When I was little, I had a collection of children’s tapes copied from
record albums borrowed from the library that I listened to over and over
and over again. Pardners, known to me until recently as Disney Cowboy Songs, is one of the few that still survives. It is also one of my favorites.
I am not a huge fan of country music, though I often enjoy it and
listen to it frequently on long drives through rural Pennsylvania when
it appears on three out of four radio stations. I am, however, a big fan
of western music, a distinction which can be made here. I’m a big fan
of John Denver, Michael Martin Murphy, and others who may be best
categorized as western, and an album full of cowboy songs certainly fits
that mold. And, of course, I’m a sucker for Disney, so this album was a
winning combination for me when I was five and still is today.
Deep in the Heart of Texas:
A nice interactive song, with a man singing the verses while a chorus
of children (perhaps Mouseketeers?) chime in on the choruses. I once saw
a Gary Larson Halloween special in which a group of cowboys exposed an
alien in their midst when he was unable to clap along to this song
correctly. Luckily, I never had that trouble; I must be a cowgirl at
heart!
Cowboy Mickey: This one’s an album original, a
ballad lauding Mickey as “the bravest mouse the West has ever known.”
Mickey, Donald and Goofy all make appearances here, as do Minnie as
Mickey’s sweetheart and Pete as the ornery villain determined to steal
her heart. The “ki-ki-yippees” are nice practice for some real yodeling
in The Song of the Screamin’ Cowboy.
The Old Chisholm Trail:
This classic also offers ample opportunity for some
“ki-yi-yippie-yippie-ay-yippie-ays,” but it’s a fairly dull song and the
yodels aren’t going to have a whole lot of heart either. It’s all very
smooth and metered, and again the man takes the verses while the kids
take the choruses. One of the flatter selections.
Ride ‘Em Cowboy:
The Disney trio are back, with Mickey, Donald, and Goofy alternating
verses with the man as they list the joys and drudgeries of cowboy life.
Light-hearted and including a bit of back-and-forth banter among the
characters, this is a fun song.
Home on the Range: The
perennial classic, and one of the most boring songs on the album. The
man sings it as slow as he possibly can, to the point of it sounding
mournful. (I tip my hat to the Chipmunks for coming up with a version of
this song that manages to be very entertaining. Alvin, being difficult
as always, hams up his performance of the song while crooning about
cantaloupes who play out on the range, much to Dave’s dismay. The boys
tire of Dave’s ranting before the song is complete, and they wander off
to get themselves a cantaloupe. “That’s a dear little somethin’ to eat,”
explains Simon, skewering Dave’s explanation of the difference between
antelopes and cantaloupes. Classic.)
The Song of the Screamin' Cowboy:
“Bury me thar with my battered guitar, / screamin’ my heart out fer
you-hoo-hoo-hoo...” No question, this is my favorite, much to my
brother’s displeasure. When I think of great yodeling songs, I usually
think of John Denver (Calypso comes to mind first, which
ironically has nothing to do with either mountains or cowboys). But
first, I think of this old cowboy screaming his heart out for the gal he
loves. This appears to be a Disney original; I read a comic book once
in which Donald Duck had penned the tune, which had becomes a hit of Witch Doctor
proportions. It’s both silly and sweet, and the voice is irresistible.
Put on your best cowboy accent for this one and sing along. “The song of
the screamin’ cowboy will haunt you all your days, / after I’ve kicked
the bucket across them pearly gates...” The long string of yodels is
made all the better by a Rockapella-esque treatment; the deep bass
“yodel-odel-ay-he-hoos” are especially entertaining.
Partners:
A sort of sappy song sung by one cowhand to another about how glad he
is that they are partners. Their friendship has lasted through the
ravages of time, and he is grateful. A slow and sweet song, it’s not at
the top of my list, but it’s not at the bottom either.
Pecos Bill: A close second to The Song of the Screamin’ Cowboy.
I don’t think Disney made this one up, but I could be wrong. Certainly
it’s not the only song about Pecos Bill floating around. This upbeat
tune described the folk hero in typical larger-than-life terms. “While
reclinin’ on a cloud high over Texas, / with his gun he made the stars
evaporate. / And when he saw those stars declinin’, / well, he left one
brightly shinin’ / as the emblem of the Lone Star Texas State.” Once
again there is also some pretty nifty yodeling. “Yippie-i-ay-i-ay,
yippie-ie-oh-oh-oh-oh, for the toughest critter west of the Alamo.”
I'm An Old Cowhand (From The Rio Grande):
Goofy is especially well equipped to sing this song about a misfit of a
cowboy. He’s a happy fella, just not really what you might expect out
of a guy who calls himself a cowhand. “I’m a cowboy who never saw a cow,
/ never roped a steer ‘cause I don’t know how, / and I sure ain’t
fixin’ to start in now, yippie-ki-o-ki-ay.”
Git Along, Little Dogies:
Another cowboy classic. Pretty straightforward; like most of the short
and simple well-known tunes here, it’s fine but not very exciting.
A Cowboy Needs a Horse:
Again Donald, Mickey, Goofy and the man trade off, and this time the
kids join in. The song lists all of the things that a cowboy needs to
survive but concludes that ultimately, a cowboy doesn’t need very much
at all to make do in life.
Don't Fence Me In: Another
one of my favorites, this is an upbeat song about a cowboy pleading to
be allowed freedom from fences. “I want to ride to the ridge where the
west commences, / gaze at the moon till I lose my senses, / I can't look
at hovels and I can't stand fences. / Don't fence me in.”
Donald Duck, the Wrangler:
I wonder if Donald’s feeling gypped that his song is the second-to-last
in the album? Donald’s infamous temper is put to good use in this
amusing song, where he is pinned as more of a villain than a hero.
“You’ve never heard a more discouraging word / than when Donald Duck the
Wrangler is about.”
Happy Trails: The perfect ending
to the album, this gentle classic leaves the listener with a blessing
and an invitation to return to the album whenever they want, which, for
me, at least, is often. “Happy trails to you until we meet again.”
It may not be the most sophisticated album out there, but it is
satisfying. So go out and grab a copy for your little cowboy, or the
little cowboy you once were. You’ll be glad you did.
Wednesday, January 15, 2003
Tuesday, January 14, 2003
In this Middle Ground, Gollum is Gold
Well, December has come and gone, and with it the second round of frenzy over Peter Jackson’s blockbuster version of Lord of the Rings.
(This time, sadly, there was no Burger King campaign to accompany it – I
still have to get the Gandalf goblet from last year and more of the
toys than I’d like to admit. If they do it for the third movie, I will
draw inspiration from my uncle, be proactive, and harass those clerks
every single day until I have all of the figures in my possession!) The Two Towers
has the misfortune of being the middle volume – no beginning and no
end, and an awful lot going on. It is a film I would not recommend to
someone who has neither seen the first movie nor read the books, as it
is potentially confusing enough for the initiated. Nonetheless, it
stands alongside the first movie as a masterpiece, with a few quibbles
here and there.
Towers begins with a flashback to Fellowship, this time following Gandalf (Ian McKellen) along his descent after the balrog. The scene provides an impressive opening and effective bridge, reminding us of a significant moment in the first film and foreshadowing a significant moment in the second. Gandalf was unquestionably the most popular character in Fellowship, and the advertisements made no attempt to hide the fact that he would be back. While the return of the beloved character was not so obvious as it was in the Star Trek series (i.e. The Search for Spock), there was little doubt that Gandalf would make an appearance in Towers. Nonetheless, when he displays himself before the awestruck Aragorn (Viggo Mortensen), Legolas (Orlando Bloom), and Gimli (John Rhys-Davies), it is a spectacular moment indeed, eclipsed only by his dramatic exorcism of King Theoden (Bernard Hill) of Rohan, who is under the control of Saruman (Christopher Lee). Gandalf here is a changed wizard, much more supernatural and ethereal than the kindly, sometimes curmudgeonly old gentleman of Fellowship. McKellen’s acting is again superb, but he spends much less time onscreen in this movie and probably will not get an Oscar nod as a result.
For that matter, because the Fellowship is divided, no one spends nearly as much time onscreen as they did in the first movie, except perhaps Legolas and Gimli. Their unlikely friendship develops further in Towers, with Legolas playing the part of earnest warrior and Gimli serving up generous helpings of comic relief. Legolas manages to pull off some pretty impressive, if sometimes un-Tolkienish, stunts during the climactic battle of Helm’s Deep, and he has some touching moments in relation to his fellow Fellowship members. And, of course, there is the small matter of his status as “too-gorgeous-for-words”... Gimli is gruff and lovable, providing a more experienced source of comic relief in this movie than the innocent mischief of Pippin (Billy Boyd) in the first. Especially enjoyable is the discussion he has with Eowyn on dwarf women and his plea, after telling Aragorn to toss him into the fray of battle, of “don’t tell the elf.”
It’s a good thing Gimli provides the comic relief he does, because Pippin’s role in this movie is so slight as to be practically nonexistent. He can’t have more than about a couple dozen lines in the whole movie, which is a darn shame because the adorable Scottish rogue hooked me so completely after Fellowship. Merry’s (Dominic Monaghan) role is similarly scant, though he does get to deliver a couple of mini-speeches. The Merry and Pippin part of the story is definitely the one that gets the least air time; it comes mainly in two- or three-minute segments, few and far between, in which the young hobbits spent most of their time looking awestruck or terrified. I would have liked to see more of their conversations with Treebeard (John Rhys-Davies), but I also agree that it was the easiest part to cut. What we see of Treebeard is enjoyable; he is looming and deliberate, and he and his fellow ents pull off one of the most impressive scenes in the film when they launch an enraged attack upon Isengard, home of their former ally Saruman.
I complained that Pippin upstaged Sam (Sean Astin) in Fellowship. That certainly is not true here. Sam shares the spotlight with Frodo (Elijah Wood) and Gollum(Andy Serkis) in what I think are the most compelling scenes in the film. Doggedly loyal to Frodo, he continues to protect him at every turn. The flip side of this is an intense mistrust of Gollum, who the two encounter early in the film. While Frodo is able to empathize with the creature, Sam, who has not felt the ring’s weight, sees Gollum only as a contemptible threat. Thus, he comes across as being rather unsympathetic in many of his scenes; at many points, he even seems jealous of Gollum. But he also manages to save Frodo on more than one occasion as the ring grows ever stronger, and he delivers a stirring speech towards the end that is most heartening. In the last scene, when the two ponder whether anyone will ever write tales about their adventures and Frodo acknowledges that he “wouldn’t have gotten far without [Sam],” it is one of the most moving moments thus far in the series.
Frodo, of course, is very important, and we see the ring begin to take control over him. The change is visible when the ring takes effect; his gentle features contort into a sneer, and at one point he turns his dagger Sting upon Sam in his madness. At the same time, the growing weight of the ring allows him to empathize with Gollum, of whom he once said “it’s a pity Bilbo didn’t kill him when he had the chance.” In Gollum he sees a glimpse of his possible future, and he is desperate to believe that Gollum can be redeemed. The two form a bond, and Frodo is the only character to call Gollum by his true name, Smeagol, a gesture which Smeagol appreciates.
Gollum / Smeagol is probably my favorite character in this film. I always had a soft spot for Gollum, and the film portrayal of him is nothing short of perfection. Although Gollum’s body was created with CGI, Serkis acted out all of the scenes with Frodo and Sam in addition to doing the voice work. The character comes across as a split personality: meek, eager-to-please Smeagol and vicious, domineering Gollum. They have different voices and different facial expressions, and their conversations with one another are masterfully executed. The audience is able to see Gollum in a sympathetic light and hope that Frodo will be able to bring about his redemption. With all of the wonderful aspects that Towers has to offer, Gollum is, to my mind, the highlight of the film, and Serkis deserves an Oscar nod for his portrayal.
Aragorn probably has a little too much of the spotlight here, but that’s forgivable. He is the valiant warrior as well as the only romantic interest, at least thus far. In this film, there is still more focus on his relationship with Arwen (Liv Tyler), as she must decide whether to sail West with her people or forsake her immortality for Aragorn’s sake. Tangled up in this is Elrond (Hugo Weaving), her solemnly regal father, who shares a heartbreakingly tender scene with her, and Eowyn (Miranda Otto), niece of King Theoden, whose unrequited love for Aragorn grows as the film advances. Eowyn is the voice of feminism in the film, a woman of Rohan discontent to hide herself away instead of fighting the enemy. She longs to face the foes head-on like her valiant brother Eomer (Karl Urban). The warrior spirit she shows in this film prepares us for an important role she will play in the final film.
King Theoden is a truly eerie presence in the beginning of the film, and his recovery at the hands of Gandalf is breathtaking. As a monarch, he is determined to lead his people to safety and fight the forces that threaten them; as a man, he is devastated at the loss of his only son and emotionally overcome. His evil, Jafar-like adviser, Grima Wormtongue (Brad Dourif), is deliciously sinister, eliciting shivers from the moment he appears. His slimy voice, pale skin, and nonexistent eyebrows add to the picture, making him far creepier than Gollum; when he tries to seduce Eowyn, there is a great urge to slap him in the face. Yet as despicable as Wormtongue is, he may have some small store of compassion holed up inside him; when he hears Saruman’s plan to wipe out the entire population of Edoras, a silent tear trickles down his cheek.
Probably my biggest disappointment with the film was the treatment of Faramir (David Wenham). I always liked Faramir, and felt rather sorry for him. He always seemed to me a sort of everyman, a really decent guy living in the shadow of his more passionate brother Boromir and the more heroic warrior Aragorn. A “nice guys finish last” sort of fellow. I felt cheated when he showed up in Towers. He is scarcely likable at all. He comes across as sinister, brutish, and, as Gollum would say, “tricksy.” He also manages to effectively destroy in a few moments the trust Frodo built with Gollum. Not cool.
The landscapes and cinematic sweeps are again most impressive, though rarely beautiful as they often were in Fellowship. There is very little beauty in this movie; all of the landscapes are harsh and the situations are grim. Likewise, there is much less levity. Towers, on the whole, is quite a downer. But there are moments of triumph and light, from Gandalf’s blaring splendor to Sam’s gentle stoicism. The haunting score that so enhanced Fellowship again comes into play, and as the sweeping theme music of the fellowship creeps into such inspirational moments as Sam’s words of comfort to Frodo, don’t be surprised if you find your heart soaring along with the strings.
Overall, Towers is an outstanding second volume, the most difficult to pull off. It is confusing, as the fellowship is dispersed and there is so much happening at once. It is distressing, and it has no definitive beginning or end. But this is as it should be. We are set up for the final volume, and if the first two are any indication, as I am sure they are, Return of the King promises to be a most glorious finish indeed.
Towers begins with a flashback to Fellowship, this time following Gandalf (Ian McKellen) along his descent after the balrog. The scene provides an impressive opening and effective bridge, reminding us of a significant moment in the first film and foreshadowing a significant moment in the second. Gandalf was unquestionably the most popular character in Fellowship, and the advertisements made no attempt to hide the fact that he would be back. While the return of the beloved character was not so obvious as it was in the Star Trek series (i.e. The Search for Spock), there was little doubt that Gandalf would make an appearance in Towers. Nonetheless, when he displays himself before the awestruck Aragorn (Viggo Mortensen), Legolas (Orlando Bloom), and Gimli (John Rhys-Davies), it is a spectacular moment indeed, eclipsed only by his dramatic exorcism of King Theoden (Bernard Hill) of Rohan, who is under the control of Saruman (Christopher Lee). Gandalf here is a changed wizard, much more supernatural and ethereal than the kindly, sometimes curmudgeonly old gentleman of Fellowship. McKellen’s acting is again superb, but he spends much less time onscreen in this movie and probably will not get an Oscar nod as a result.
For that matter, because the Fellowship is divided, no one spends nearly as much time onscreen as they did in the first movie, except perhaps Legolas and Gimli. Their unlikely friendship develops further in Towers, with Legolas playing the part of earnest warrior and Gimli serving up generous helpings of comic relief. Legolas manages to pull off some pretty impressive, if sometimes un-Tolkienish, stunts during the climactic battle of Helm’s Deep, and he has some touching moments in relation to his fellow Fellowship members. And, of course, there is the small matter of his status as “too-gorgeous-for-words”... Gimli is gruff and lovable, providing a more experienced source of comic relief in this movie than the innocent mischief of Pippin (Billy Boyd) in the first. Especially enjoyable is the discussion he has with Eowyn on dwarf women and his plea, after telling Aragorn to toss him into the fray of battle, of “don’t tell the elf.”
It’s a good thing Gimli provides the comic relief he does, because Pippin’s role in this movie is so slight as to be practically nonexistent. He can’t have more than about a couple dozen lines in the whole movie, which is a darn shame because the adorable Scottish rogue hooked me so completely after Fellowship. Merry’s (Dominic Monaghan) role is similarly scant, though he does get to deliver a couple of mini-speeches. The Merry and Pippin part of the story is definitely the one that gets the least air time; it comes mainly in two- or three-minute segments, few and far between, in which the young hobbits spent most of their time looking awestruck or terrified. I would have liked to see more of their conversations with Treebeard (John Rhys-Davies), but I also agree that it was the easiest part to cut. What we see of Treebeard is enjoyable; he is looming and deliberate, and he and his fellow ents pull off one of the most impressive scenes in the film when they launch an enraged attack upon Isengard, home of their former ally Saruman.
I complained that Pippin upstaged Sam (Sean Astin) in Fellowship. That certainly is not true here. Sam shares the spotlight with Frodo (Elijah Wood) and Gollum(Andy Serkis) in what I think are the most compelling scenes in the film. Doggedly loyal to Frodo, he continues to protect him at every turn. The flip side of this is an intense mistrust of Gollum, who the two encounter early in the film. While Frodo is able to empathize with the creature, Sam, who has not felt the ring’s weight, sees Gollum only as a contemptible threat. Thus, he comes across as being rather unsympathetic in many of his scenes; at many points, he even seems jealous of Gollum. But he also manages to save Frodo on more than one occasion as the ring grows ever stronger, and he delivers a stirring speech towards the end that is most heartening. In the last scene, when the two ponder whether anyone will ever write tales about their adventures and Frodo acknowledges that he “wouldn’t have gotten far without [Sam],” it is one of the most moving moments thus far in the series.
Frodo, of course, is very important, and we see the ring begin to take control over him. The change is visible when the ring takes effect; his gentle features contort into a sneer, and at one point he turns his dagger Sting upon Sam in his madness. At the same time, the growing weight of the ring allows him to empathize with Gollum, of whom he once said “it’s a pity Bilbo didn’t kill him when he had the chance.” In Gollum he sees a glimpse of his possible future, and he is desperate to believe that Gollum can be redeemed. The two form a bond, and Frodo is the only character to call Gollum by his true name, Smeagol, a gesture which Smeagol appreciates.
Gollum / Smeagol is probably my favorite character in this film. I always had a soft spot for Gollum, and the film portrayal of him is nothing short of perfection. Although Gollum’s body was created with CGI, Serkis acted out all of the scenes with Frodo and Sam in addition to doing the voice work. The character comes across as a split personality: meek, eager-to-please Smeagol and vicious, domineering Gollum. They have different voices and different facial expressions, and their conversations with one another are masterfully executed. The audience is able to see Gollum in a sympathetic light and hope that Frodo will be able to bring about his redemption. With all of the wonderful aspects that Towers has to offer, Gollum is, to my mind, the highlight of the film, and Serkis deserves an Oscar nod for his portrayal.
Aragorn probably has a little too much of the spotlight here, but that’s forgivable. He is the valiant warrior as well as the only romantic interest, at least thus far. In this film, there is still more focus on his relationship with Arwen (Liv Tyler), as she must decide whether to sail West with her people or forsake her immortality for Aragorn’s sake. Tangled up in this is Elrond (Hugo Weaving), her solemnly regal father, who shares a heartbreakingly tender scene with her, and Eowyn (Miranda Otto), niece of King Theoden, whose unrequited love for Aragorn grows as the film advances. Eowyn is the voice of feminism in the film, a woman of Rohan discontent to hide herself away instead of fighting the enemy. She longs to face the foes head-on like her valiant brother Eomer (Karl Urban). The warrior spirit she shows in this film prepares us for an important role she will play in the final film.
King Theoden is a truly eerie presence in the beginning of the film, and his recovery at the hands of Gandalf is breathtaking. As a monarch, he is determined to lead his people to safety and fight the forces that threaten them; as a man, he is devastated at the loss of his only son and emotionally overcome. His evil, Jafar-like adviser, Grima Wormtongue (Brad Dourif), is deliciously sinister, eliciting shivers from the moment he appears. His slimy voice, pale skin, and nonexistent eyebrows add to the picture, making him far creepier than Gollum; when he tries to seduce Eowyn, there is a great urge to slap him in the face. Yet as despicable as Wormtongue is, he may have some small store of compassion holed up inside him; when he hears Saruman’s plan to wipe out the entire population of Edoras, a silent tear trickles down his cheek.
Probably my biggest disappointment with the film was the treatment of Faramir (David Wenham). I always liked Faramir, and felt rather sorry for him. He always seemed to me a sort of everyman, a really decent guy living in the shadow of his more passionate brother Boromir and the more heroic warrior Aragorn. A “nice guys finish last” sort of fellow. I felt cheated when he showed up in Towers. He is scarcely likable at all. He comes across as sinister, brutish, and, as Gollum would say, “tricksy.” He also manages to effectively destroy in a few moments the trust Frodo built with Gollum. Not cool.
The landscapes and cinematic sweeps are again most impressive, though rarely beautiful as they often were in Fellowship. There is very little beauty in this movie; all of the landscapes are harsh and the situations are grim. Likewise, there is much less levity. Towers, on the whole, is quite a downer. But there are moments of triumph and light, from Gandalf’s blaring splendor to Sam’s gentle stoicism. The haunting score that so enhanced Fellowship again comes into play, and as the sweeping theme music of the fellowship creeps into such inspirational moments as Sam’s words of comfort to Frodo, don’t be surprised if you find your heart soaring along with the strings.
Overall, Towers is an outstanding second volume, the most difficult to pull off. It is confusing, as the fellowship is dispersed and there is so much happening at once. It is distressing, and it has no definitive beginning or end. But this is as it should be. We are set up for the final volume, and if the first two are any indication, as I am sure they are, Return of the King promises to be a most glorious finish indeed.
Garfunkel's Songwriting Talent Gets Noticed
I promised myself I would review this album the day it came out, but
promises made by seniors in college with 21 credits are easily broken.
Nonetheless, it is high time I tossed my two cents’ worth in on the
album that I waited two years for. After nearly 40 years as an
internationally acclaimed musician, Art Garfunkel unveiled an album
demonstrating his talents as a songwriter. Garfunkel shares songwriting
credits on six of the 13 tracks on the aptly named Everything Waits to be Noticed,
which is a collaborative effort with musicians Maia Sharp and Buddy
Mondlock and producer Billy Mann. Astute fans familiar with Still Water, Garfunkel’s collection of prose poems, will recognize in these songs traces of his poetry.
Bounce and Perfect Moment served as an enticing preview to this album when they were featured on the WB show Felicity in 2001. The rich harmonies, intricate guitar work, and energy of Bounce, the album’s first track, set a tone for the rest of the album, showcasing how well Garfunkel, Sharp, and Mondlock complement one another, while the words are indicative of the risks Garfunkel took with this album: “We bounce between the devil and the deep blue sea / We bounce between forever and what may never be.”
Perfect Moment, co-written by Garfunkel, is a soft, dreamy remembrance of a first encounter between lovers, accentuating the ephemeral nature of that one perfect moment when their eyes first met. It gets my vote for favorite song on the album. The poem (number 41 in the book) which inspired it recalls the words of Garfunkel’s wife, Kim, reminiscing on her first encounter with Garfunkel: “You met me once before we met the first time... you looked me straight in the eyes then went away...So years later, by the Bridge of Sighs, when I saw you apart, I knew it was safe enough to trust the consistent heart.”
Garfunkel’s writing contributions are present on several of the album’s highlights. The title track focuses on all the tiny details in life that deserve attention from the outside world and highlights Mondlock’s vocals, while the words seem especially appropriate to Garfunkel himself: “Longing for braver day / cautiously turning a phrase / going unnoticed.” Garfunkel has always been the more low-key half of Simon and Garfunkel and has said that he never wanted to compete with Simon when it came to songwriting. It is most gratifying to see what he can do now that he has chosen to share yet another of his talents with the world.
The Thread highlights Sharp’s vocals and saxophone savvy and juxtaposes time and place to illustrate the connection between two people. “This time, this place / This state of grace / The promise of tomorrow / Your thread runs through / Park Avenue / Street of dreams and sorrow.”
Other album standouts include The Kid, the plaintive tale of a dreamer who knows most of his dreams will never come true but pursues them anyway. Garfunkel’s vocals drive this track, whose menacing percussion contributes to an overall aura making this tune reminiscent of Simon and Garfunkel’s classic The Boxer. The song ends with the jewel of wisdom “I could no more stop dreaming / than I could make them all come true.”
The album is a departure from most of Garfunkel’s solo work, which is characterized by richly orchestral ballads befitting his range and romantic sensibilities. The harmonic tightness among the three performers invites comparison to Garfunkel’s early work with Paul Simon, but this album is a new and distinct manifestation of his talent. In addition to being a very personal album for Garfunkel, it also introduces his fans to the lesser-known but extremely talented Sharp and Mondlock. This latest addition to the Garfunkel catalogue is lush, compelling, and well worth the wait.
Track List:
Bounce
The Thread
The Kid
Crossing Lines
Everything Waits to Be Noticed
Young and Free
Perfect Moment
Turn, Don't Turn Away
Wishbone
How Did You Know?
What I Love About Rain
Every Now and Then
Another Only One
Bounce and Perfect Moment served as an enticing preview to this album when they were featured on the WB show Felicity in 2001. The rich harmonies, intricate guitar work, and energy of Bounce, the album’s first track, set a tone for the rest of the album, showcasing how well Garfunkel, Sharp, and Mondlock complement one another, while the words are indicative of the risks Garfunkel took with this album: “We bounce between the devil and the deep blue sea / We bounce between forever and what may never be.”
Perfect Moment, co-written by Garfunkel, is a soft, dreamy remembrance of a first encounter between lovers, accentuating the ephemeral nature of that one perfect moment when their eyes first met. It gets my vote for favorite song on the album. The poem (number 41 in the book) which inspired it recalls the words of Garfunkel’s wife, Kim, reminiscing on her first encounter with Garfunkel: “You met me once before we met the first time... you looked me straight in the eyes then went away...So years later, by the Bridge of Sighs, when I saw you apart, I knew it was safe enough to trust the consistent heart.”
Garfunkel’s writing contributions are present on several of the album’s highlights. The title track focuses on all the tiny details in life that deserve attention from the outside world and highlights Mondlock’s vocals, while the words seem especially appropriate to Garfunkel himself: “Longing for braver day / cautiously turning a phrase / going unnoticed.” Garfunkel has always been the more low-key half of Simon and Garfunkel and has said that he never wanted to compete with Simon when it came to songwriting. It is most gratifying to see what he can do now that he has chosen to share yet another of his talents with the world.
The Thread highlights Sharp’s vocals and saxophone savvy and juxtaposes time and place to illustrate the connection between two people. “This time, this place / This state of grace / The promise of tomorrow / Your thread runs through / Park Avenue / Street of dreams and sorrow.”
Other album standouts include The Kid, the plaintive tale of a dreamer who knows most of his dreams will never come true but pursues them anyway. Garfunkel’s vocals drive this track, whose menacing percussion contributes to an overall aura making this tune reminiscent of Simon and Garfunkel’s classic The Boxer. The song ends with the jewel of wisdom “I could no more stop dreaming / than I could make them all come true.”
The album is a departure from most of Garfunkel’s solo work, which is characterized by richly orchestral ballads befitting his range and romantic sensibilities. The harmonic tightness among the three performers invites comparison to Garfunkel’s early work with Paul Simon, but this album is a new and distinct manifestation of his talent. In addition to being a very personal album for Garfunkel, it also introduces his fans to the lesser-known but extremely talented Sharp and Mondlock. This latest addition to the Garfunkel catalogue is lush, compelling, and well worth the wait.
Track List:
Bounce
The Thread
The Kid
Crossing Lines
Everything Waits to Be Noticed
Young and Free
Perfect Moment
Turn, Don't Turn Away
Wishbone
How Did You Know?
What I Love About Rain
Every Now and Then
Another Only One
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