (18 Delphini b) is a bright, upbeat song featuring Babb and Pryor trading lead vocals. Mare Sirenum is a brief instrumental in the spacey “Tangerine Dream” mode that GH has become so good at producing. Lost begins as a bluesy jam and then transforms into a very ear-friendly tune sung by Pryor. Rift at WASP-12 is my current favorite track – it’s a blistering rocker with a great hook. Proxima Centauri B is slow-burning heavy rocker that has Babb’s terrific bassline mixed up front, and it sounds great. Arise clocks in at 11:44, and it is quite a good epic. It features Pryor’s best vocals on the album. The song slowly builds in intensity and when she sings, “So little time left to say this/So little time is left for anything/There is a light up in heaven/There is a light shining down upon man/See Him, know Him, love Him/See, feel/And know eternal truth” it is a truly cathartic moment. The album closes with a long instrumental jam that holds the listener’s interest from the opening note to the last.

Besides Hannah Pryor, Reese Boyd is back on lead guitar. Randall Williams handles drums, and overseeing the entire project is Glass Hammer’s cofounder, Steve Babb. He outdoes himself here, tackling keyboards, rhythm and lead guitars, bass guitar. percussion, and vocals. Cofounder Fred Schendel plays drums and guitars on WASP-12.

Musically, ARISE is a winner, offering moments of serene beauty as well as ferocious rock. Hannah Pryor really shines on vocals throughout, and Steve Babb is still the most inventive bassist in rock. The concept of the album fascinates me, as well. The hero of the saga, ARISE, is an android – by definition an artificial human. Yet, in every song, he (she/it?) seems capable of perceiving a spiritual reality. In Wolf 359, ARISE sings, “They say that God is watching over me/I’m not sure what He wants or what He hopes to see.” And in Arion (18 Delphini b), “Thank God I found it/Thank God you’re standing here with me.” At the end, even though communication from ARISE seems to have ceased, it appears that he is returning to Earth – perhaps in a resurrected form? Hopefully, this is not the last we hear from this tale. As with every Glass Hammer album, the lyrics provide much food for thought. 

Some Glass Hammer, Revisited

Hammer

In this post, Brad Birzer and Tad Wert have a conversation about a trio of classic Glass Hammer albums, Ode To Echo, The Breaking Of The World, and Double Live. Glass Hammer is a progressive rock group whose long career has encompassed many personnel and stylistic changes. The one constant has been the core duo of the group: bassist/keyboardist/vocalist Steve Babb and keyboardist/guitarist/vocalist Fred Schendel. It’s no secret they are among Birzer’s and Wert’s all-time favorite musical artists.

Tad: Okay, Brad, I’m responsible for this topic of conversation. Over the past few days, I have been revisiting some earlier Glass Hammer albums, in particular the ones that feature Carl Groves and Susie Bogdanowicz on lead vocals. In my opinion, these three are a high point in the long career of GH – a career that has many high points! 

I know that many fans love the albums with Jon Davison, and they are excellent, but for some reason, the blend of Groves’ and Bogdanowicz’s voices are very appealing to me. I also appreciate Kamran Alan Shikoh’s outstanding lead guitar on these songs. This was, relatively speaking, a fairly stable configuration, with Aaron Raulston on board with drums. He’s still with them today, and I think his work has lifted them into the premier ranks of prog rock.

Brad:  Tad, I’m so glad you initiated this conversation.  You’re right, I’m a huge fan, and I have been ever since Amy Sturgis (an academic friend) introduced me to Lex Rex while we were at a conference in Princeton many, many years ago.  Crazily, it was also the same moment that I got Radiohead’s Hail to the Thief.  What a bizarre mix!

At the time, she told me about Steve and Fred and said I might like what they were doing.  And, here I thought I was the king of prog rock knowledge, and I didn’t–at the time–know about this seminal American band!  How mistaken I was!

Since then, I’ve happily taken the deep dive into all things Glass Hammer.  I even had the chance to have dinner with Steve Babb several years ago–one of the finest nights of my adult life.  He’s an amazingly nice and creative person!  I’m proud to count him as a friend and ally in this crazy world.  The guy is not just a wizard at bass and composition, but he’s an accomplished novelist, father, husband, and band leader.

For what it’s worth, I even take some considerable time to thank Steve (and Big Big Train as well) as huge inspirations for my book project on Tolkien and the Inklings.  Truly, Glass Hammer and Big Big Train were the essential soundtrack to that book.

Given the long history of Glass Hammer–dating back to 1992!–the albums (all wonderful) you selected are what, I guess, we would call mid-period Glass Hammer.

I’m a huge fan of all three, and I think that Double Live especially showcases everything wonderful and mighty about the band.  Groves and Bogdanowicz are in rarest fine form, and I’ve rather publicly and happily proclaimed Bogdanowicz to have the single finest voice in prog rock next to the late David Longdon’s.  I still think this.  It doesn’t hurt that Susie is also a knock-out.

I know that lots of folks like Jon Davison, but, frankly, he’s just a little too effeminate and fey for my tastes.  I tried recently to listen to the new Yes album, and I couldn’t get past the first song.  Give me Groves and Bogdanowicz any day!

Tad: Brad, I agree with you about Double Live. Most concert DVDs I have I’ll watch once or twice, but rarely more. I have watched Double Live at least half a dozen times, and here’s the interesting thing – there are no flashy special effects, lasers, or smoke machines. It’s just six very gifted musicians at the top of their form, presenting a terrific set of songs. They exude relaxed confidence, and they obviously love playing with and off each other. I wish this lineup had lasted longer!

Okay, here’s another reason I picked these three albums to revisit: I think they contain some of the best lyrics GH has come up with. Let’s face it, even with just Babb and Schendel, they have an embarrassment of riches – both are extremely literate and thoughtful lyricists, who assume their audience has the intellectual capacity to appreciate their work. That said, I think Groves sets a pretty high bar on the songs he co writes, and spurs Babb and Schendel to even greater heights on their lyrics. For example, here’s some of Groves’ lyrics to Garden of Hedon (off of Ode To Echo):

The Garden welcomes you, ma’am

Please sit down and find twice as much as you’ll eat

Cornucopia of desires

Lying there at your feet

The Garden welcomes you, sir

Please relax and find everything you want

Very little of what you need

No bread, no water, no God

Or these from Bandwagon (off of The Breaking of the World):

“We care!” Isn’t that what you said from your ocean-front home?

I know it’s got to make you feel so much nicer

“Go and be warmed.” Oh such warm charity

And these words still with no action will soothe you

Soothe you

If that isn’t a prescient condemnation of our current plague of empty virtue-signaling, I don’t know what is!

Brad: Yeah, Glass Hammer is prog for the intelligent listener, and given that prog is already rock for the intelligent listener, GH is really, really special.  More on that in a moment.  

My only complaint about Double Live is that it’s only available on DVD.  I would love a blu-ray edition, especially given the fact that Steve and Fred are two of our greatest audiophiles.  Can you imagine what the blu-ray sound quality would be like?  Simply excellent.

One of my deepest dreams is to have Glass Hammer play at Hillsdale, especially given how outstanding our music program is.  The band could use our existing choral students.  Oh, this gives me goosebumps even thinking about it.

Back to lyrics.  I’m in absolute agreement with you, Tad.  These albums just exude a powerful confidence.  Babb has such a fictional and mythic quality to his lyrics.  Here, for example, is Babb on “Ozymandias”:

The sculptor ‘neath his gaze

‘Twould be a monument of praise

Thus he enshrined the royal sneer

Of him, this Tyrant-King of Fear

I kneel to wipe away the dust of years

With trembling fingers trace the words

Found etched upon its base

They said, “I am King of Kings

See my works and know despair!”

Yet broken now he lies forgotten!

Let’s turn and leave him there

Nothing remains but this colossal wreck of stone

Round it boundless, bare stretch wide the desert sand

Forgotten, he lies

Here, his legacy dies

On “Mythopoeia,” Babb readily captures the essence of J.R.R. Tolkien’s poem of the same name and the speech given by the grand professor at the University of St. Andrew’s in the late 1930s, “On Fairy Stories.”

Maker of myth with your rhyme you weave

A tapestry of tales untold in recorded time

And though the shadows draw near

He writes as if he sees the world bathed all in sunlight

Can he keep the fеar at bay

In hope of day eternal

Hе’s dreamt of a paradise

Ruled by a thing infernal

Sub-create!

A mortal yet strives in his fallen state

He fills his world with monsters

They hide round each corner

Plotting wickedness, wreck and ruin

He fills his world with monsters

For monsters filled his world

One last thing–at least for now–about Ode to Echo and Breaking of the World.  The art for each is simply gorgeous.  For whatever reason, I didn’t buy the t-shirt for Breaking of the World, but I proudly wear my Ode To Echo t-shirt.  Indeed, over the last couple of years, I noticed I was the only one wearing a Glass Hammer t-shirt at Devil’s Tower in Wyoming and at Yellowstone.

Tad: Brad I’m glad you shared Babb’s lyrics to Ozymandias, which is the perfect ending to Ode to Echo. And yes, the art for both of these albums is some of the best in their career. One last thing I’d like to mention – in Ode to Echo, they include a marvelous cover of Goffin/King’s Porpoise Song, from The Monkees’ Head soundtrack. What a great song from the psychedelic ‘60s, and they improve on the original. In their earlier album, Three Cheers for the Brokenhearted, they covered the Zombies’ classic, A Rose For Emily; it would be great if Babb and Schendel recorded an entire album of their psychedelic favorites!

Well, my friend, hopefully our paean of praise for this brief period of Glass Hammer’s career will spur our readers to investigate these albums. It’s been a blast revisiting them with you!

Rhys Marsh Finds Solace In “Towards the West”

Rhys-Marsh--Towards-The-West

Greetings, loyal Spirit of Cecilia readers! Brad Birzer and Tad Wert engage in another music-related discussion, this time focusing on Rhys Marsh’s latest album, Towards The West.

Tad: Brad, thank you for suggesting we do a dialogue on this album. As I listened to it, I was almost overwhelmed with its spare, emotional vulnerability. I visited Marsh’s website, and he explains there that he recorded this music not long after his father passed away. 

Brad: Thanks so much, Tad.  I’ve been a fan of Marsh’s for a while now, ever since I first heard his Karisma release, October After All.  And, I really like his work with Mandala.  

But, I’m in complete agreement with you.  Even the length of Towards the West is intimate–at only 38 minutes long.  The album feels like it could’ve been the funeral service for Marsh’s father.  It has an intimate aspect, but it also has a holy aspect to it.  

You’re absolutely right, I think, to call out its “spare, emotional vulnerability.”  The music strikes me very much as a mix between Mark Hollis’s solo album from 1998 and Kevin McCormick’s acoustic music.  It’s holy, haunting, and ethereal.

I really like the lyrics as well, and I’m glad Marsh decided to let the song lengths be whatever they needed to be.  So, on this album, we have 2 minute tracks and 10 minute tracks.  Every song is exactly what it needs to be.

What do you think of the lyrics, Tad?  I find Marsh one of the best lyricists out there.  Everything he writes is meaningful, and given that this is a tribute to his father, the lyrics are especially meaningful.  Certainly, I’d be honored if one of my kids wrote about me at this level!

Tad: Brad, I’m glad you mentioned the 38 minute length of Towards The West. One of the banes of the compact disc era, in my opinion, was the temptation to fill its 75-minute capacity with music. That’s great for classical music, but for rock – even prog with its epics – 75 minutes listening can be exhausting! So, yes, the relatively short length of Towards The West just adds to its heft. Okay, rant over.

As far as the lyrics go, I agree that Marsh has a true gift. You and I differ in this respect: I am drawn to melody first, then lyrics, whereas I believe you’re the converse of that. Marsh’s vocals here are extremely prominent in the mix, which means the lyrics are front and center. I listened to the album through headphones, and it was almost as if he were whispering in my ear. 

There are many gems to be treasured here. I particularly like “Your words will never fade/Our love will always stay”, from It’s Like You Always Said. That song also includes a cassette recording of Marsh’s father speaking. Another lyric is “We think of you and all the years we spent together/The things you’d say, and how we’d laugh…You picked me up when I was down and you helped me to see/The things that matter and those that don’t”, from We’ll See You Again. It sounds mundane, but it’s really profoundly touching when Marsh sings it. My own father loved nothing better than to crack a joke and make those around him laugh, so I could immediately connect with Marsh there.

Brad: Despite being a father to seven kids, I never knew my dad.  I was only two months old when he died.  My older brothers were age 8 and 5 when he passed away.  So, I love stories of dads!  I love hearing that your dad always wanted folks to laugh.  And, I really appreciate Marsh’s tribute to his father.  The album truly is moving, and the more I listen to it, the more taken I am with it.  It really does grab the listener from the opening notes and carries him/her through to the very end.  

I think my favorite part is toward the middle and end of “Cauterise” as the music builds up so perfectly, so beautifully.  By this point in the album, Marsh has earned the right to give us a wall of sound.  Especially after how spare the earlier parts of the album are.  It really is an amazing buildup.

And, again, this takes me back to an earlier point (made above).  This is truly an album.  Not just a collection of songs, but a coherent and cohesive concept album, a work of art from beginning to end.

I also really love the spiritual quality of “We’ll See You Again.”

Anyway, Tad, Towards the West  is truly one of my favorite releases of the year.  I’m not exactly sure what Marsh means by the title of the album, but it has a Tolkienian feel to me–Frodo, Bilbo, and Gandalf departing for the Blessed Realm.

Tad: Yes! Towards the West is an album, not a random collection of songs. Before we close, I’d like to single out Marsh’s choice of instrumentation for some appreciation. It’s primarily acoustic, with a lot of piano. Most of the time, things are relatively hushed and intimate; which, given the subject matter, makes sense. When Marsh introduces electric guitar and bass, it’s always in service to the overall sound already established. I love the rawness of the music in this album. These could be demos, in a way – very well-produced ones, at least.

Okay, Brad, I think we’ve done Mr. Marsh’s new opus justice. Those interested in purchasing a hard copy can do so at Burning Shed, linked here.