SOMETHING OLD
The Toys - A Lover's Concerto
The Toys - A Lover's Concerto
What if classical music was... 60s girl group pop?
Here it is. An adorable love song set to the tune of Minuet in G Major, which was famously misattributed to Bach but now agreed to have been composed by Christian Petzold.
The Toys were three young women in Queens, New York who did not achieve great commercial success outside of this song, which charted in the top 20 list.
SOMETHING NEW
Dove Ellis - Heaven Has No Wings
Dove Ellis - Heaven Has No Wings
When I saw Dove Ellis open for Geese last month, there were goosebumps abound. Witnessing the Irish 22-year-old just weeks before the release of his stellar debut album feels like it was a blessing. Like the blossoming start of something that will one day be massively important.
The album, Blizzard, is out today following four earlier single releases, including this very last one. Heaven Has No Wings is one of the most energetic tunes on the record.
This album is full of wonderful compositions, but the standout is Ellis’ voice. Many have drawn comparisons to the incomparable Jeff Buckley, which I hesitate to repeat but do secretly feel is apt. There’s a special power in his singing capabilities, which were at their most palpable live.
Go fly, Dove.
This album is full of wonderful compositions, but the standout is Ellis’ voice. Many have drawn comparisons to the incomparable Jeff Buckley, which I hesitate to repeat but do secretly feel is apt. There’s a special power in his singing capabilities, which were at their most palpable live.
Go fly, Dove.
SOMETHING BORROWED
Judy Collins - Bird on the Wire (Leonard Cohen)
Judy Collins - Bird on the Wire (Leonard Cohen)
Bird on the Wire has long been one of my all-time favorite Leonard Cohen songs for its touching lyricism, but listening to the original today reminded me of how much more I’ve listened to the covers by both Judy Collins and Joe Cocker.
Collins played no small part in the boosted career of Cohen, bringing him on-stage with her on multiple occasions. Cohen also strongly encouraged Collins to begin writing her own songs, which she did shortly after.
On one of my favorite albums ever (Who Knows Where the Time Goes), Collins turns Cohen’s distinguished string arrangement into a pedal steel country tune. I am such a fan of her voice, and it shines so brightly here, particularly in my favorite verse:
I saw a man, a beggar leaning on his crutch. He said to me, ‘why do you ask for so much?’
There was a woman who’ve been leaning in the door. She said ‘why not ask for more?’
The way she sings “why not” (4x) is one of those beautiful moments in powerful singing where it almost feels like the singer is not going to make it. Pushing their voice to its limits, and ultimately creating a sound so much more beautiful than if it were effortlessly smooth.
There was a woman who’ve been leaning in the door. She said ‘why not ask for more?’
The way she sings “why not” (4x) is one of those beautiful moments in powerful singing where it almost feels like the singer is not going to make it. Pushing their voice to its limits, and ultimately creating a sound so much more beautiful than if it were effortlessly smooth.
SOMETHING... FRICTIONAL
Television - Friction
Television - Friction
I’m not totally sold that “frictional: is a real word, but it appears to be the only alleged adjective describing friction out there.
The first half of Television’s debut record Marquee Moon is something very special. It begins with the popular See No Evil and Venus and peaks, in terms of fame, with the title track. Sandwiched in-between is the comparatively less iconic Friction, but oh my god it’s good.
The song is bursting with sonic energy from start to end, but I particularly love some of the unique lyrical deliveries and the way they mesh with the instrumentation.
First, around the 1-minute mark, Tom Verlaine teases the titular rhyme with You complain of my dic-tion. Not only is the delivery a clever way to convey diction, but let’s be real, the also emphasis on “dic(k)” is pretty silly and fun.
My other favorite part is asking how a snake gets out of his skin, to which Verlaine says, alright, here’s a depiction and immediately rips a slithering snake-like guitar solo.
So much electric raw edge pulsating through the veins of this song. There’s lots to be said about static electricity and everything else related to friction and how it comes across here. Love love love.