Sir Thomas More, Scott Walker, "the ennui of youth"

I'm currently reading Sir Thomas More's Utopia, and finding it really quite interesting. It reads in some ways like Gulliver's travels, but I don't think it's quite as satirical. It's certainly misanthropic in a lot of ways, or at least bemoans the sad fact that we human beings are a dispicably self-interest breed. The reason I'm posting about this now is that I felt a great deal of inspiration to respond. Unfortunately, this inspiration to respond was not quite matched by an urge to finish the reading.

Which brings me to the "ennui of youth." I saw that term flash on one of those AdultSwim bumpers about "things we're de-hyped about for Fall 2006" and I just thought it was a pretty funny expression. I remember when I first learned the meaning of the word "ennui" and I was therby finally capable of labeling the predominant feeling of stagnation that so often crept into me to dampen my spirits.

Moving on, and in keeping with the melodrama of my last few sentences, I'd like to bring up the subject of Scott Walker. Now, don't get me wrong, I'm usually the first to decry any glimmer of overly-dramatic sounding work in the arts, so I'd like to discuss my thoughts on this truly magnificent performer. Scott Walker (real name Scott Engel) was given the voice of a crooner. Most crooners are really one-track and sing middle of the road material ready-made for adult contemporary stations across the galaxy. That's not to say I have it in for crooners, but it is a common truth. The thing about Scott Walker is that he doesn't sing that stuff.

I recently bought his first album, Scott, and I'm totally captivated by the production, the lyrics, and of course, that incredible baritone voice. The album only contains three original works: "Montague Terrace (in Blue)," "Such a Small Love," and "Always Coming Back to You," but Scott makes all the songs his own. Against a dramatic landscape of cascading strings the album opens with the lively "Mathilde," by Jacques Brel. The rest of the album is more moderate, with mid-tempo showcases of Walker's astounding talent. My personal favorite so far is Tim Hardin's composition, "The Lady Came from Baltimore," which is the story of a would-be gold digger who ends up falling in love with the rich woman he targets.

Listen to Scott Walker:
"Mathilde"
"The Lady Came from Baltimore"
"Montague Terrace (in Blue)"

and also

"30 Century Man" - Not sure which album this song is from, but it was my first encounter with this former lead singer of the Walker Brothers, and it's really a great (though criminally terse) song. Listen to those lyrics!

"Play it cool, and saran-wrap all you can."

Serenely,

S

So Many Friends

Patterson leaned out a little over the ledge of the subway platform--still no sign of the 1 train. He stepped back and gave the old woman standing nearby an ambiguous smile and then quickly turned away. He pushed his hands further into the deep pockets of his trench coat and heaved a small sigh.

Looking down, he noticed his leg was shaking up and down. He was always doing that. He often thought he should take up smoking to calm his restless nerves, but somehow something wouldn't let him.

The world moves so quick underneath your feet and it sneakily carries you with it. You were a boy, then you were a teenager, then you're expected to pay taxes and work a "steady" job. Patterson wonder if such a thing existed. He had an affinity for the eccentricities that he believed were the hallmarks of an artist.

He was not sure what he was. He constantly and irresponsibly ping-ponged between a bizarre and unreasonable self-loathing and somewhat pretentious over-confidence. Most people that knew him agreed the he was a genuinely good person and they valued his friendship if they could claim it, but Patterson was never to know this. He had an unhealthy tendency to assume the worst of himself and the best of those he took a liking to. This had caused him a lot of grief and moments of embarassed cringing.

Patterson felt an eerie breeze whisper across the platform and he saw the light from the 1 train. He looked at his phone for the time--underground, no signal.

S

The Zombies: Live at Irving Plaza, 9/21/06

I just got back from seeing The Zombies, one of my favorite bands of all time. I'll admit that I was a bit skeptical about buying a ticket for the night, since they're so old now and I was worried they wouldn't put on such a good show, but thankfully I made the right decision.

They played an awesome set including tunes by The Zombies, Argent, and Colin Blunstone. My personal highlights were the night's opener, "I Love You," the achingly beautiful "A Rose for Emily," the incomparably soulful "Just Out of Reach," and the colossal "God Gave Rock and Roll to You."

If you don't know The Zombies, they're famous for the outstanding hits, "Time of the Season," "She's Not There," and "Tell Her No." They made only two albums, Begin Here and Odessy and Oracle, the latter being their masterpiece, which I think is on an equal footing with many of the decade's best albums.

If you get the chance to see them, don't listen to what your friends say about them being "dinosaurs" ;) and go!

Peace!

S

Badly Drawn Boy: The Hour of Bewilderbeast

Today I was moved to post a quick recommendation of an album I've had in my collection for quite some time now. The Hour of Bewilderbeast is one of the most consistently great recorded sets released by an artist in probably the last ten years.

Damon Gough, a gruff-looking character who looks more like a hobo than the craftsman behind the gorgeous melodies on the disc, recorded the album in the mid-90s and continues to put out critically acclaimed work, such as the soundtrack to the film About a Boy.

But back to the album in question. Bewilderbeast is jam-packed with tuneful acoustic guitar-driven pop, but it's real strength is the diversity of the material included. Diversity, after all, is the key concern to making a brilliant record: think about Pet Sounds, Sgt. Pepper, or Odessy and Oracle. Personally, my favorite tracks are the stunningly beautiful "Magic in the Air," the pure pop bliss that is "Once Around the Block," and the mind-blowingly majestic opener, "The Shining."

I can't recommend this album more. Especially if you enjoy English music as much as I do. Badly Drawn Boy is coming out with a new album in the Winter of this year, entitled Born in the UK.

Peace,

S

Syndicate Lanes

Obviously he was a smoker. You could see it in his veiny neck and gnarled features. He had a husky, low croon that sounded as if he was talking to you from his death bed. His eyes were set deep in their sockets, with dark circles providing a contrast that struck you like a tossed wasp's nest everytime you had the misfortune to make eye contact.

At the piano he was a different person. He hunched over the worn ivory keys and the broad grin of the old leviathan would welcome him and turn to jelly, as the old man dabbed his crackling, dry hands into a pool of raw melody, harmony, and rhythm. The carnival of sounds lit up the old saloon in a sadly beautiful cacophony that was frequently accentuated by the cling-clangor of pints of beer and the deep laughter of the village drunks.

The smoker looked over at the entrance to the joint and gave me the once-over. Then he broke into "Nobody Knows You."

-S