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The Tangent (For One) launch “The Single,” next track taken from ‘To Follow Polaris’  The Tangent recently announced the release of the new studio album ‘To Follow Polaris’ on May 10th, 2024. That’s not necessarily a surprise, that’s what the band are known for. But at the same time, it’s something else too. As Andy jokes, playing on the Jaws strapline, he says “well this time it’s actually no personnel”.Today, a brand new track aptly titled ‘The Single’ has been released, and you can watch the video here: https://youtu.be/mwdbLOerLH4Andy comments of the track: “’The Single’ was originally recorded by my previous band Po90 some 25 years ago now, on an album called ‘The Time Capsule’. In the spirit of that time capsule, I opened it a quarter of a century later and recorded this updated version of it with new lyrics added to the older version. The old Po90 version was the track that in a way defined what the Tangent would be and giving it the Tangent treatment was a great pleasure. It’s a song about the documenting of history and the new ways this is going to happen, both good and bad…”Watch the previously released video for ‘The North Sky’ here: https://youtu.be/x5CAzcKZXvA Watch Andy discuss the making of the new album here: https://youtu.be/Lbqa5QP77L4?si=b-Xji6zq8UheDJvF In a year when members of The Tangent could be seen onstage all over the world with Steve Hackett, Soft Machine, Karnataka, David Cross, It Bites, Cyan and others, plus on recordings by those artists and The Anchoret, The Michael Dunn Project, Argos and Retreat From Moscow, it became clear that there was not going to be time to get together for anything more than one gig in April 2023. So the band agreed that the band’s leader/main writer Andy Tillison would keep the material coming and would make an album by The Tangent entirely alone. It would still be The Tangent. Just for one. “Besides Which” Andy says, “I’ve always wanted to do this, use what I have learned from Luke, Jonas, Steve, Theo and many other alumni and take it to final production. Now was the time!” What transpired over the following year is in one sense an “absolutist” solo album and is entirely the work of one person in all aspects including artwork, layout, design, lyrics, composition, performance, recording, production, mixing, mastering and authoring. But in another sense it’s totally Tangent. “I could not have begun to make this record without having had the experiences of working with the band. So although the different instruments are not attempted to be played in the actual style of the normal lineup, they are inspired by the kind of things these guys do” ‘To Follow Polaris’ will be available as a Limited Deluxe Collector’s Edition CD Mediabook (including bonus track and extensive 24-page booklet, Gatefold 180g 2LP vinyl (also including bonus track), & as Digital Album. Pre-order now here: https://thetangent.lnk.to/ToFollowPolaris1.The North Sky 11:36 2.A ‘Like’ In The Darkness 08:19 3.The Fine Line 08:04 4.The Anachronism 21:01 5.The Single (From A Re-Opened Time Capsule) 05:51 6.The North Sky (Radio Edit) 03:42 7.Tea At Bettys (Bonus Track) 17:32  Produced between January and November 2023, the album features Andy using his multiple keyboards system as normal, but adds to the mix his first ever released performance on Bass Guitar and his second on stick driven (electronic) drums. Add electric and acoustic guitars and electronic wind controller and this is a full band recording in every sense of the word. A recording which shows Andy’s lifelong influence by artists such as Yes, Van Der Graaf Generator, Porcupine Tree, Groove Armada, Earth Wind & Fire, Roger Waters and his bands, Return To Forever, Deep Purple, Gentle Giant, Steely Dan and any band featuring the keyboard player Dave Stewart.Conceptually Andy claims the album is, ahem, “highly optimistic” but regular listeners to his work will anticipate correctly that this optimism will not be ill founded or over-easy and will be highly critical of obstacles to that optimism and the album will look as much into the dark as it does into the light.The album is intended to be thought of as a regular Tangent album – but not as the future of the band. It’s everyone’s intention to make the FOURTEENTH album as The Tangent. For Five.The Tangent online:www.thetangent.org https://www.facebook.com/groups/alltangentmembers/INSIDEOUT MUSIC online: www.insideoutmusic.com www.youtube.com/InsideOutMusicTV www.facebook.com/InsideOutMusic www.twitter.com/InsideOutUSA www.insideoutmusicshop.comINSIDEOUTMUSIC Spotify Playlist: http://spotify.com/progrockessentials |
Tag Archives: Music
Discipline-Era King Crimson: A Conversation
Greetings, Spirit of Cecilia readers! In this post, Brad Birzer, Erik Heter, and Tad Wert revisit three progressive classics: Discipline, Beat, and Three of a Perfect Pair, from King Crimson.
Tad: Brad and Erik, I am so looking forward to hearing your thoughts on these albums! We haven’t really delved into the incredibly large and diverse discography of King Crimson, and Discipline is a personal favorite of mine. It came out in 1981, after most fans assumed Robert Fripp had put King Crimson to rest for good. As a matter of fact, on their previous album, the 1974 live set USA, Fripp put R.I.P. on the back cover. That album is another favorite of mine, featuring the formidable lineup of Fripp (guitar), Bill Bruford (percussion), John Wetton (bass and vocals), and David Cross (violin). This is the same group that recorded Lark’s Tongues In Aspic (with Jamie Muir added on percussion) and Starless and Bible Black. This group was ferocious in its ability to improvise, but apparently it was exhausting for all involved.
So it was quite surprising when word got out that Fripp was rehearsing a new lineup for King Crimson: Bruford (again), Tony Levin (bass and stick), and Adrian Belew (guitar and vocals). I was a subscriber to Musician magazine at the time, and it started running a series of “diary” entries from Fripp that detailed his excitement (and worries) about the music they were creating.
As interested as I was in what this new iteration of KC was going to sound like, nothing could have prepared me for Discipline. I was familiar with Belew from his work with Talking Heads and David Bowie, but I hadn’t heard him sing before. I knew Tony Levin was a much-in-demand bassist, but I didn’t realize how much of a pioneer he was with the Chapman Stick. The shift in style from Starless and Bible Black to Discipline is one of the most radical metamorphoses in rock history. And what is so impressive is that they pull it off – pleasing long time fans and attracting new wave listeners.
When it came out, I was in college, and one of my suitemates got a copy. We listened to it several times in one evening, trying to understand what Fripp et al. were doing. To my ears, it was the perfect marriage of challenging, yet accessible rock. The cover art was understated and perfect: Bright red with a basic silver font simply stating, “King Crimson Discipline”, and a Celtic knot that isn’t easily untangled. Rhythmically, it was very straightforward. Melodically, it was almost minimalist in its composition, but it fit in comfortably with what groups like Talking Heads, The Police, Ultravox, and Simple Minds were producing. The more I listened, the more I was taken with it.
Okay, I’ve rambled on for too long! How did Discipline strike you, Brad, when you first heard it?
Brad: Tad, what a wonderful way to start us off. Thank you so much for your many good thoughts on this. Sadly, I won’t be able to match your good introduction. Yet, I loved reading about yours.
Though I grew up with progressive rock–Yes, Jethro Tull, and Kansas, in particular–I knew nothing about King Crimson until my college years. I didn’t start college until 1986 (and the three Discipline-era albums had already come out), and I first encountered the band through a radio station copy of Beat and, in particular, the song “Neal and Jack and me”–which I instantly fell in love with.
I remember being taken with the minimalist cover and diving into the music.
After encountering it at the radio station, I purchased a copy of Beat, and, from there, I bought Discipline and Three of a Perfect Pair. To me, these three albums have to go together, one followed by another. I really have a hard time thinking of any one of the three–red, blue, and yellow–in isolation from the other. As such, I came VERY late to In the Court of the Crimson King, and the albums had progressed so much that I had a very hard time thinking of “my” King Crimson as the King Crimson of “In the Court. . .” Much later, I would buy Thrak–which has far more in common with Discipline-era King Crimson than the original King Crimson albums.
I knew very little about Adrian Belew or Robert Fripp, but I’d been a long time fan of Bill Bruford because of Yes and Tony Levin because of Peter Gabriel. So, I was really curious as to what they were up to.
Additionally–should I admit this here???–though I never had a religious fundamentalist phase, I was returning to my childhood Catholicism (I’m what’s called a “revert” in Catholic circles) at the same time that I first encountered Discipline, Beat, and Three of a Perfect Pair, and I was really freaked out that the band named themselves after the devil! I thought, what a crazy thing to do. Why would you even mess with such a thing?
That stated. . .
I’ll do my best to focus on Discipline, though, for this dialogue. Tad, for better or worse, I often think of Discipline-era King Crimson as New Wave Prog, in the same way I think of Rush’s Power Windows, Yes’s Drama, or The Fixx’s Reach the Beach. It’s definitely progressive, but in such an early 1980s way.
Tad: Brad, I agree that Discipline, Beat, and Three of a Perfect Pair make a seamless trilogy. It must have been deliberate – look at the artwork for them: same font with a single icon on each. As a lover of symmetry, I have always been bowled over by this series of album covers. I even framed them when I was first married, and my understanding wife let me hang them on our den wall!
Your characterization of this music as New Wave Prog is perfect. I think you’ve created a hitherto unknown genre of music, but one that, with hindsight makes sense! At the time, it seemed to just fit in with all the weird and crazy music being produced in the early 80s.
Okay, let’s discuss the songs on Discipline. It opens with “Elephant Talk”, in which Belew bellows,
“Talk, it’s only talk
Arguments, agreements, advice, answers
Articulate announcements
It’s only talk”
while his guitar emits sheets of cascading sound. Levin lays down nimble basslines on his Stick, and Bruford plays a cacophonous yet steady racket on drums. All the while, Fripp is furiously pushing out scales on his guitar and creating a soundbed for the others to play on. Each verse is a list of synonyms for verbalizing in alphabetical order: the first is all A’s, the second all B’s, etc. This illustrates an aspect that I love so much about this iteration of KC: their sense of humor. Even though the music can be crushingly dense at times, there is a feeling of fun and sheer joy in it.
Erik: Like you, Brad, I was a latecomer to King Crimson – for the most part anyway. I do remember hearing Discipline once or twice when it first came out, but to use a Heinlein-ism, I absolutely did not grok it at all. So I put it aside for well over a decade and a half before finally revisiting it. In the meantime, I had purchased In the Court of the Crimson King, Lizard, and most importantly (for the purposes of priming the pump for Discipline), Larks Tongues in Aspic. While the latter is quite different from Discipline-era Crimson, if one listens close enough they can hear a few stylistic threads connecting them (and indeed, Three of a Perfect Pair includes Larks Tongues in Aspic Part III). If anything, I think the music of Discipline and the subsequent two albums is where they would have ended up anyway if they hadn’t broke up in 1974.
Another thing Brad – like Tad, I think your description of Discipline-era Crimson as New Wave Prog hits the nail on the head. The music has so much of that quality in other 80’s music that was described by the phrase once uttered by Yes’s Tony Kaye – dimensionally sparse. No previous Crimson album ever left as much space between the instruments as Discipline and its two successors did. This description applies to a majority of the album, with the notable exceptions of Indiscipline and Thela Hun Ginjeet. Because of this approach, Discipline fit in with the contemporaneous music of the early 80’s as well as the early Crimson albums fit in with that of the early 70s.
What makes these albums familiar to Crimson fans was the presence of Fripp and Bruford, who were well-established by the release of Discipline. What made them fresh was the presence of newcomers Belew and Levin. Belew brought in the quirky, New Wave-y 80s vocal stylizations that he learned during his time with the decidedly non-prog Talking Heads. Meanwhile, Levin brought in not only a new way of playing bass, but also introduced to Crimson the Chapman stick and the new sounds that came with it. When it was all thrown into the same pot, the result was a type of music that was eclectic and often intricate.
If I had to pick some favorite songs off of the album, there are three that really stand out to me. First is the easy, breezy Matte Kudasai, the uptempo romp of Thela Hun Ginjeet, and the instrumental The Sheltering Sky. The latter two of these tracks include some of the best percussion work Bill Bruford has ever performed in any of the bands he’s been in – which is quite a statement considering his pedigree. In Thela Hun Ginjeet, Brufords drumming comes in fast and furious yet with exquisite precision. In The Sheltering Sky, Bruford’s percussion is almost understated and yet still manages to demand the listener’s attention. This track also includes both Belew and Fripp on the weird, wonderful guitar synthesizer.
I’m still relatively new to the latter two albums of this trio, so I’ll visit those in my next entry. For now, back to you guys!
Tad: Erik, thank you for your insights on this album! I’m glad you brought attention to Bruford’s contributions. One thing I remember from those articles Fripp published in Musician is how he kept trying to rein in Bruford, because he wanted this music to be disciplined.
If I had to pick my favorite songs, it would be “Frame By Frame” and “The Sheltering Sky”. In the former, I really like the relentless groove that Fripp, Levin, and Belew set up, while Belew’s and Levin’s vocals hover delicately above it all.
I agree with you about Bruford’s excellent percussion work in “The Sheltering Sky” – I have a DVD of a concert they performed at the time this album came out, and Bruford is masterful on congas while Fripp wigs out on guitar. I love the way the song takes its time building – it’s quite a while before Levin enters on Stick, and when he does, it brings the music to another level. I don’t think Fripp ever had another guitarist as empathetic as Belew was with him. The two of them traded phrases off each other as if they were of one mind.
Fun fact: “Thela Hun Ginjeet” is an anagram for “Heat In The Jungle”!
Brad: Dear Tad and Erik, what excellent responses. One of the things I love most about Discipline is that it starts off with the utterly bizarre “Elephant Talk.” The band could’ve easily and victoriously started the album with the much more radio and listener friendly “Frame by Frame.”
Instead, they begin with the offbeat one. Again, I love this about the band. They definitely define their own path.
I’m not sure I have specifics about this album. Again, to me, it’s an intimate part of a trilogy of releases, and, Tad, I love that you had the artwork displayed. What would we do without our loving and forgiving wives!
And, I would agree, my favorites among these tracks are “Frame by Frame” with its relentless roar, and “The Sheltering Sky” which feels like a Talk Talk song from the same period, at least in terms of its rhythm.
I mentioned this above, but my favorite album of the trilogy is Beat, as it combines the weirdness of “Elephant Talk” with the accessible and intense sounds of “Frame by Frame.”
“I’m a 1952 Studebacker coupe!”
But, I also really love the title track of Three of a Perfect Pair. So wonderfully quirky.
Tad: It’s a tough call, but I think this iteration of King Crimson is my favorite. At least, I come back to these three albums more than any others in Crimson’s long, long career. I don’t think Fripp ever assembled a more talented crew than these four guys, and they are at the top of their game. I never saw them live, but as I mentioned, I have a couple of concerts on DVD, and they make this difficult music look effortless.
As I have revisited this trio of albums in order, I’m struck by how much the “accessible” songs sound more accessible, while the “out-there” songs are more and more out-there. Brad, maybe that’s why Beat is your favorite – it hits the sweet spot between pop and experiment. While it contains beautiful and gentle love songs like “Heartbeat” and “Two Hands” it also has the atonal and terrifying “Requiem”. I think that’s why this iteration of King Crimson packed it in after Three of a Perfect Pair; by the third album, “things fell apart; the center couldn’t hold” (to paraphrase Yeats!). That album contains their most pop song ever, “Sleepless”, while also giving us “Industry”, which is close to pure noise in places.
Erik: While my familiarity with Discipline dates back to about the mid-90s, Beat and Three of a Perfect Pair are both relatively new to me. Yet one thing that strikes me is the consistency of sound across these albums – it’s almost as if they could have all been released as one triple album instead of as three separate albums. From a production standpoint, these albums really stand out as being of a particular time. One odd thought I’ve had listening to these – particularly Beat – is how similar the production (not the music!) was to the first two solo albums of Robert Plant. Indeed, I had to go back and look it up to find out who the respective producers were, but they were different. It must have been just something in the air at the time.
Another observation about these three albums – they mark some of the best, if not the best work of Bill Bruford in his entire career. As a hardcore Yes fan, I do not say that lightly. One great example of this is Sartori in Tangier from Beat (which, for some reason, I keep reading as Santoni the Tiger … I think I need some Frosted Flakes, but I digress). Another is Sleepless from Three of a Perfect Pair. Sleepless is also one of the songs in this trio that includes Tony Levin’s use of the Chapman Stick, along with Neurotica and The Howler (from Beat), as well as Industry and the title track of Three of a Perfect Pair.
All that said, by the end of Three of a Perfect Pair, I start to hear a certain sameness in the music, and thus it’s not surprising to me in retrospect that Fripp broke up the band again. Maybe that’s just how Fripp worked best, in bursts followed by long breaks. I do get the impression he wasn’t easy to work with, and have read that both Bruford and Belew were a bit miffed when Fripp split them up again in 1984.
That being said, I don’t want to close on a sour note, so here goes. You guys, being in the same age range as me, might remember the early 80s TV show Fridays, which was basically ABCs attempt at creating their own version of Saturday Night Live. Both had the same format – sketch comedy, a “news” break, and musical guests. And on one glorious night during the 81-82 timeframe, they had as their musical guests Fripp, Belew, Levin and Bruford, under their collective name of King Crimson – preserved for posterity thanks to YouTube. Enjoy!
It’s Easy to Like “The Likes Of Us”
There are a select few artists that Spirit of Cecilia will always love and greet with joy any new release. One of them is Big Big Train, who have just released a new album, The Likes Of Us. Big Big Fanboys Brad Birzer and Tad Wert discuss this latest chapter in their long and varied career, and what it means for BBT’s future.
Tad: Brad, my fellow Progling and good friend, it’s always big news when Big Big Train graces us with new music. I have you to thank for making me aware of this wonderful group of musicians. It was when The Underfall Yard had just been released, and we were connecting via social media. You insisted I check them out. I had never heard of BBT, and it was an ear-opening experience to explore all of their music. I fell in love with The Difference Machine along with The Underfall Yard, and the rest is history.
As I became familiar with their career, I soon learned that The Underfall Yard was the first album to feature vocalist David Longden. He, along with founding member Greg Spawton, went on to produce some of the finest albums of the 2010’s: English Electric, Folklore, Grimspound, Grand Tour, Common Ground. And then tragically, David Longden passed away. I was afraid this was the end for BBT as we knew them.
However, they found a new vocalist, Alberto Bravin, and have recorded a new album! Brad, I’m really interested in hearing your first impressions of this iteration of BBT. Is it a worthy successor to previous ones?
Brad: Dear Tad, thank you so much for this, and my apologies (as usual) for being late in replying. Things have been chaotic (good and bad chaos, it turns out–one so quickly and readily becomes the other) in the Birzer household. Let’s just say, I’m not unhappy to see February 2024 in the rear-view mirror, and that all ills (flu and otherwise) have found happy resolutions!
As I type this on my laptop, I sit beneath an original Jim Trainer painting from The Underfall Yard that proudly adorns my college office. Below it is an award I won over twenty years ago, and above it is an original photo of Geronimo. Next to it is a signed and framed autograph from Neil Peart.
I first encountered The Underfall Yard fifteen years ago. Our very own Carl Olson sent me a mix of his favorite tracks of 2009, and a song from the TUY album was included. To say I was floored would be the understatement of my adult life. I immediately ordered the full album, and I was completely blown away by its brilliance, its creativity, and its unique voice. As to the latter, there’s nothing quite like a classic BBT sound–a perfect mixture of exhilaration and melancholy. I also immediately emailed Greg Spawton, who kindly responded. For years, we had a fairly serious correspondence. We even sent each other books we each loved. I cherish those emails and that friendship.
From there, I closely followed the band, and, as I’ve noted elsewhere, we founded Progarchy originally as a BBT fansite. Years later, you and I collected our various essays on the band and e-published Dream of the West through Amazon. That little e-book did very well, I’m proud to say, and I’m deeply honored that our names will always be linked together, Tad. I also had the chance to praise them at National Review, at The Imaginative Conservative, and elsewhere.
This is all a very long way of stating that I’ve followed the band as closely as possible for a decade and a half. I’ve cheered with and for them, and, with the immense loss of David Longdon, I’ve mourned with and for them.
They’ve been a part of my life as much as anything else (except for family) over the past fifteen years.
This past weekend, BBT played its very first show in the United States. It was in Fort Wayne, Indiana–just a 1.5 hour drive for me–but I was, crazily, already committed to leading a seminar/conference in Philadelphia, a commitment I made.
Ok, Birzer, shut up and tell us about the new album!!!
To be sure, BBT has had a rough couple of years, and many folks have wondered if the band could recover after the tragic loss of vocalist David Longdon. Additionally, many of the essential bandmates–such as David Gregory–had left the band for a variety of reasons.
The Likes of Us proves that BBT is more than the sum of its parts, an idea and concept as much as a concrete band. Whereas the band was once incredibly and quirkily English, it is now quite cosmopolitan and, well, trans-Atlantic. I write this last bit with only the slightest bit of irony, as the new album has, in part, a Neal Morse/Spock’s Beard feel to it.
Tad: Brad, as always, I appreciate the context you provide for your love of BBT. I think you have hit the nail on the head with your preceding paragraph: Big Big Train is an idea and concept now, much like King Crimson and Yes are. The personnel may change, but there is definitely a constant thread through all of their albums that makes each one a uniquely “BBT” work.
As I write this, I am listening to “Beneath the Masts”, Greg Spawton’s ode to the radio masts that dominated the landscape of his childhood. As long as Greg is involved, BBT will always be BBT. He truly has been the anchor of the band, regardless of who sings or plays guitar.
I am intrigued with your reference to Neal Morse/Spock’s Beard. I love their music as well, but it has always been more, hmm… turbulent, than BBT’s in my opinion. BBT’s music has, until this album, always struck me as being pastoral. Kind of like Vaughan Williams’ music is in the classical realm. I could see BBT performing “The Lark Ascending”, but never Spock’s Beard, if that makes sense!
Okay, let’s talk about The Likes Of Us! I love the opening chords of the first song, “Light Left In The Day” – the acoustic guitars are reminiscent of Steve Hackett-era Genesis. It soon develops into quite a majestic production, and, now that you’ve mentioned it, I really hear that Morse influence in it. Another favorite moment is the seamless segue into “Oblivion”, which is a terrific rocker. According to my Spotify app, I’m not alone in really liking this track – it far and away has the most listens. I think it’s a great choice for the single, because the melody is so appealing. Bravin’s vocals are superb here, and despite my initial impulse to compare him unfavorably to Longdon, I think he does a fantastic job leading the band. He’s a wonderful choice to replace an irreplaceable artist, and I am excited for BBT’s future.
“Beneath the Masts” is the big epic, clocking in at 17:26. I have to admit that after several listens, this one hasn’t resonated as deeply with me as previous long-form BBT songs have. It’s very pretty, and there is nothing to not love, but for some reason it’s just not sticking in my memory. However, I do especially like the bit at around the 15:00 minute mark where, after a relatively quiet section, the whole band comes in again and Bravin lets loose with some very good vocals.
“Skates On” reminds me the most of “classic Big Big Train”. It’s just a delightful little tune with wonderful vocal harmonies. The lyrics celebrate going out and having some fun: “Enjoy the Ride/It’s time to get your skates on/We’re here then gone”. I think the more I listen to the album, the more I enjoy this track.
Alright, I’ve written enough – what are your thoughts on the new songs?
Brad: What a wonderful and thoughtful response, Tad. Thank you. Whenever I get a new album–especially if you and I decide to review it–I immerse myself into it fully, allowing it to wash over me multiple times before writing about it. For whatever reason, I had a really hard time getting into The Likes of Us the first few times I listened to it. I definitely heard a Spock’s Beard influence (the new singer sounds VERY much like Nick D’Virgilio), but my initial thoughts were that the band–now labeled as an “international progressive rock collective” had lost its distinctive English voice and that the band was producing someone one might call “generic prog.”
As I’ve continued to listen to the album, though, I think I was very wrong in my initial assessment. The band has definitely lost its distinctive English voice, but it has also adopted a new one and one that is truly international. And, frankly, it’s quite beautiful in its own, new way. The band really has become something more than it was.
And, you’re right, of course, Tad. The center of the band–from its beginning–has always been Greg Spawton. He’s the touchstone and fountainhead of all things BBT. With his bass, his songwriting, and his voice, he will always define BBT whatever other members are there. I’m so glad you reminded all of us of that.
This said, I’m now utterly taken with the first three tracks of The Likes of Us: “Light Left in the Day” (a pastoral gem for the first few minutes), “Oblivion” (a NVD rocker), and the magisterial “Beneath the Masts” (what BBT does best–long-form prog). Like you, Tad, I love the segue between tracks one and two, and I also agree that “Beneath the Masts,” while excellent, does not quite live up to “Broken English,” “The Wide Open Sea,” or “The Underfall Yard.” Still, it’s close, and, frankly, it’s a privilege to hear such prog beauty, especially when it comes from Spawton’s pen.
As you note, “Skates On” is simply a delight, something that might have appeared on Grimspound or The Second Brightest Star.
Tad: Brad, I’m glad you have had a slight reassessment of the album, and it looks like you and I are in agreement that the first “side” (if albums can have “sides” these days) is really nice. As far as the final four tracks go, “Miramare” is the standout song for me. The vocal harmonies are wonderful, and the guitar solo is very tasteful.
In the press release that came with the album, the band remarks that this is the first time in a long time that the members recorded the songs together in the same room: In May 2023, six members of Big Big Train left their homes in England (Spawton and Lindley), the United States (D’Virgilio), Sweden (Sjöblom) and Norway (Holldorff) to gather for a week in Bravin’s home town of Trieste in north eastern Italy, at Urban Recording, a studio recommended by Alberto, to lay down the basic tracks. Being face to face in a room, as opposed to emailing sound files, the intimacy of the process generated moments of inspiration that would otherwise have gone unheard.
The process would prove emotional. “There were some tears; I cried a few of my own,” recalls Nick D’Virgillio, the band’s drummer since 2009. “There are many reasons to explain why we hadn’t worked that way in quite a while, but the process brought out the best in everybody.”
I’m glad that they took the time and trouble to work in person – that bodes well for future music. I always think songs are improved when musicians can bounce ideas off each other in real time.
Well, I think that is a good place to wrap this one up, Brad. I’m going to say that The Likes of Us will probably be thought of as a transitional album when put in the context of their long career; they have successfully incorporated a new vocalist/songwriter into the fold, while maintaining ties to their past. It will be interesting to see what they produce in the years to come!
Haunted by No-Man’s Schoolyard Ghosts
Greetings, Spirit of Cecilia music lovers! In this post, Brad Birzer and Tad Wert revisit a classic No-Man album, Schoolyard Ghosts, from 2008.
Tad: Brad, I’m so glad you suggested we discuss this album. I picked it up when it first came out. I had just discovered Steven Wilson’s Porcupine Tree, and I was snapping up anything I could find that he was involved in. No-Man is certainly different from Porcupine Tree, but Wilson and Tim Bowness make beautiful music in their own way.
As I listened to this album once again, I was struck by how calming it is (with the exception of that raucous opening to “Pigeon Drummer”). For me, “Truenorth” is the standout track. When I first got Schoolyard Ghosts, I didn’t take the time to appreciate how great a song it is. It slowly unfolds for nearly 13 minutes, but it never lags. Tim’s vocals are so hushed and warm, while Steven’s acoustic guitar accompaniment is perfect.
Brad: Tad, thanks so much for such a brilliant opening to this dialogue. I think you nailed it all very perceptively. And, I’m with you on all of this.
The best way to describe the music is, as you so aptly put it, “hushed and warm.” Delicate and lush also come to mind as descriptives as well, though delicate might be taken as derogatory by some readers. I certainly mean it in only the most positive sense.
This was my first No-man album, and, at the time it came out, I was buying basically everything that the label Kscope was producing. I had already been a Steven Wilson fan–since 2002–but I’d not delved into No-man for some reason. Porcupine Tree, yes. Blackfield, yes. But, bewilderingly, not No-man. This, of course, all changed with Schoolyard Ghosts.
Indeed, Schoolyard Ghosts rather blew me away in 2008, and it continues to do so over a decade and a half later. I never grow tired of this album. I love the lilt of the instruments, Bowness’s plaintively gorgeous vocals, and the fine production of the music. I also love the vocal harmonies that Bowness and Wilson create.
I can state now, in 2024, that I’m as much a fan of Tim Bowness as I am of Steven Wilson–which is saying a lot for anyone who knows me.
Since 2008, I’ve pretty much devoured everything that Bowness has written and released. I’ve come to the conclusion that he’s our generation’s Mark Hollis. He was definitely influenced by Hollis and Talk Talk. One can hear it in his phrasing and in his lyrics. It’s clear that Bowness is in love with words as much as he is with music.
Bowness also reminds me very much of our own Kevin McCormick. What an incredible team they would make.
Tad: Yes, Brad, the ghost of Mark Hollis is definitely present here! I find it interesting that Schoolyard Ghosts was your first introduction to No-Man. Mine was 1994’s Flowermouth, which was the only No-Man title available at my local used record store. It’s very poppy – almost like Pet Shop Boys – and as I completed my No-Man collection, it became clear that every album had its own unique identity. Initially, I was disappointed that Bowness and Wilson didn’t sound more like Porcupine Tree, but why should they? Wilson has always been a lover of many different genres, and No-Man was a completely different entity for him than PT. As a matter of fact, No-Man was more popular, sales-wise, than PT, which, at the time, was more of a side project.
Okay! Back to the topic at hand. I’ve been listening to the 5.1 surround mix of Schoolyard Ghosts, and it is really good. There are no obvious “whooshes” from front speakers to back and left to right, but rather various sounds pop up and fade away behind me, like the static that closes out “All Sweet Things”, the steel guitar in “Song of the Surf”, or some gentle beeps in “Streaming”. The percussion in the middle section of “Truenorth” has enhanced echo, which is nice.
Speaking of “Truenorth”, I have to say again that this is a near-perfect song! The 12:48 album version puts the single version to shame. I love the “Sweet surrender to the night” section that closes it out – it brings the song to such a melodically satisfying conclusion.
The only – literally – jarring song on the album for me is “Pigeon Drummer”. In the right context, I can appreciate raucous dissonance, but “Pigeon Drummer” feels out of place on this album. Based on Wilson’s and Bowness’s delightful podcast, The Album Years, I know they both love avant-garde music and musique concrete. However, I think that song messes with the overall flow of the album. Tell me why I’m wrong, Brad!
Brad: Tad, I’m really impressed that you go all the way back to 1994’s Flowermouth. Do you remember how you came to it? I’d love to read that story.
I don’t want to make too much of the Talk Talk connection, but I really feel that “Pigeon Drummer” is No-man’s take on “Desire” from Spirit of Eden. In that context, to me at least, the song makes perfect sense as a necessary break in an otherwise very delicate and haunting flow. It’s intentionally jarring, thus making the rest of the album even more beautiful. In fact, one of the many things I love about this album is the intensity of the overall flow.
I’m in complete agreement with you regarding “Truenorth.” It is a stunning piece of music, perhaps perfect, even. It builds so well. I must admit, it reminds me of an updated Traffic tune. Not as jazzy as Traffic, of course, but still in a Steve Winwood/Dave Mason vein. And, I love the lyrics:
You survived another winter
You survived where nothing grew
The days felt cold and never changing
So you just slept the whole way through
When you think about the future
It’s like the past, but hard and small
An old idea you stole from someone
A borrowed dream that’s born to fall
Take a taxi through the snow
Tell them you love them –
Don’t let go
Through the tunnel moving slow
Tonight’s there’s nowhere
You won’t go
You survived yourself
You survived inside the lost world
The dreams of love
And, to be sure, I really love the lyrics to the opening track, “All Sweet Things”:
The run-down streets, the civil wars
You don’t go there anymore –
It’s how you used to live
The trampled hopes, the made-up laws
The itchy feet, the pub quiz bores –
It’s so hard to forgive
Weekend slimmers count their chains
Still wanting someone else to blame
You watch them come and go
Empty nightclub escapades
They tell you more than words can say –
That open doors get closed
The empty rooms, the empty house
Someday soon, you’ll work it out –
Still finding the way back home
The schoolyard ghosts, the playtime fears
You take your pills, they disappear –
The people that you’ve known
I’m curious who wrote these, Bowness or Wilson. Either way, they’re fantastic.
Tad: Brad, Flowermouth was my introduction to No-Man, because it was the only No-Man album I could find at the record store, and I couldn’t wait for it to be delivered from an online dealer!
Thank you for sharing the lyrics to “Truenorth” and “All Sweet Things”. I think Bowness must have written the ones to “Truenorth” at least, because there is a sweetness (for lack of a better word) to them that I can’t see Wilson pulling off. His lyrics are usually much darker, which is why he might have had a hand in “All Sweet Things”.
“All Sweet Things” is my second-favorite song on Schoolyard Ghosts. It’s a nice opening track, because it sets the mood for the entire album. It has a beautiful melody which slowly unfolds. The mostly acoustic instrumentation is very warm (there’s that adjective again!) and inviting.
I’ll concede your point in defending “Pigeon Drummer”. Without the tension it adds to the overall mix, the album would probably suffer from a sameness in style and atmosphere. You can’t appreciate calm beauty without a little harshness to get through!
Brad: Tad, thanks for such a great dialogue. I was really happy to revisit Schoolyard Ghosts, and it’s always excellent “talking” music with you. As you’ve pointed out here and elsewhere, modern music simply would not be where it is without Bowness and Wilson. Each have contributed so much–as creative talents and as analysts. The current issue of PROG magazine has an excellent article on early No-man. As Wilson notes, the two would rather talk Spirit of Eden than hit the club scene. Amen.
Tad: Amen, indeed!
We Really Like The Bardic Depths’ “What We Really Like In Stories”!
In this post, Kevin McCormick and Tad Wert discuss The Bardic Depths’ new album, What We Really Like In Stories. It is the third album from them, and it features songwriting by Dave Bandana and Gareth Cole, with lyrics by Bradley Birzer.
Tad: Kevin, it’s great to be reviewing this album with you! I know you and Brad go way back in your friendship – did you ever imagine he would someday be the lyricist for a British progressive rock group?
Kevin: Thanks Tad–great to be writing it with you as well. It was definitely a surprise when Brad first mentioned he was writing lyrics for a rock recording—we had a good laugh! But in retrospect it seems a natural step. We shared a love of the early prog music from the start of our friendship and he writes constantly, albeit in a more academic setting than rock lyrics. So it’s not as much of a stretch as you might think. One of his favorite aspects of Tolkien’s and Chesterton’s writings are their poems. And he’s a huge fan of T.S. Eliot. But I think his collaboration with Dave on the Bardic Depths albums is a great fit and I’ve enjoyed watching the development of the concepts and sounds over the years. You know, the first album started out as just a friendly experiment. Dave had some music he had written and asked Brad for a lyric to put with it.
Tad: Kevin, I always enjoy learning the “behind the scenes” details of albums, so thanks for sharing those.
Okay! Let’s talk about What We Really Like In Stories. As I mentioned, this is the third album from The Bardic Depths, and I think they just improve with every release. I really, really like this one. First, I think these are the best lyrics Brad has written yet. Every song is a tribute to an author, and taken as a collection they illustrate Brad’s love for various genres, primarily fantasy and science fiction. The title track refers to C. S. Lewis and J. R. R. Tolkien, who are responsible for two of the most popular fantasy series of the twentieth century: The Chronicles of Narnia and The Lord of the Rings, respectively. Birzer imagines them discussing their literary aims over a drink and a smoke in the local pub:
Could we write fiction
That might combine these things:
A love of history; a desire to debate the defenders of the modern world
Promote one’s philosophical and religious thoughts
Could a modern writer create art but not be over blatant?
“You’ve Written Poetry My Boy” is about Ray Bradbury (The Martian Chronicles, Something Wicked This Way Comes, The Illustrated Man, among many others), and refers to some praise that Aldous Huxley gave him. “Vendetta” is dedicated to Alan Moore, who put together the graphic novel, V for Vendetta. “Old Delights” is a delightful little song in honor of midwestern American author Willa Cather, while “The Feast Is Over” recognizes the genius of pulp writer Robert E. Howard (Conan the Barbarian stories). “Stillpoint” pays tribute to Walter M. Miller (A Canticle for Leibowitz), and the last track is about British fantasist Robert Rankin.
In other words, this is a very literate collection of songs, and they celebrate some of the greatest bards of modern times. I was an avid reader of Bradbury, Lewis, Tolkien, Howard, and Miller when I was in high school, so it is a joy to see them properly honored by The Bardic Depths. I’m not familiar with Rankin’s work, but I am certainly going to check him out now.
Kevin: Without a doubt this new album is a real step forward for the band. Everything from the songwriting, to the instrumental performances, to the production is excellent. You can see the maturation process as the band really seems to blend and complement one another so well. The vocal harmonies are tight and solid. The lead lines are powerful and expressive and carry the songs into new spaces.
I think my favorite track at the moment is “You’ve Written Poetry My Boy.” It opens with a beautiful arpeggiating twelve-string guitar evoking memories of early Genesis. But it is soon joined by an equally-beautiful soprano sax (if this is a keyboard patch it’s an extremely natural sound). The unlikely pairing dance around each other’s lines and set up the entrance to the tune proper. Again there are hints of Genesis here, but the band seems to have found a sound of their own. And I love the variety in the instrumentation–string pads, piano, organ, and I think I hear some harpsichord in there. And then mid-song there is a shift to a minor section which briefly darkens the mood and serves as a platform for a sax solo, only to pass through back to the main theme. Shifts like this can be clunky sometimes in prog bands, but TBD avoid this pitfall by carefully crafting the transition compositionally.
Overall I must say that I hear hints and suggestions of so many great prog bands throughout this album. Those hints position the album in a space that sits well with other classic recordings yet still retains its own voice. Moments of the Floyd and Supertramp peak out here and there, and there’s a bluesy hard rock sensibility in the final track, “Whispers In Space,” and some even some techno in Stillpoint. Some of the vocal work has shades of Big Big Train. But again, there is a TBD color in the sound that holds everything together as a part of the larger work.
Tad: Kevin, I knew you had excellent taste – “You’ve Written Poetry My Boy” is my favorite track as well! And that is Peter Jones on clarinet and alto sax. I too hear glimmers of classic Genesis (the Steve Hackett years) in this song, and I find that very appealing. There’s no wonder they chose this track to be the first single.
I also want to give a shoutout to Gareth Cole’s guitar work throughout the album – it is truly stellar. His solos in Vendetta are spectacular – driving, melodic, and pure. His slide guitar in “The Feast Is Over” is terrific!
To wrap things up, I think we can agree that What We Really Like In Stories is a big leap forward for a group that improves upon excellence. They seem to have really gelled as a unit – Dave Bandana, Gareth Cole, and Brad Birzer are at the top of their form as far as songwriting goes, and Peter Jones’ vocal and instrumental contributions are wonderful. I also like Dave’s vocals on “The Feast Is Over” – he’s got an “everyman” sound that is quite inviting.
Before we close, I’d like to mention how interesting Kevin Thompson’s artwork is. The style is somewhat primitive and whimsical, which complements the songs perfectly. Stylistically, it reminds me of the cover art for the Beach Boys’ Smile album. Thompson’s painting is of a cozy room with a fire blazing away, and piles of books on a table. The authors are the ones featured in the songs, and there are needlepoint hanging that spell out the “The Bardic Depths” and “What We Really Like In Stories”. I’m intrigued by the clock on the mantel: the numbers aren’t the standard 1 through 12! Instead, they run 2, 3, 5, 7, 11, 13, 17, 19, 23, 29, 31, 37.
What We Really Like In Stories is a contender for album of the year in my book. The subject matter of the songs is thought-provoking while remaining playful, while the musicianship is first-rate. This is one album I’ll be enjoying for years to come.
Here’s the video for “You’ve Written Poetry My Boy”:
Heart Land Mines, Vol. 1: Dave Kerzner’s Love Letter to the Past
In this, our latest dialogue, Brad Birzer and Tad Wert discuss the new album from the multi-talented Dave Kerzner, Heart Land Mines, Vol. 1. Kerzner has been involved in many different projects, all of them excellent. Besides his solo albums, he was also a member of Sound of Contact, Arc of Life, and In Continuum. He rivals Neal Morse and Mike Portnoy in the number and variety of musical ventures he participates in.
Tad: Brad, when I read Dave’s liner notes to Heart Land Mines, Vol. 1 and saw that these were songs from the 90s that he wrote after a relationship with a girlfriend broke up, I had low expectations. But I have really enjoyed this album from the first time I listened to it! It doesn’t hurt that Kerzner has a great ear for a musical hook – “Dreaming In LA” sounds like classic Bad Company to me, but better.
This album is proggy – Kerzner’s voice has that laconic quality that always recalls David GIlmour – but it’s primarily a straightforward rock album that would be at home on an FM radio station in 1975. There’s a lot of acoustic guitar – “Back To One” sounds like an Eagles hit with its vocal harmonies. Anyway, maybe I’m emphasizing its retro qualities a little too much, but I find myself really taken with them!
Brad: Tad, thank you so much for asking me to do this review of Kerzner’s Heart Land Mines. I’m sorry to be late in replying. Since you first invited me to write this, I’ve been to the University of Louisville and back. Not quite Tennessee, Tad, but still a beautiful city and state! I gave lectures on sociologist Robert Nisbet and fabulist J.R.R. Tolkien, and I had a blast while I was there–especially seeing one of my long-time friends, Gary Gregg. He’s not a progger, but he is a brilliant guy.
As far as I know, I have everything Kerzner has released (at least if bandcamp is to be believed), and I’ve been a huge fan of his since the deluxe edition of New World came out. Wow, do I remember when that came out–I was utterly blown away by it. Indeed, that album would rank as one of my all-time favorites, and I go back to it frequently. I also really enjoyed Static and would also rank it very highly in my all-time lists. His In Continuum albums also move me and have a high place in my rankings.
From my perspective, Kerzner is ELO progged up, and Pink Floyd popped up. He has an infectious way about creating an ear-friendly riff while also complicating the matter in the proggiest fashion. And, his production is always crystal clear and fetching.
For whatever reason, however, I’ve not been able to get into Heart Land Mines. I’ve listened to it now three or four times, but it’s failed to grab me in the way that Kerzner’s previous albums have.
I will say, however, that you’re absolutely right, if this were 1975, Kerzner would be huge on Album Rock Radio. On the album, he clearly embraces the ethos and sound of Led Zeppelin, the Eagles, Bad Finger, etc.
Don’t get me wrong. I really like Heart Land Mines, but it’s yet to become a part of my being in the way that his other albums have. At this point, I’m happy to move on to his other albums and consider Heart Land Mines a labor of love, but not of genius.
Please tell me why I’m wrong!
Tad: Brad, as always, you have the perfect phrase to describe an artist’s work: “ELO progged up, and Pink Floyd popped up” is Kerzner in a nutshell!
I wouldn’t say Heart Land Mines is a work of genius, but gosh, I think it’s a blast to listen to. It serves as a reminder of how far pop music has fallen since the 70s. We both agree Heart Land Mines would be a huge hit on mid-70s AOR. Today, it appeals to a niche audience. I know, I know – in the 70s guys our age were complaining about how great big band music was, and how awful radio was!
Anyway, I have enjoyed Kerzner’s semi-autobiographical musical journey here. He took what seems to be an ugly breakup of a relationship and turned it into a very catchy set of songs. “Manic Calm” has an irresistible guitar riff (I’m a sucker for a descending scale) that I can listen to over and over. “Eye Of The Storm” is the best Pink Floyd song since “High Hopes”. And I love the way he reprises a couple of songs to pull everything together into a cohesive package.
Like you, I’ve tried to buy everything Kerzner has put out, but it’s hard to keep up with the guy! Sound of Contact’s eponymous album was near-perfect progressive rock, but it looks like personality clashes have kept them from ever getting together again. I have both of his In Continuum albums, and I like them a lot, but to my ears, neither of them have any melodies that are as memorable as some of the ones on Heart Land Mines.
I agree that Heart Land Mines is a labor of love (or maybe broken love!), but I find it to be a thoroughly pleasurable listen. Sometimes, that’s all I want or need. I’ve always had a soft spot for power pop, and if a song’s melody doesn’t grab me, I have a hard time getting into it. Kerzner is a fantastic songwriter, I am so glad he decided to dust off these old tunes and record them.
Brad: thanks for the good words and the reminder, Tad. You’re absolutely right, Heart Land Mines is a work of AOR genius, and it would’ve been a massive hit–along with Hotel California–in the 1970s. Too bad for Kerzner that he’s temporarily out of joint!
For what it’s worth, I’ve given Heart Land Mines a few more listens since I wrote the first reaction, and the album very much continues to grow on me. I would say that the album not only embraces The Eagles and Bad Company, but also, to a certain extent, Elvis Costello.
Overall, it’s a delight of influences. I even hear bits of Stone Temple Pilots and Steely Dan and other bands from the 1980s and the 1990s.
Kerzner is never shy about his debt to other bands, but these debts seem quite blatant and serious.
Regardless, I’m so glad to live in the same world as Dave Kerzner Whatever I think of this particular album, I know that my life is immensely better because of his music.
Tad: And on that note, I think we’ll bring this joint review to a close. Spirit of Cecilia readers, if you haven’t yet experienced the magic of Dave Kerzner’s music, you should check out his first solo album, New World; if you like it (and we think you will!), then Heart Land Mines is a worthy followup.
Here’s the official video for “Eye Of The Storm”:
Thoughts on living a long life
By Richard K Munro
“One ought, every day at least, to hear a little song, read a good poem, see a fine picture, and, if it were possible, to speak a few reasonable words.”
― Johann Wolfgang von Goethe, Wilhelm Meister’s Apprenticeship
That’s certainly is my motto FOR THE GOOD LIFE.
And this shall be for music when no one else is near
The fine song for singing, the rare song to hear!
That only I remember, that only you admire
Of the broad road that stretches and the roadside fire!
(R L STEVENSON)
***
O I had ance a true love, now I hae nane ava;
And I had three braw brithers, but I hae tint them a’.
My father and my mither sleep i’ the mools this day –
I sit my lane amang the rigs, aboon sweet Rothesay Bay.
It’s a bonnie bay at morning, and bonnier at noon,
But bonniest when the sun draps and red comes up the moon.
When the mist creeps o’er the Cumbraes and Arran peaks are gray,
And the great black hills, like sleeping kings, sit grand roun’ Rothesay Bay.
Then a bit sigh stirs my bosom, and wee tear blin’s my e’e,
And I think of that far countrie wha I wad like to be.
But I rise content i’ the morning to wark while I may –
I’ the yellow har’st field of Ardbeg, aboon sweet Rothesay Bay.
This old Scottish song, which I have known for most of my life, reminds us there is beauty in this world but also sadness, loneliness, loss, and separation. But we should rise content each morning to work and study while we may and if we have lost loves and homelands we should be grateful that we have known friendship and love.
I have a chance for a long life.
Already I am grateful for the years I have lived (mostly in good health). I am 68 years old and older than many people I worked with, studied with or loved. I have known people who died in their teens, in their twenties, in their thirties in their forties, in their fifties, and in their early sixties. I once saw a Sea Knight Helicopter fly away and cursed the fact I was not on it. It hit bad weather and crashed about 15 minutes later 23 Marines were killed including some people I knew. Our company commander canceled our trip and we had to march more than 20 miles back to camp in bad weather. Sometimes as Auld Pop used to say your number is up.
One lesson I have learned in life is that the body is a fragile vessel and that we are all mortal. Every day of good health is a gift. I think being married has kept me reasonably happy and healthy. Choosing a good spouse is one of the most important decisions one can make for one’s happiness and health. I have been married for almost forty-two years to my best friend of the last fifty years. John Joseph Powell in The SECRET OF STAYING IN LOVE wrote: “It is an absolute human certainty that no one can know his own beauty or perceive a sense of his own worth until it has been reflected back to him in the mirror of another loving, caring human being.”
Yes, no one can know true happiness unless they know the love of a husband and wife or of a child. I know when I first saw my grandchildren it was love at first sight! I do believe in enthusiasms and love at first sight.
Yes, no one can know true happiness unless they know the love of a husband and wife or of a child. I know when I first saw my grandchildren it was love at first sight! I was happy the day I was married -but not as happy as my parents I think and I was happy when our children were born -a very special gift for which I am eternally grateful- but there is no joy like the surprise or extra-inning gift of grandchildren. Children mean sacrifice and a lot of hard work but they pay dividends a hundred times over. Hugh Heffner with his multitudinous and mostly sterile dud in the mud sex was really a chump, not a champion. He thought he knew what life was but wasted most of his life in hedonistic trivialities. He thought he knew what love was but he knew only a fraction of the Four Loves.
To be happy one has to be in reasonable health. One has to have something to do with your time. So it is important to have hobbies and intellectual interests and a few good friends. One should be loved and have someone to love, have a roof over your head, some soup at the boil, some tasty food to eat, One needs plenty of water to drink and wash, One thing l learned is that one can go days even weeks of light eating but one cannot go very long without water. So water is my favorite beverage!
To be happy one has to have some dreams and something to hope for. Many of my personal dreams are unrealized but I had fun trying to achieve those dreams. I hiked many mountains I climbed many ruins in Sicily, Crete, Madeira, in Portugal, Spain, Scotland, Greece and Italy. I kissed a few pretty girls and they kissed me back. I have gone deep sea fishing in the Atlantic and Pacific. I played a lot of baseball and became in the words of a local athlete “decent”. I served honorably in the Marine Corps. I have published a few articles and one-act plays but never have written (a published book). I have written (privately) three volumes of essays and personal recollections that my daughter published. They are primarily for my grandchildren. I have taught many classes in history, literature, and languages and helped many students. I have coached sports teams and seen great athletes at play. All of our children and grandchildren are bilingual and were or are being raised as native speakers of Spanish and English.
I love monumental public memorials and sculptures though Shakespeare sang in the Sonnets of the immortality of literature:
“Not marble nor the gilded monuments
Of princes, shall outlive this powerful rhyme,
But you shall shine more bright in these contents
Than unswept stone, besmeared with sluttish time.”
When I visit the cemetery or war memorials, I walk past hundreds or even thousands of names that represent life stories now silenced forever.
Oh, they are the Silent Ones. May the many monuments that abound around the globe to those who have fought to protect our freedom and national independence remind us of duty, the cardinal virtue of courage, the inestimable value of valor, the honor evoked by such sacrifice!
Look at and contemplate {those}
” names …inscribed on the parchment of fame;
Heroes whose seeds were a noble example
That others might follow and honour thy name.”
I know that recorded history holds the adventures of a few who managed to be inscribed in the parchment of fame.
I have never thought I needed to live a life worthy of being recorded.
I never really sought fame or wealth but contentment and the quiet and security of a nice house and library. ] I enjoy quiet cafes, quiet rivers, quiet museums, and quiet walks in the park or in a forest. I have always wanted to live an honorable life of service to my school, my country, my family, and my God. “non mihi non tibi sed nobis as the Romans said, “not for me alone nor for thee all but for the common good of all.”
I knew all about the world of books. For most of my life, they were my biggest adventure. Books could take you into a better world. A world where there were fine songs for singing, moving laments, sports heroes, romance, adventures, tragedies, military adventures, explorations, mysteries, prayers, legends, and yes, even magic. Of course, the articles, stories, songs, and books ended eventually. Then you had to go back to being yourself.
So in the final analysis bookish adventures are not enough. A man craves the freedom to see places and do things. And when you are old you can look back and remember. This is one of the reasons I enlisted in the Marine Corps , worked in construction as a laborer (I helped build Bill Gate’s home in Bothwell, Washington), and why I lived and traveled in Latin America, Spain, and Europe as much as I could. I knew my time, my health, my freedom, and my financial independence were limited. My father always said, “You have to take chances in life. The door of opportunity opens and then closes. If you don’t move ahead when you have the chance you can lose out forever. You have to decide if it is worth taking the chance.”
I realize I am the biggest threat to my emotional, financial, and physical health.
So what do I do?
Number one I have a wife, children, life insurance, some savings, and some property. I am not a doomsday prepper by any means but I believe in having emergency food, water, and medicine just in case of some natural catastrophe. I have a solar crank radio, a solar charger, flashlights, batteries, candles. a first aid kit, an emergency stove, extra medicine, and spare glasses. That is not excessive. If one wants to have a long life one must be prepared to take care of oneself in case of an accident or an emergency.
One thing I hope is that I do not outlive my wife, my children, or my grandchildren. I hope I live long enough so that my grandchildren have memories of me and get to know and love me. That is an important goal in my life. I look forward with joy to every spring. I love the birds who come to visit and feed in our garden. I love the plants and flowers that bloom.
I do a lot of serious reading (classics, non-fiction, biography) but I enjoy lighter fare such as adventure tales, mysteries and westerns. I enjoy reading jokes and joke books.
I love reading about baseball and listening to games (chiefly) via MLB at Bat. I listen to games in Spanish and English. I first listened to baseball games in Spanish in the 1970s and it helped develop my Spanish.
Otherwise, I don’t spend a lot of time on spectator sports. I glance at the newspaper but that’s about it. Most of the time I am happy to read about the final score.
I try to set time aside for PHYSICAL EXERCISE and JOY ( I try to walk daily in the park and clean the pool and garden). When the weather is good I swim once or twice a day. I love reading and listening to classical music so I have CD’s and a nice BOSE player, plus SPOTIFY plus ITUNES for my phone.
I love to read the papers -The Wall Street Journal and our local paper every morning or Commentary magazine. I listen to LONDON TIMES radio reports as well as the Daily Telegraph and some Israeli news as well.
I spend some time on PERSONAL GROWTH. I love studying languages and spend about 2-3 hours a day studying new languages and reading ones I know. I have taken up a new hobby! Drawing. I always have drawn a little bit in my language studies but I have decided I can improve the quality of my notebooks! I enjoy singing or humming songs. I enjoy reciting poetry by heart just for fun. I also set aside time for relaxation. If I am tired or have a headache I rest and have some tea with lemon, Splenda or honey. I make a thermos of it to sip all afternoon.
I love doing FACETIME with our grandchildren it is so wonderful to talk to them and see them so full of joy and happiness. It feels good to hear them say “YAYO, WHEN ARE YOU COMING TO VISIT?”
I enjoy phone conversations with a few friends but am not really a phone person. I have to plan to call someone. Basically, I think calling can be an intrusion. And I know some people don’t like long or serious conversations. So my conversations with books are more satisfying than most phone chit-chatting. But I call people who call me. People who don’t call me or write to me I pray for but don’t worry about. It’s sad when old friends drift away but the truth that’s life.
So I prefer to write on my blog,The Spirit of Cecilia or THE GILBERT HIGHET SOCIETY on FB or email people. I text some family and friends and share book titles via Audible.
I try to be moderate in what I eat and drink (I primarily drink water coffee and tea). I have a physical once or twice a year and take my medicines.
I know that if one is to enjoy a LONG LIFE one has to do what one can to stay as healthy as possible. Then the chances for a happy long life are better.
As a young man and in middle age I traveled a lot so I am happy that I had that experience. But now I really have lost my wanderlust. I only want to travel to visit our grandchildren. Most days I am at home, on the porch, in the garden, in my library, in the TV room , or listening to podcasts or books on tape in bed. My wife and I enjoy JEOPARDY and British mysteries and shows on Masterpiece Theater. I don’t drive very much anymore perhaps once a month or less! I spend some time on Twitter (X) and Facebook and check my email at least every other day. I enjoy corresponding with people in Italy, Scotland, Israel , and throughout the English-speaking world.
I have always had the Munro motto in mind which is Dread God (and obey his commandments because that is the whole duty of man). BIODH EAGAL DHE OIRRE in Gaelic or Reverence you unto God. It is a very ancient motto and reminds us that Munro is a Christian name -it means the descendant of the Men of the Halo River the Roe (the Saint’s River) a place name in Ireland. That is probably the first Bible quote I ever knew and I heard it at least from 1959. I think It helps to have God and a little religion in your life. But that’s just my opinion. People should have freedom of conscience and choose their own paths. The only thing I go do is set a good example and invite people to consider the Good Life as I see it and seek it.
An ancient motto I have known since at least 1960 is NE OBLIVISCARIS do not forget. This was the Regimental motto of my grandfather’s old Regiment 1914-1919, the Thin Red Line of Heroes (The Argyll and Sutherland Highlanders) At Balaklava in the Crimean War, the Argylls were called the Gaelic Rock. If they had failed the entire British and Allied army may have been destroyed but they calmly spread out in a thin line of two, fixed bayonets and fired aimed volley after volley from their Enfield Rifles. Their commander Sir Colin Campbell said, “Lads, we have to stop them or fall in the effort.” The Argylls near him said to him laconically, “Aye, we’ll stand until you give the order.” The war correspondents who were present were astonished at their discipline and cool courage. The Thin Red Line of Heroes became a symbol of the courage and professionalism of the British Army but especially the Scottish Highland Regiments. Many of my ancestors served in Highland Regiments.
And of course, I am a loyal man so SEMPER FIDELIS (always faithful) is a motto also. This is the motto of the US Marine Corps.
Another motto is CUIMHNICH AIR NA DAOINE BHON TAINIG TUSA (REMEMBER THE PEOPLE YOU CAME FROM).
I believe marriage is a sacrament and I have always been loyal to my wife and family putting their security and happiness above everything else.
I face firmly towards the future but never forget the past. I know in a long journey some things have to be left behind.
I only wish for my granddaughters and future grandchildren that they will have strong faith, good values, a good education, and the warmth and security of a good family.
For that is the duty of a good man, a good father, and a good husband. If you live a good life you will want to live a long life and I think you have a better chance for achieving a long life.
Daily writing prompt
What are your thoughts on the concept of living a very long life?
The Cure’s Disintegration: An Appreciation
Greetings, Spirit of Cecilia readers! In this post, Brad Brizer and Tad Wert discuss their love for another classic album – in this case, The Cure’s Disintegration.
Tad: Brad, we’re reviewing this album at your suggestion, and I’m glad we’re giving it its due! I have to admit that Disintegration slipped by me at the time it was released. I was listening to the B-52s’ Cosmic Thing, Don Henley’s The End of Innocence, Paul McCartney’s Flowers In The Dirt, Todd Rundgren’s Nearly Human…in other words, a lot of “pop” music. Up to that point, the only Cure album I had listened to extensively was 1985’s The Head On The Door.
However, many years later I eventually caught a bug that only The Cure could fix (did you catch that? 🙂 and I dove into their entire catalog. Disintegration is definitely a peak of their long career. For me, it’s rare that an album creates an overall mood and atmosphere as consistently good as Robert Smith and company do with this album.
Brad: Dear Tad, thank you so much for agreeing (happily, I take it!) to review Disintegration. Ever since it came out–way back in 1989–I’ve been in love with the album. Indeed, from my first listen, it grabbed me rather hard and has held on for thirty-five years. It is, I think, the proggiest of The Cure’s albums, which helps explain why I like it so much. A kind of pop-prog or prog-pop, in the vein (though sounding nothing like) Pet Sounds by the Beach Boys or Skylarking by XTC.
The Cure is also famous for truly poppy songs–such as “Friday, I’m in Love.” I like these songs, but I don’t love them. These are almost entirely absent from Disintegration, which is another plus to my mind. I definitely much prefer a song like “Disintegration” to “Friday, I’m in Love.” I’d be pretty disappointed if the former didn’t exist in my life, but if I never hear the latter again, I won’t be upset.
Even the poppier songs on Disintegration–such as “Love Song”–aren’t that poppy, and they fit perfectly into the flow of the album. The album is almost perfectly produced, and the track order allows for the album to build and build (more on this in a later comment).
Again, I love this Disintegration as an album, and I always include it in my top 10 favorite albums of all time, along with several by Rush, Talk Talk, Kate Bush, Yes, Genesis, and Tears for Fears.
The album first came out in May 1989, at the very end of my junior year of college, and I was introduced to it by my great friend, Ron Strayer, then a student at the University of Kansas. We had been debate partners throughout high school, and we often shared our loves in common–science fiction novels, movies, and music. Ron’s tastes were always a little more poppier (in the alternative/college scene), and mine were always proggier (toward Genesis, Yes, etc.), but we mixed well.
This is, of course, the 35th anniversary of the album, but on the 20th anniversary, Roger O’Donnell of The Cure wrote an 11,000 (!!!) word reminiscence–complete with lots of great photos–of the making of the album.
I will admit, I’ve read this through twice, and I find it an amazing story. A weird story, but an amazing one.
Tad: Brad, thanks for sharing O’Donnell’s memoir of the recording of Disintegration. I love learning about the background of great albums. One thing he mentioned, and I kind of agree with, was his disappointment with the mastering – he says it sounded compressed and flat. He suggests that the live versions recorded at Entreat Plus (available on the 3-disc Deluxe Edition) are better representations. I don’t know about that, but the live versions are very good – a more open sound.
Okay, let’s discuss the songs. The one track that I absolutely love is “Lullaby”. Referring again to O’Donnell’s piece, I was surprised to learn that the band had all of the instrumental tracks completed before Robert Smith sang any lyrics. That means they had no idea that “Lullaby”, with its bouncy melody would end up being such a creepy song about spiders and death! Still, it is my favorite song on the album.
I also love the majestic opener, “Plainsong”. It is a perfect mood-setter for the entire album, with its massive, dirge-like chords that never relent. “Lovesong” is a nice respite from all the gloom, but I prefer the darker songs. I especially like “Prayers for Rain” – it slowly builds and builds into a beautiful edifice of sound. “Homesick” is one of the prettiest songs The Cure ever recorded, and “Untitled” is a wonderful closing track. It sounds like a musical postscript to a long letter, if that makes sense. [Brad: yes, this makes perfect sense]
I’m looking at the track times of these songs, and I never realized how lengthy they are! “Lovesong” at 3:29 is the shortest, while half of them are longer than 6 minutes. It’s a credit to the strength of the songs that I never feel like the album drags or is too long.
Brad: Excellent response, Tad. It’s funny (in a strange kind of way), I just finished Steven Hyden’s This Isn’t Happening: Radiohead’s Kid A . . . and I loved it.
But, it struck me several times in reading the book that when The Cure is experimental–especially as they were with Disintegration–they’re as innovative as the best of them.
You reminded me in email about our three-way conversation three years ago about whether or not The Cure were prog. In some ways, bands like The Cure and Radiohead are beyond prog. They simply are. They’re unique, and the music they create, overall, transcends musical boundaries.
Much of what The Cure has written has been very much in the pop vein, but much of it is just weird and experimental and wonderful and unique. One of my favorite collections is The Cure, Join the Dots, a four-disk exploration of their b-sides. Many of the b-sides are straight-up pop, but several are really experimental and proggy. Needless to write, The Cure’s b-sides would be almost anyone else’s a-sides.
Back to Disintegration. I’ve never noticed the mix as sounding flat or compressed, but I do love the dark consistency of the album. From the opening track, “Plainsong,” to the final track, “Untitled,” it feels as though we’re barely breathing–perhaps just on the surface of a lake, grasping for air. There’s a brilliant suffocation to the production of the album. The album, in some mysterious way, just feels “alive” but, again, grasping.
I wonder if Disintegration just happens to be the last of the great analog recordings, while digital would become the norm after 1989? I have no idea–just a thought.
Agreed, though, that The Cure sound amazing live. I’ve never seen them in concert in real time, but I own all the DVD/Blu-ray concerts the band has released, and they are among my favorites. Again, the pop songs are fun, but it’s the more intense, experimental songs live that really grab me. I love watching the interplay of the band members, especially on the more complicated songs.
Earlier, I mentioned how much I love the flow of Disintegration. The track order seems, in large part, to make this album. You’re absolutely right to call much of it “dirge like.” Again, I would call it grasping for life, perfect headphones in a dark room kind of music.
I especially appreciate the sequence of the second half of the album: “Fascination Street” to “Prayers for Rain” to “The Same Deep Water as You” to “Disintegration” to “Homesick” to “Untitled.” It’s as dark as dark can get, but so relentlessly driving. Even the one moment of hope, when it starts to rain at the beginning of “The Same Deep Water as You,” and after “Prayers for Rain,” begs the question: did our prayers get answered only to have us drown?
Even the transition from “The Same Deep Water as You” to “Disintegration” is treacherous. After all, the couple seems to die kissing in the former, but in the latter we have:
Yeah, I miss the kiss of treachery
The shameless kiss before I feed
The stench of a love for younger meat
And the sound it makes when it cuts in deep
The holding up on bended knees
The addiction of duplicities
As bit by bit, it starts the need
To just let go, my party piece
Brutal. And, together, the two songs take up nearly 18 minutes of the album.
Tad: Brad, thanks for making me aware of Join The Dots; now I have something else to add to my wishlist!
I agree with you that The Cure is best when they aren’t trying to be anything except experimental. And your Radiohead comparison is most apt. I originally thought The Head On The Door and Kiss Me, Kiss Me, Kiss Me were better than Disintegration, but over time I’ve reversed my opinion. On the first two, I get the feeling they are deliberately striving for a more pop sound, while on Disintegration, they had no plans to make a bestseller (if O’Donnell’s memory can be trusted!). I hated Kid A when it first came out, thinking it was pretentious and noisy. Now, it is my favorite album of theirs.
You also capture the same feeling I have when I listen to Disintegration – it is almost suffocating in its density. I mean that in a good way, believe it or not. All of its songs are of a piece, and it is one of those albums that is an album – every track adds to the whole, and the sum is much greater than its parts. In this age of streaming, I don’t believe artists think in terms of albums any more – except for proggers. Maybe that’s why you and I are so enamored of that genre; it’s still creating suites of songs that should be listened to as albums, and not as separate tracks.
Well, my friend, I think we’ve done The Cure’s Disintegration justice. As the years go by, it seems to gain in stature, and rightfully so. And to our Spirit of Cecilia readers, thanks so much for stopping by. If you have any suggestions for what you’d like us to discuss, let us know in the comments!
Steven Hyden’s Radiohead’s Kid A
I had just turned 33 when Radiohead’s Kid A came out on October 2, 2000, and I was in my second full-year of teaching at Hillsdale College. My wife and I had been married for two years, and we were expecting our second child.
Though I purchased it on CD, I pretty much wore it out playing it continuously for a year or so after its release (at least until Amnesiac came out the following late spring). For whatever reason, I especially loved having Kid A on low volume during office hours. It, more often than not, became a conversation piece with my students. And, my students seemed to love the album as much as I did.
Admittedly, I was relatively new to Radiohead. Like everyone else in the early 90s, I had heard “Creep”—Radiohead’s original and the Tears for Fears cover—innumerable times, but it never just grabbed me. It always seemed like a nice alternative pop song, but nothing more. At the time, I was even surprised that someone as innovative as Roland Orzabal played it, considering his original music. . . well, far more original.
In the fall of 1997, I purchased O.K. Computer in a small record shop in Helena, Montana. To say that I was blown away by it would be a total understatement. The album absolutely floored me, and, being a prog rock guy, I thought prog had found its answer to the disappearance of classic Yes and Peter-Gabriel era Genesis. Admittedly, I became more than a little obsessed with Radiohead, purchasing then Pablo Honey, The Bends, My Iron Lung, and Airbag. I had family and friends in Japan at the time, and I was able to get some Japanese releases of Radiohead, too. In other words, I became a full-blown Radiohead obsessive. To this day, I own every release (including several obscure ones) as well as several books by or about Radiohead. I also religiously watched the video, Meeting People is Easy.
Yet, for whatever reason, I’ve hardly written about the band. I’ve listed Radiohead albums—especially Kid A—as among my favorites, but I’ve never given them the writing space I’ve given to Talk Talk, Rush, Steven Wilson, Big Big Train, Kate Bush, or Tears for Fears.
To be sure, I have no idea how I missed Steven Hyden’s excellent 2020 book, This Isn’t Happening: Radiohead’s Kid A and the Beginning of the 21st Century. In fact, crazily, I’d never heard of it until my wife gave it to me for Christmas. Then, I devoured it. A truly great read.
A music journalist, Hyden—ten years younger than yours truly—offers a memoir of growing up with Radiohead and being 23 when Kid A first appeared. As he sees it, though Kid A preceded 9/11 by nearly a year, it perfectly captured the mood of the beginnings of the twenty-first century, a century, thus far, of political polarization, paranoia, and warfare. This, then, is the essence of the book. Throughout This Isn’t Happening, Hyden offers a beautiful essay on the meaning of music, the meaning of life, and the meaning of the world. It’s all terribly subjective, of course, but it’s excellent as such.
As he brilliantly sums up in his conclusion:
“That’s what I hear now when I listen to Kid A—a desperation to not feel disconnected from one another, our environment, our very own souls or whatever the essence of who we are is. Radiohead diagnosed this malaise at the heart of so many of us at the dawn of the twenty-first century. And then they (perhaps unwittingly) offered themselves up as a remedy, crating music that has provided a common thread in our personal narratives, a rare constant presence amid so much change and disruption. Even as everything else in your life has been turned over since the first time you heard ‘Creep,’ you still have your relationship with this band’s music. Even when Radiohead themselves have felt lost, they’re provided ballast to so many of us for decades. You can hear the common anxieties that bonded so many of us back then in Kid A—about technology, about globalism, about the precarious state of truth and decency in our political lives. Radiohead conveyed these chaotic feelings with free-jazz horn sections and Aphex Twin-inspired glitches and other musical flourishes that might seem outdated now. But, the vibe of this record—the uncertainty, the darkness, the abject fear that things will only grow worse—has felt like a constant in our world ever since.”
While I could relate to many of Hyden’s personal experiences, there were also several I couldn’t. On the relatable side, I never once voted for a Bush—the original or Scrub—and I’ve been deeply opposed to the military conflicts after 9/11.
On the unrelatable side, Hyden comes from a much more culturally left-wing position than I do, and I’m also coming out of a prog background rather than a pop one. Hyden also references several music groups and movies I’ve never even heard of. I suppose this is just a generational defect on my part.
Hyden also makes a convincing case that Kid A is a bold and revolutionary move in Radiohead’s discography. To me, it was always a natural and fascinating evolution from OK Computer, in the way that Talk Talk’s Spirit of Eden evolved from The Colour of Spring. After reading This Isn’t Happening, I’m now more on Hyden’s side. Maybe Kid A truly was revolutionary for the band.
I only have one complaint, and it’s a fairly minor one. At times, Hyden is prone to exaggeration. Believe me, it’s part of the charm of the book, too. But, when he makes statements such as 9/11 being “the worst tragedy in American history,” I have to scratch my head. Worst in what way? Numerically? Far more—in fact, 52,000—died at the Battle of Gettysburg. Morally? I would call the internment of Japanese-Americans under Franklin Roosevelt, the enslavement of African-Americans, or the unwarranted decimation of the American Indian far more tragic. Anyway, a minor complaint.
I don’t want to end on a negative note. Again, I highly recommend this book—for anyone interested in music or, frankly, the world itself. One of my favorite parts of This Isn’t Happening was the author hypothetically creating his own version of Kid A/Amnesiac. It was thoughtful and thought-provoking, and I felt like a good friend had just made a mixed tape for me. Thank you, Steven.
Musseta’s Waltz : Here we reach the limits of art.
By Richard Munro
“Quando me’n vo’“, also known as “Musetta’s Waltz“, is a famous soprano aria a waltz in Act II of Puccini’s 1896 opera LA BOHEME. VICTORIA DE LOS ANGELES MADE A FAMOUS RECORDING circa 1959 (see below) Maria Callas made a famous recording circa 1958 (See below). There are also beautiful arrangements and instrumental versions.
It is sung by Musetta, in the presence of her friends, hoping to reclaim the attention of her occasional boyfriend Marcello.
This scene takes place at the Cafe MOMUS. Shortly after Mimì, Rodolfo, and their friends have taken seats for a drink. Mussetta grabs the spotlight, musically speaking, for a short self-promoting aria (Quando me’n vo’). It is a song directed at the people in the café as much as at the audience in the theater. Here we have the limits of art. Whatever Mussettals character her goddesslike beauty and charm overwhelm us.
Libretto
Quando me’n vo’
Quando me’n vo’ soletta per la via,
la gente sosta e mira
e la bellezza mia tutta ricerca in me
da capo a piè …
Ed assaporo allor la bramosia
sottil, che da gli occhi traspira
e dai palesi vezzi intender sa
alle occulte beltà.
Così l’effluvio del desìo tutta m’aggira,
felice mi fa!
E tu che sai, che memori e ti struggi
da me tanto rifuggi?
So ben:
Le angoscie tue non le vuoi dir,
ma ti senti morir!
When I walk
When I walk all alone in the street,
people stop and stare at me
and look for my whole beauty
from head to feet …
And then I taste the slight yearning
which transpires from their eyes
and which is able to perceive from manifest charms
to most hidden beauties.
So the scent of desire is all around me,
it makes me happy!
And you, while knowing, reminding and longing,
you shrink from me?
I know it very well:
you don’t want to express your anguish,
but you feel as if you’re dying!
Spirit of Cecilia 
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