I didn’t think children’s programming could get any weirder than Teletubbies. Then I had the pleasure of being introduced to Boohbah,
a brainchild of Teletubbies creator Anne Wood. I first found out about
this show a few months ago and found the description perplexing. Now
that I’ve seen it, my initial impression holds. I just don’t get it. The
Teletubbies were strange enough. The stars of this show are similarly
brightly colored creatures that could best be described as giant
gumdrops with Kewpie doll heads. A prominent feature of those heads is
the eyes, whose eyeballs click backward, then forward, then back to
center when one of the BoohBahs wishes to express emotion. This movement
is accompanied by the lighting up of their electronic eyebrows. Most
often, the eye trick seems to coincide with a sense of surprise or
confusion, but it’s one of the few means of communication these
creatures display.
Together, the blobs make up a colorful ball
that goes bouncing around through the sky leaving rainbows in its wake.
They awaken from their slumber when the children on the show call them
by name: Humbah (Yellow), Zing Zing Zingbah (Orange), Jumbah (Blue),
Zumbah (Purple), JingBah (Pink). This begs the question, what’s so
special about the orange guy that he gets two extra syllables? Nothing
that I can see; none of them seems to have any kind of a distinctive
personality. They don’t even speak, other than to sing a series of
“boo”s that, rather like the much more engaging Care Bear Stare,
eventually produce a rainbow. They float and they spin and they dance
around clumsily, and apparently this is supposed to encourage young
children to be more active.
Of course, the BoohBahs are not
the only characters on the show. There’s a host of children who call the
Boohbahs into life, blow objects into Story World and proclaim “Look
what I can do!” before engaging in a very boring and repetitive physical
activity. There are the Story World inhabitants as well: the
uncreatively named paper cutouts Grandmama, Grandpapa, Brother, Sister,
Auntie, Little Dog Fido, Mrs. Lady and Mr. Man. Their adventures are
chronicled by a narrator who actually reminded me a bit of Ringo in his
stint as the conductor on Thomas the Tank Engine. I found him the
least annoying part of the show, but it was balanced out by the
exaggerated manner in which the Story World actors react to their
situation. I guess it’s not so different from what Mr. Noodle does on
Elmo’s World, but I find him a lot easier to take.
I don’t
know what to think. Maybe I’m just too out of touch with my 3-year-old
self to get the beauty of this show, but I am a person who generally
appreciates and enjoys children’s programming. What I found in this show
was a plotless wasteland with enough flashing lights and colors to make
my head spin. It gave me a headache and made me wonder whether somebody
slipped something into my breakfast cereal. I think my dog got more out
of the show than I did; at one point Brother and Sister went bouncing
around on the beach in big squeaky socks that sounded just like her
squeaky teddy bear, and she ran to the TV to see what was up. I’d hardly
consider that a convincing endorsement. Of course, this show was not
made for me, but I think of Sesame Street, Mister Rogers, Polka Dot Door, Reading Rainbow and Captain Kangaroo and can’t help but wonder where children’s television is going…
Thursday, February 26, 2004
Thursday, February 12, 2004
For My 500th Review, Here is One of My Favorite Things
Climb ev’ry mountain, ford ev’ry stream… The Mother Abbess’
inspiring words ring in my ears as I compose this, my 500th review for
Epinions. Actually, I guess I technically hit that mark a few reviews
back, since I’ve deleted a couple of really bad ones and written a
couple on products I later realized were no longer in production. But
for the sake of ceremony, I’ll look on this as the culmination of a
journey, and a vantage point from which to view my next course. What
better day to celebrate than my 23rd birthday, and what better way than
by reviewing my favorite musical – and a top contender for favorite
movie – of all time?
The Sound of Music is one of those movies whose appearance in my life I cannot trace. It’s been there further back than I can remember. I still recall listening to the soundtrack on vinyl when I was a toddler and opening my mom’s Swiss Chalet jewelry box every time I entered the room to hear the tinkly strains of The Lonely Goatherd. Several years later, I read Maria’s autobiography, of which the events of this movie were only a small part, and watched awestruck and a wee bit jealous as my fellow students at Mercyhurst Preparatory School performed the play to perfection. Last year, I attended a Sound of Music Sing-Along dressed in Maria style, belting out all those old familiar favorites and enduring the wisecracks of the woman seated behind us in response to what was happening on the screen. I love musicals, period. But none quite as much as I love this one.
The story is a familiar one to most, the image of Maria running across the hills with outstretched arms an allusion that has made its way into films as diverse as The Pink Panther Strikes Again and The Sixth Sense. Julie Andrews brings an irrepressible spirit, an unmatchable joie de vivre, to this character who is both very similar to and very different from her title role in Mary Poppins, another of my favorite films. Like Mary, she comes into a home where good-hearted children are behaving destructively due to a dysfunctional relationship with their father. Like Mary, she uses her creative energies to win the children’s affections and helps them to bridge the gap that has grown between them and their father. While Maria has as much spunk as Miss Poppins, it gets her into trouble sometimes. In spite of her attempts to psyche herself up to the point of jubilantly declaring I Have Confidence, she lacks Mary’s cool self-assuredness. In spite of her general cheery demeanor, she is, by turns, unnerved, ashamed, apologetic, flustered… She displays all the extremes of passion that Mary so carefully keeps in check, and we love her all the more for it. She also lacks Mary’s vanity and self-interest. Maria is never hot on herself, and she couldn’t care less about wearing a dress so ugly it couldn’t even be given away to the poor. As an earnest nun in training, her first thought is usually a desire to do what God intends her to do. While I love Andrews in both films, Maria easily wins as my favorite character. In fact, she is my favorite female character in all of cinema, the one I most identify with and aspire to.
Christopher Plummer provides a perfect complement to this character in his portrayal of Captain Georg Von Trapp, a man who uses sternness as a salve for wounds he wishes to forget. In spite of his icy presence towards the beginning of the film, it is easy to see that he has a latent warmth that only needs a catalyst to melt the barriers he’s placed between himself and his children. His dry wit is an especially enjoyable aspect of his character, especially in scenes where it counterbalances Maria’s more clumsy passion. When the chemistry of this initial rivalry yields itself to affection, Plummer brings heart-breaking tenderness to the role. The depth of emotion conveyed through his eyes is remarkable, particularly in that climactic moment just before he declares his love for his young governess.
Everyone in the cast does a fine job. Peggy Wood’s Mother Abbess is wise and matronly, the gentlest and most authoritative figure in the film. Capping a successful film career, Eleanor Parker brings just the right degree of cold elegance to the Baroness, a rather villainous but not entirely unsympathetic figure. Much more likable is Richard Haydn as Max Detweiler, a shrewd businessman and close friend of the Captain whose fun-loving personality makes him a favorite of the Von Trapp children. His comedic delivery provides a nice contrast to the chilly and dull Baroness who appears in most of his scenes. The seven children, Charmian Carr (Liesl), Heather Menzies (Louisa), Nicholas Hammond (Friedrich), Duane Chase (Kurt), Angela Cartwright (Brigitta), Debbie Turner (Marta), and Kym Karath (Gretl), work wonderfully together, bringing a mixture of mischief and sweetness to Maria’s charges.
A large part of Sound of Music’s enduring popularity is, of course, the music. This is Rodgers and Hammerstein’s crowning achievement, and there’s not a song here I find tedious or unnecessary. From the exuberant title song and the educational Do Re Mi to the heartening My Favorite Things and the clever So Long, Farewell, the songs in this film are among the most beloved in cinematic history. And Eidelweiss, the last song Rodgers and Hammerstein wrote together, has such a level of authenticity about it that most people believe it actually is an Austrian folk song predating the events of the movie.
At its core, Sound of Music is a film about love. Last year, my favorite local radio station asked listeners to call in with their favorite romantic movie of all time, and I told my brother, much to his disgust, that Sound of Music got my vote. The gradual development of Maria and Captain Von Trapp’s mutual affection, standing in contrast to the puppy love of Liesl and Rowlf and the Captain’s chilly engagement to the socially compatible Baroness, is thoroughly satisfying. The Captain’s uncharacteristic stumbling as he tries to verbalize his feelings to Maria is most endearing, and the moment she realizes beyond a shadow of a doubt that her love is not one-sided is always a thrill.
But entwined with this are many other types of love. The love of life, which Maria embodies. Of music, which she passes on to the children and which, in real life, led to the formation of a successful family act, whose fame allowed Maria to publish the autobiography which inspired the musical. (The real departure from Austria was far less dramatic, incidentally; after refusing a couple invitations from Hitler to sing for him, the family thought it wise to leave the country.) Of nature, to which the film’s sweeping cinematography alludes. Of family, which Maria helps the Captain to reclaim. He falls in love with her largely through her love of his children. Of God, which is so strong in Maria that she wants to spend her life as a nun. But her faith allows perceive that she can do God’s will outside of the cloistered Abbey walls, and that God will protect her family as they flee from peril. And, of course, love of country, which moves from subplot into the foreground after the wedding, which would seem a logical stopping place. But the rumors and whispers overshadowed by the romance find culmination in the film’s final scenes, and all the other threads come together to help our protagonists combat the evil that confronts them.
There are few movies with the enduring power of Sound of Music. It’s a film everyone ought to see at some time or another. I’ve seen it many times, and I can only go so long before the urge strikes me to watch it yet again; I think I’m coming up on that time now. Watch it and treasure it. I dare you to be unmoved.
The Sound of Music is one of those movies whose appearance in my life I cannot trace. It’s been there further back than I can remember. I still recall listening to the soundtrack on vinyl when I was a toddler and opening my mom’s Swiss Chalet jewelry box every time I entered the room to hear the tinkly strains of The Lonely Goatherd. Several years later, I read Maria’s autobiography, of which the events of this movie were only a small part, and watched awestruck and a wee bit jealous as my fellow students at Mercyhurst Preparatory School performed the play to perfection. Last year, I attended a Sound of Music Sing-Along dressed in Maria style, belting out all those old familiar favorites and enduring the wisecracks of the woman seated behind us in response to what was happening on the screen. I love musicals, period. But none quite as much as I love this one.
The story is a familiar one to most, the image of Maria running across the hills with outstretched arms an allusion that has made its way into films as diverse as The Pink Panther Strikes Again and The Sixth Sense. Julie Andrews brings an irrepressible spirit, an unmatchable joie de vivre, to this character who is both very similar to and very different from her title role in Mary Poppins, another of my favorite films. Like Mary, she comes into a home where good-hearted children are behaving destructively due to a dysfunctional relationship with their father. Like Mary, she uses her creative energies to win the children’s affections and helps them to bridge the gap that has grown between them and their father. While Maria has as much spunk as Miss Poppins, it gets her into trouble sometimes. In spite of her attempts to psyche herself up to the point of jubilantly declaring I Have Confidence, she lacks Mary’s cool self-assuredness. In spite of her general cheery demeanor, she is, by turns, unnerved, ashamed, apologetic, flustered… She displays all the extremes of passion that Mary so carefully keeps in check, and we love her all the more for it. She also lacks Mary’s vanity and self-interest. Maria is never hot on herself, and she couldn’t care less about wearing a dress so ugly it couldn’t even be given away to the poor. As an earnest nun in training, her first thought is usually a desire to do what God intends her to do. While I love Andrews in both films, Maria easily wins as my favorite character. In fact, she is my favorite female character in all of cinema, the one I most identify with and aspire to.
Christopher Plummer provides a perfect complement to this character in his portrayal of Captain Georg Von Trapp, a man who uses sternness as a salve for wounds he wishes to forget. In spite of his icy presence towards the beginning of the film, it is easy to see that he has a latent warmth that only needs a catalyst to melt the barriers he’s placed between himself and his children. His dry wit is an especially enjoyable aspect of his character, especially in scenes where it counterbalances Maria’s more clumsy passion. When the chemistry of this initial rivalry yields itself to affection, Plummer brings heart-breaking tenderness to the role. The depth of emotion conveyed through his eyes is remarkable, particularly in that climactic moment just before he declares his love for his young governess.
Everyone in the cast does a fine job. Peggy Wood’s Mother Abbess is wise and matronly, the gentlest and most authoritative figure in the film. Capping a successful film career, Eleanor Parker brings just the right degree of cold elegance to the Baroness, a rather villainous but not entirely unsympathetic figure. Much more likable is Richard Haydn as Max Detweiler, a shrewd businessman and close friend of the Captain whose fun-loving personality makes him a favorite of the Von Trapp children. His comedic delivery provides a nice contrast to the chilly and dull Baroness who appears in most of his scenes. The seven children, Charmian Carr (Liesl), Heather Menzies (Louisa), Nicholas Hammond (Friedrich), Duane Chase (Kurt), Angela Cartwright (Brigitta), Debbie Turner (Marta), and Kym Karath (Gretl), work wonderfully together, bringing a mixture of mischief and sweetness to Maria’s charges.
A large part of Sound of Music’s enduring popularity is, of course, the music. This is Rodgers and Hammerstein’s crowning achievement, and there’s not a song here I find tedious or unnecessary. From the exuberant title song and the educational Do Re Mi to the heartening My Favorite Things and the clever So Long, Farewell, the songs in this film are among the most beloved in cinematic history. And Eidelweiss, the last song Rodgers and Hammerstein wrote together, has such a level of authenticity about it that most people believe it actually is an Austrian folk song predating the events of the movie.
At its core, Sound of Music is a film about love. Last year, my favorite local radio station asked listeners to call in with their favorite romantic movie of all time, and I told my brother, much to his disgust, that Sound of Music got my vote. The gradual development of Maria and Captain Von Trapp’s mutual affection, standing in contrast to the puppy love of Liesl and Rowlf and the Captain’s chilly engagement to the socially compatible Baroness, is thoroughly satisfying. The Captain’s uncharacteristic stumbling as he tries to verbalize his feelings to Maria is most endearing, and the moment she realizes beyond a shadow of a doubt that her love is not one-sided is always a thrill.
But entwined with this are many other types of love. The love of life, which Maria embodies. Of music, which she passes on to the children and which, in real life, led to the formation of a successful family act, whose fame allowed Maria to publish the autobiography which inspired the musical. (The real departure from Austria was far less dramatic, incidentally; after refusing a couple invitations from Hitler to sing for him, the family thought it wise to leave the country.) Of nature, to which the film’s sweeping cinematography alludes. Of family, which Maria helps the Captain to reclaim. He falls in love with her largely through her love of his children. Of God, which is so strong in Maria that she wants to spend her life as a nun. But her faith allows perceive that she can do God’s will outside of the cloistered Abbey walls, and that God will protect her family as they flee from peril. And, of course, love of country, which moves from subplot into the foreground after the wedding, which would seem a logical stopping place. But the rumors and whispers overshadowed by the romance find culmination in the film’s final scenes, and all the other threads come together to help our protagonists combat the evil that confronts them.
There are few movies with the enduring power of Sound of Music. It’s a film everyone ought to see at some time or another. I’ve seen it many times, and I can only go so long before the urge strikes me to watch it yet again; I think I’m coming up on that time now. Watch it and treasure it. I dare you to be unmoved.
Tuesday, February 10, 2004
Toy Story Took Disney and Pixar to Infinity and Beyond
I recently learned that Disney and Pixar will be parting ways soon, after the release of the upcoming Disney/Pixar projects The Incredibles and Cars.
It seems a shame that such a successful partnership should dissolve
after only seven movies, but apparently Disney has had some trouble
keeping its friends lately. It remains to be seen just how badly this
split will hurt Eisner and company, but I suspect the loss will be felt
keenly. Their five films together thus far have met with roaring
success, counteracting such projects as the string of cheaply made
sequels to Disney classics. Toy Story is the movie that started it all.
I don’t often get to see movies in their first run at the theater, and Toy Story had left Tinseltown before I even heard much about it. The first extensive praise I heard of film was from my ninth grade English teacher, also a friend of the family. For reasons forgotten to me now, she had offered me a ride home, and as she drove she told me how much my family and I would enjoy Disney’s latest offering. Shortly after that conversation occurred, my family dropped by the dollar theater to see for ourselves if Toy Story was really as impressive as she intimated. We were not disappointed.
The first notable thing about this film at the time of its release was the fact that it was entirely computer animated. This animation style was just becoming widespread. The first Veggie Tales video actually preceded Toy Story by a couple years, but I would not discover my beloved singing plant life until the next year. No, it was Woody (Tom Hanks) and Buzz (Tim Allen) who introduced me to the next frontier in animated films.
The story and its cast of characters were particularly suited to this new style. Such creativity and care went into the crafting of this film, most children probably gave their toys a second or third look when they got home and wondered what their playthings had been up to during their absence. The film has nods at lots of traditional childhood toys; Etch-a-Sketch, Slinky Dog (Jim Varney), Mr. Potato Head (Don Rickles), Hamm the Piggy Bank (John Ratzenberger), a troop of toy soldiers, Rex the dinosaur (Wallace Shawn), Little Bo Peep, and many others make up the supporting cast in a tale whose core relationship is between Woody, the boy Andy’s faithful pull-string cowboy, and Buzz, the high-tech space adventurer who usurps Woody’s position of favor when he arrives as Andy’s birthday gift. Buzz is a bit overconfident when he makes his debut, but he harbors no ill will toward Woody, the established leader. Woody, meanwhile, is consumed by a most unheroic jealousy that sets in motion the great adventure he and Buzz must undertake. As Buzz and Woody’s rivalry blooms into friendship, they are each able to combine the best that each has to offer in order to get them out of their precarious situation.
The toys in Andy’s bedroom interact hilariously with one another, via both the dialogue expertly delivered by the seasoned actors voicing them and the movements dictated by their particular traits. Slinky Dog’s front walks halfway across the room while his hind legs remain rooted to the floor. Mr. Potato Head loses all his facial features and reconstructs himself a la Pablo Picasso. Woody and Etch-a-Sketch challenge each other to a draw, with Woody pulling the gun from his holster and Etch-a-Sketch literally drawing a gun. There’s also a bit of romance, with Bo Peep showering affection first on Woody than Buzz and Mr. Potato Head dreaming of the day when Andy’s sister will receive a Mrs. Potato Head.
Outside of Andy’s house, the toys are no less engaging. When Woody and Buzz finagle their way into the Pizza Planet where Andy is eating dinner, they find themselves in a claw machine surrounded by adorable squeezable alien clones who speak in unison. Once they become imprisoned in the home of the sadistic Sid, Andy’s neighbor, they encounter a host of freaky toys that have all been mutilated and redesigned to reflect their owner’s ghoulish personality. These silent masses seem to pose a grave danger to Woody and Buzz, but they soon reveal themselves to be innocent victims of Sid’s operations and powerful allies against him.
Hanks is as lovable as always here, and it’s easy to forgive Woody the touch of arrogance that comes to light when he feels his position is being threatened. Allen puts just the right amount of bombast into the valiant but not too bright Buzz. Later in the film, Woody’s regret and Buzz’s uncertainty add a lovely layer of vulnerability to these initially indomitable characters. The stages of their development as individuals and in relation to one another are beautifully illustrated with Randy Newman’s evocative soundtrack.
This endearing, imaginative story of friendship set the standard for all future Pixar / Disney projects, and while I have no doubt that their last two projects will be just as rewarding, and that Pixar will be successful in future ventures, it all started with Toy Story.
I don’t often get to see movies in their first run at the theater, and Toy Story had left Tinseltown before I even heard much about it. The first extensive praise I heard of film was from my ninth grade English teacher, also a friend of the family. For reasons forgotten to me now, she had offered me a ride home, and as she drove she told me how much my family and I would enjoy Disney’s latest offering. Shortly after that conversation occurred, my family dropped by the dollar theater to see for ourselves if Toy Story was really as impressive as she intimated. We were not disappointed.
The first notable thing about this film at the time of its release was the fact that it was entirely computer animated. This animation style was just becoming widespread. The first Veggie Tales video actually preceded Toy Story by a couple years, but I would not discover my beloved singing plant life until the next year. No, it was Woody (Tom Hanks) and Buzz (Tim Allen) who introduced me to the next frontier in animated films.
The story and its cast of characters were particularly suited to this new style. Such creativity and care went into the crafting of this film, most children probably gave their toys a second or third look when they got home and wondered what their playthings had been up to during their absence. The film has nods at lots of traditional childhood toys; Etch-a-Sketch, Slinky Dog (Jim Varney), Mr. Potato Head (Don Rickles), Hamm the Piggy Bank (John Ratzenberger), a troop of toy soldiers, Rex the dinosaur (Wallace Shawn), Little Bo Peep, and many others make up the supporting cast in a tale whose core relationship is between Woody, the boy Andy’s faithful pull-string cowboy, and Buzz, the high-tech space adventurer who usurps Woody’s position of favor when he arrives as Andy’s birthday gift. Buzz is a bit overconfident when he makes his debut, but he harbors no ill will toward Woody, the established leader. Woody, meanwhile, is consumed by a most unheroic jealousy that sets in motion the great adventure he and Buzz must undertake. As Buzz and Woody’s rivalry blooms into friendship, they are each able to combine the best that each has to offer in order to get them out of their precarious situation.
The toys in Andy’s bedroom interact hilariously with one another, via both the dialogue expertly delivered by the seasoned actors voicing them and the movements dictated by their particular traits. Slinky Dog’s front walks halfway across the room while his hind legs remain rooted to the floor. Mr. Potato Head loses all his facial features and reconstructs himself a la Pablo Picasso. Woody and Etch-a-Sketch challenge each other to a draw, with Woody pulling the gun from his holster and Etch-a-Sketch literally drawing a gun. There’s also a bit of romance, with Bo Peep showering affection first on Woody than Buzz and Mr. Potato Head dreaming of the day when Andy’s sister will receive a Mrs. Potato Head.
Outside of Andy’s house, the toys are no less engaging. When Woody and Buzz finagle their way into the Pizza Planet where Andy is eating dinner, they find themselves in a claw machine surrounded by adorable squeezable alien clones who speak in unison. Once they become imprisoned in the home of the sadistic Sid, Andy’s neighbor, they encounter a host of freaky toys that have all been mutilated and redesigned to reflect their owner’s ghoulish personality. These silent masses seem to pose a grave danger to Woody and Buzz, but they soon reveal themselves to be innocent victims of Sid’s operations and powerful allies against him.
Hanks is as lovable as always here, and it’s easy to forgive Woody the touch of arrogance that comes to light when he feels his position is being threatened. Allen puts just the right amount of bombast into the valiant but not too bright Buzz. Later in the film, Woody’s regret and Buzz’s uncertainty add a lovely layer of vulnerability to these initially indomitable characters. The stages of their development as individuals and in relation to one another are beautifully illustrated with Randy Newman’s evocative soundtrack.
This endearing, imaginative story of friendship set the standard for all future Pixar / Disney projects, and while I have no doubt that their last two projects will be just as rewarding, and that Pixar will be successful in future ventures, it all started with Toy Story.
Monday, February 9, 2004
Classy Christmas Album Highlights American Idols' Vocals
The same night I bought Clay Aiken’s Measure of a Man, I picked up American Idol: The Great Holiday Classics.
I had thought I would wait until a bit closer to Christmas, but there
it was, with a big fat SALE sticker on it, and I caved. After all, I’ve
never been one to let the fact that it’s nowhere near Christmas deter me
from enjoying holiday music. When I arrived home with my newly acquired
album, I promptly plopped down on the couch and listened to them in
succession, first Clay then the ensemble. And what do you know? I liked
the ensemble better.
It’s hard to go wrong with Christmas music. With the exception of one song I had never heard before – though I did hear it several times on the radio once the holiday season rolled around – these are all familiar tunes. And they sound about the way it seems they ought to sound; there’s no great reinvention of the standards to make them sound like unique American Idol creations. As a result, the album is a refreshingly traditional Christmas offering, one I’m happy to place alongside such greats as John Denver and the Muppets: A Christmas Together, Peter Paul and Mary: A Holiday Celebration, Neil Diamond: The Christmas Album, A Chipmunks’ Christmas, and so many other classics. This album made up for my disappointment in Clay’s debut.
The First Noel - Speaking of Clay, he gets to start the album off with a bang. This is Clay exactly as he should be. His voice is in such prominence and accompaniment so understated that throughout much of the song, it seems as though he is singing a capella. Whatever instrumentals do come into play complement rather than hinder his voice and remain very unobtrusively in the background. After this impressive into, I found myself wondering why the accompaniment couldn’t have been like that on Clay’s own CD.
Have Yourself a Merry Little Christmas - Ruben Studdard and Tamyra Gray combine their vocal talents on this number. Their mellow voices complement one another very well and are particularly suited to this song.
O Come, All Ye Faithful - All the Idol contestants demonstrated their ability to sing as part of a group during those Wednesday night pre-results time-filling performances. Switching off at times to highlight certain voices, they find their greatest strength when singing in harmony as a whole (though a solo by Clay towards the end packs a pretty powerful punch).
Silent Night - Widespread shock ensued when Tamyra was voted off during the first season of the show, exposing flaws in the telephone voting system. The producers allow her to shine here arguably the most beloved of all Christmas carols, proving that while she might have been denied the title, she could hold her own against Kelly Clarkson any day.
Silver Bells - When I was two years old, this was my favorite song. If I am not much mistaken, it is the first song that I ever clearly identified as my favorite, followed a short time later by Art Garfunkel’s Feuilles-Oh and Don McLean’s American Pie. So it’s got a pretty special place in my heart, and it was pretty nifty to hear Clay sing it. He and Kim Locke have clearly developed a close rapport, and their chemistry is evident in their performance of this song together. Apparently I’m not the only one this track made an impression on; it’s the only song from the album I heard on the radio.
Santa Claus is Coming to Town - I don’t like it quite as much as Faithful, but it’s still a nice group number. Backed by a jazzy piano and percussion, it relies more heavily on individual performances and doesn’t achieve the same level of group harmony as their first group song. Nonetheless, it’s a fun, upbeat tune.
The Christmas Song - Kim’ smooth tones sail over these classic lyrics. A perfect complement to Merry Little Christmas, it’s a soulful contribution highlighting the gal who almost snagged a spot in the top two in the second season.
I’ll Be Home for Christmas - Interestingly enough, while Rube, Clay, Tamyra, and Kim all get to perform both a solo and a duet, Justin just gets one song to himself. Adding insult to injury, he was entirely absent from their Christmas special which aired shortly before Thanksgiving, an omission that was never explained, typical of AI’s style. Poor Justin barely even gets a mention these days among all the references to Kelly, Ruben and Clay. At least he’s got this track, which is perfectly enjoyable and fits right in with the others.
Winter Wonderland - I found this one a bit odd for a couple reasons. For one thing, the inclusion of Christina Christian seems a little random. I guess they wanted to have three from each season here, since Kelly only shows up on the bonus disc, another oddity. But it was one thing to include Tamyra, who was the frontrunner for most of the competition and certainly is a better singer than Justin or How-the-Heck-Did-She-Last-That-Long Nikki McKibbin. But they had to reach a little further back for Christina. I guess it makes sense, but I was surprised to see her on the disc. The other odd thing about this song, particularly considering Simon’s disdain for impersonations, is that she sounds just like Marilyn Monroe. Oh, well. Simon always did favor Christina, so he probably loved this track anyway.
This Christmas - If I was a bit baffled by Christina’s presence, I was utterly flummoxed by the song choice in Ruben’s starring number. It does suit him, but nine out of the ten songs are well-worn Christmas classics, and this one just seemed to come out of left field. Prior to this Christmas season, I had never heard this song before, and initially I thought it might have been written just for Ruben. Working in the mall, however, I heard two different versions of this song, so I guess it’s not so obscure. Still, it does seem out of place, not only because it’s not as well known as the others but because it sounds like it belongs in a disco. As my brother put it, it sounds like “A Funky Cops Christmas.”
Bonus Disc
Oh Holy Night - What is the deal with American Idol and bonus tracks anyway? And why do we need a separate disc for two songs? Is Kelly too good to appear with the rest of the successful Idols? I thought perhaps Kelly had a Christmas album of her own from which these tracks were drawn, but that does not seem to be the case, so why is she all by herself? I find it puzzling, but I can’t complain about the quality of the tracks. I had hoped that Clay would get to sing this, my favorite Christmas carol. He would have done a brilliant job. But Kelly’s a capella version is appropriately reverent, and her voice can handle the challenge of the carol’s final pole-vaulting notes.
My Grown Up Christmas List - This track isn’t exactly canon either, but it’s much more consistent with the overall feel of the album, and in particular with O Holy Night. Also well suited to Kelly’s voice, it is particularly appropriate for the troubled times in which we live. The first season of American Idol started within a year of September 11, 2001, and America went to war with Iraq while the second season was underway. This prayer for peace is a nod to that.
It’s a little late, I suppose, to run out and buy Christmas music, but if you’re still buried in snow like we are here in Erie, it’s easier to forget that Valentine’s Day is upon us and Christmas a distant memory. Even if you’ve sworn off Christmas music for the next 10 months, keep American Idol: The Great Holiday Classics tucked away in your brain somewhere, ready to pull out when the stores put up their holiday displays. American Idol isn’t always known for its class, but its producers redeemed themselves with this compilation.
It’s hard to go wrong with Christmas music. With the exception of one song I had never heard before – though I did hear it several times on the radio once the holiday season rolled around – these are all familiar tunes. And they sound about the way it seems they ought to sound; there’s no great reinvention of the standards to make them sound like unique American Idol creations. As a result, the album is a refreshingly traditional Christmas offering, one I’m happy to place alongside such greats as John Denver and the Muppets: A Christmas Together, Peter Paul and Mary: A Holiday Celebration, Neil Diamond: The Christmas Album, A Chipmunks’ Christmas, and so many other classics. This album made up for my disappointment in Clay’s debut.
The First Noel - Speaking of Clay, he gets to start the album off with a bang. This is Clay exactly as he should be. His voice is in such prominence and accompaniment so understated that throughout much of the song, it seems as though he is singing a capella. Whatever instrumentals do come into play complement rather than hinder his voice and remain very unobtrusively in the background. After this impressive into, I found myself wondering why the accompaniment couldn’t have been like that on Clay’s own CD.
Have Yourself a Merry Little Christmas - Ruben Studdard and Tamyra Gray combine their vocal talents on this number. Their mellow voices complement one another very well and are particularly suited to this song.
O Come, All Ye Faithful - All the Idol contestants demonstrated their ability to sing as part of a group during those Wednesday night pre-results time-filling performances. Switching off at times to highlight certain voices, they find their greatest strength when singing in harmony as a whole (though a solo by Clay towards the end packs a pretty powerful punch).
Silent Night - Widespread shock ensued when Tamyra was voted off during the first season of the show, exposing flaws in the telephone voting system. The producers allow her to shine here arguably the most beloved of all Christmas carols, proving that while she might have been denied the title, she could hold her own against Kelly Clarkson any day.
Silver Bells - When I was two years old, this was my favorite song. If I am not much mistaken, it is the first song that I ever clearly identified as my favorite, followed a short time later by Art Garfunkel’s Feuilles-Oh and Don McLean’s American Pie. So it’s got a pretty special place in my heart, and it was pretty nifty to hear Clay sing it. He and Kim Locke have clearly developed a close rapport, and their chemistry is evident in their performance of this song together. Apparently I’m not the only one this track made an impression on; it’s the only song from the album I heard on the radio.
Santa Claus is Coming to Town - I don’t like it quite as much as Faithful, but it’s still a nice group number. Backed by a jazzy piano and percussion, it relies more heavily on individual performances and doesn’t achieve the same level of group harmony as their first group song. Nonetheless, it’s a fun, upbeat tune.
The Christmas Song - Kim’ smooth tones sail over these classic lyrics. A perfect complement to Merry Little Christmas, it’s a soulful contribution highlighting the gal who almost snagged a spot in the top two in the second season.
I’ll Be Home for Christmas - Interestingly enough, while Rube, Clay, Tamyra, and Kim all get to perform both a solo and a duet, Justin just gets one song to himself. Adding insult to injury, he was entirely absent from their Christmas special which aired shortly before Thanksgiving, an omission that was never explained, typical of AI’s style. Poor Justin barely even gets a mention these days among all the references to Kelly, Ruben and Clay. At least he’s got this track, which is perfectly enjoyable and fits right in with the others.
Winter Wonderland - I found this one a bit odd for a couple reasons. For one thing, the inclusion of Christina Christian seems a little random. I guess they wanted to have three from each season here, since Kelly only shows up on the bonus disc, another oddity. But it was one thing to include Tamyra, who was the frontrunner for most of the competition and certainly is a better singer than Justin or How-the-Heck-Did-She-Last-That-Long Nikki McKibbin. But they had to reach a little further back for Christina. I guess it makes sense, but I was surprised to see her on the disc. The other odd thing about this song, particularly considering Simon’s disdain for impersonations, is that she sounds just like Marilyn Monroe. Oh, well. Simon always did favor Christina, so he probably loved this track anyway.
This Christmas - If I was a bit baffled by Christina’s presence, I was utterly flummoxed by the song choice in Ruben’s starring number. It does suit him, but nine out of the ten songs are well-worn Christmas classics, and this one just seemed to come out of left field. Prior to this Christmas season, I had never heard this song before, and initially I thought it might have been written just for Ruben. Working in the mall, however, I heard two different versions of this song, so I guess it’s not so obscure. Still, it does seem out of place, not only because it’s not as well known as the others but because it sounds like it belongs in a disco. As my brother put it, it sounds like “A Funky Cops Christmas.”
Bonus Disc
Oh Holy Night - What is the deal with American Idol and bonus tracks anyway? And why do we need a separate disc for two songs? Is Kelly too good to appear with the rest of the successful Idols? I thought perhaps Kelly had a Christmas album of her own from which these tracks were drawn, but that does not seem to be the case, so why is she all by herself? I find it puzzling, but I can’t complain about the quality of the tracks. I had hoped that Clay would get to sing this, my favorite Christmas carol. He would have done a brilliant job. But Kelly’s a capella version is appropriately reverent, and her voice can handle the challenge of the carol’s final pole-vaulting notes.
My Grown Up Christmas List - This track isn’t exactly canon either, but it’s much more consistent with the overall feel of the album, and in particular with O Holy Night. Also well suited to Kelly’s voice, it is particularly appropriate for the troubled times in which we live. The first season of American Idol started within a year of September 11, 2001, and America went to war with Iraq while the second season was underway. This prayer for peace is a nod to that.
It’s a little late, I suppose, to run out and buy Christmas music, but if you’re still buried in snow like we are here in Erie, it’s easier to forget that Valentine’s Day is upon us and Christmas a distant memory. Even if you’ve sworn off Christmas music for the next 10 months, keep American Idol: The Great Holiday Classics tucked away in your brain somewhere, ready to pull out when the stores put up their holiday displays. American Idol isn’t always known for its class, but its producers redeemed themselves with this compilation.
Saturday, February 7, 2004
Greive and the Gang Encourage Readers to Embrace Tomorrow
On a trip to my aunt’s house a few years ago, I was introduced to the delightful wit and wisdom of Bradley Trevor Greive via The Blue Day Book,
a tome that would pave the way for many future projects. Since then, I
eagerly await each of Greive’s new efforts, always a balanced mixture of
the author’s perceptive prose and wonderfully appropriate
black-and-white photographs, usually of animals. Tomorrow: Adventures in an Uncertain World follows along rather the same lines as The Meaning of Life;
it acknowledges that the world can be a scary place and we don’t know
what unpleasantness the future might hold, but it urges the reader to
embrace life anyway and hope for the best. After all, there are many
things that make life worth living.
This latest edition to my Greive collection bears a yellow cover with a picture of a penguin scanning a vast empty expanse. The back cover gives us a shot of the bird dancing, indicating the direction the book will take. In 110 pages, Greive and his cast of furry, feathered, scaled, and antennaed assistants address the multitudinous concerns which everyone must face on a daily basis and counteract them with a reminder of the beautiful moments just waiting to be experienced each and every day. Tomorrow, like Meaning of Life, is a bit wordier than Blue Day, but it still can be easily read in under an hour. It’s ten dollars well spent, though. The photographs alone are worth a second, fifth, or tenth look. Here are some of my favorites:
You and I both know that good people get attacked in broad daylight all the time (14) - a chicken trying to step up onto a concrete block and being hindered by a rabbit grabbing it from behind
And if you do finally snuggle up to someone who seems perfect for you (24) - a guinea pig and duckling cuddled up next to each other
Now, what I find so confusing is that if these stone-faced folk truly believe all the scary stuff they preach, why do they choose to keep on living? (33) - a grasshopper, blurred except for its sharply focused head and front legs, tapping its head in a quizzical manner
There is always someone you can count on (40) - a koala clinging to the back of a German shepherd
So in other words, a good support network is always valuable, but hiring personal bodyguards is probably going too far! (67) - a kitten flanked by a duckling on either side, all three standing erect
Embrace the unpredictable and go exploring for things that inspire you (96) - a cat gazing at a dandelion whose seeds are about to take flight
And the time that special person whispered, “I love you.” (104) - a joey seemingly whispering in its mother’s ear
As you make this journey, always remember that each day is a precious gift... (108) - a guinea pig holding a daisy in its mouth
Check the book out for yourself and find your own favorites. And take the words to heart, because everyone can use a little comfort now and then.
This latest edition to my Greive collection bears a yellow cover with a picture of a penguin scanning a vast empty expanse. The back cover gives us a shot of the bird dancing, indicating the direction the book will take. In 110 pages, Greive and his cast of furry, feathered, scaled, and antennaed assistants address the multitudinous concerns which everyone must face on a daily basis and counteract them with a reminder of the beautiful moments just waiting to be experienced each and every day. Tomorrow, like Meaning of Life, is a bit wordier than Blue Day, but it still can be easily read in under an hour. It’s ten dollars well spent, though. The photographs alone are worth a second, fifth, or tenth look. Here are some of my favorites:
You and I both know that good people get attacked in broad daylight all the time (14) - a chicken trying to step up onto a concrete block and being hindered by a rabbit grabbing it from behind
And if you do finally snuggle up to someone who seems perfect for you (24) - a guinea pig and duckling cuddled up next to each other
Now, what I find so confusing is that if these stone-faced folk truly believe all the scary stuff they preach, why do they choose to keep on living? (33) - a grasshopper, blurred except for its sharply focused head and front legs, tapping its head in a quizzical manner
There is always someone you can count on (40) - a koala clinging to the back of a German shepherd
So in other words, a good support network is always valuable, but hiring personal bodyguards is probably going too far! (67) - a kitten flanked by a duckling on either side, all three standing erect
Embrace the unpredictable and go exploring for things that inspire you (96) - a cat gazing at a dandelion whose seeds are about to take flight
And the time that special person whispered, “I love you.” (104) - a joey seemingly whispering in its mother’s ear
As you make this journey, always remember that each day is a precious gift... (108) - a guinea pig holding a daisy in its mouth
Check the book out for yourself and find your own favorites. And take the words to heart, because everyone can use a little comfort now and then.
Friday, February 6, 2004
In the Night Kitchen as Wild as Sendak's More Celebrated Ventures
A couple years ago, I took a college class aimed at preparing future
educators to create lesson plans revolving around certain texts
representative of children’s literature. Although I have no plans to
teach, I took the class out of a deep love of and interest in juvenile
literature. Although we started the class with the universally familiar The Tale of Peter Rabbit, we soon moved on to more unfamiliar territory. Though most of us in the class had read and enjoyed Maurice Sendak’s Where the Wild Things Are as youngsters, few of us had even heard of In the Night Kitchen. Some of us were in for a bit of a shock.
It’s hard to imagine such a simple children’s book causing such alarm, but not everyone approved of the depictions that earned this slim volume the distinction of Caldecott Honor. This is probably part of the reason that it is not as widely known as Wild Things. It’s a graphically driven book, with large pictures filling the pages and only a few oversized, carefully lettered words driving along the narration. Everything seems larger than life, which is appropriate given the fact that the bulk of the book is a dreamscape. Young Mickey is tiny compared to his surroundings, yet he twists his size to his advantage. The world he has landed in is a distortion of the world he experiences daily; the airplane hanging over his head as he drifts to sleep and the fact that he hears a noise below him, where the kitchen would be, are indicators of what sorts of images this dream will hold.
The three bakers whom Mickey meets are large and pudgy, fairly unthreatening and indistinct from one another. They are jovial characters except when they fear they will have no milk to complete their cake. After reading through the book a couple times, I noticed that their eyes remain closed until Mickey makes his presence known, indicating visually that they have been oblivious to his presence up to this point. They seem to represent authority, but in Mickey’s dream they hold no sway over him. The book taps into a child’s disdain for societal conventions. The simplest and most controversial manifestation of this comes when Mickey falls out of his clothes. He appears startled and disturbed when still in his pajamas, but when he is free of his clothing he seems to be quite content. Later, he strikes a compromise, accepting the societal convention of clothes but fashioning them for himself out of batter. He further expresses his individuality by insisting that he get milk for the bakers “the Mickey way.”
Both Wild Things and Night Kitchen involve a young child finding a niche for himself in a strange and fantastical setting. This tale further purports to serve the purpose of an explanatory folk tale – in chronicling Mickey’s journey, it tells us why we have cake every morning. Of course, most of us don’t have cake every morning, but this further goes along with the idea of the child being in charge here. If Mickey had his way, we would have cake every morning. Hey, sounds good to me.
It took me a few readings of this book to decide I liked it. The illustrations really require more reading than the words and reveal possible deeper meanings in the story. The illustrations, though rather dark and flat in color, are intriguing; especially enjoyable is the cityscape consisting of food containers. I wouldn’t let a little nudity get in the way of enjoying this book. It may not be as immediately embraceable as Wild Things, but it’s worth taking the extra time to settle into an appreciation of it.
It’s hard to imagine such a simple children’s book causing such alarm, but not everyone approved of the depictions that earned this slim volume the distinction of Caldecott Honor. This is probably part of the reason that it is not as widely known as Wild Things. It’s a graphically driven book, with large pictures filling the pages and only a few oversized, carefully lettered words driving along the narration. Everything seems larger than life, which is appropriate given the fact that the bulk of the book is a dreamscape. Young Mickey is tiny compared to his surroundings, yet he twists his size to his advantage. The world he has landed in is a distortion of the world he experiences daily; the airplane hanging over his head as he drifts to sleep and the fact that he hears a noise below him, where the kitchen would be, are indicators of what sorts of images this dream will hold.
The three bakers whom Mickey meets are large and pudgy, fairly unthreatening and indistinct from one another. They are jovial characters except when they fear they will have no milk to complete their cake. After reading through the book a couple times, I noticed that their eyes remain closed until Mickey makes his presence known, indicating visually that they have been oblivious to his presence up to this point. They seem to represent authority, but in Mickey’s dream they hold no sway over him. The book taps into a child’s disdain for societal conventions. The simplest and most controversial manifestation of this comes when Mickey falls out of his clothes. He appears startled and disturbed when still in his pajamas, but when he is free of his clothing he seems to be quite content. Later, he strikes a compromise, accepting the societal convention of clothes but fashioning them for himself out of batter. He further expresses his individuality by insisting that he get milk for the bakers “the Mickey way.”
Both Wild Things and Night Kitchen involve a young child finding a niche for himself in a strange and fantastical setting. This tale further purports to serve the purpose of an explanatory folk tale – in chronicling Mickey’s journey, it tells us why we have cake every morning. Of course, most of us don’t have cake every morning, but this further goes along with the idea of the child being in charge here. If Mickey had his way, we would have cake every morning. Hey, sounds good to me.
It took me a few readings of this book to decide I liked it. The illustrations really require more reading than the words and reveal possible deeper meanings in the story. The illustrations, though rather dark and flat in color, are intriguing; especially enjoyable is the cityscape consisting of food containers. I wouldn’t let a little nudity get in the way of enjoying this book. It may not be as immediately embraceable as Wild Things, but it’s worth taking the extra time to settle into an appreciation of it.
Measure of a Man's Overproduction Strives to Make Clay's Voice Invisible
Back when Clay Aiken’s debut album came out in October, I went to my
local Media Play at midnight to snag a copy. Whatever expectations I had
of a Harry Potteresque release party were soon crushed when I arrived
to find myself one of only half a dozen people there – and the rest were
there to pick up a copy of The Matrix Revolutions. Still, I was
satisfied to have my long wait come to an end that night. I intended to
review it as soon as I bought it, but I was disappointed to discover I
wasn’t crazy about the album. I wanted to give myself some time to warm
up to the album. I have since heard Clay perform several of these songs
on various television programs, and in every case I preferred his live
version. Most of the songs are still a bit contemporary for my taste,
but they’re not bad. But they’re much improved when Clay’s voice is
allowed to be in the forefront.
Invisible - After singing Bridge Over Troubled Water and This is the Night on television appearances for three months, it probably was a bit of a relief for Clay to be able to sing something new. I’ll wager he soon grew rather tired of this little number too, though. I first heard it at the American Idol concert in Cleveland in July and it failed to capture my imagination. After listening to it dozens of times, it’s grown on me, but I think I still like This is the Night better. It’s a catchy number in which the narrator bemoans the fact that the girl he adores doesn’t seem to know he’s alive. The chorus gets a bit stalkerish as he imagines himself being invisible and watching her in her room before it switches to the realization that, in a metaphorical sense, he truly is invisible. There’s all kinds of weird effects on this one that, to my mind, detract from the overall listening experience, but it’s a pretty solid song and certainly has gotten a decent amount of airplay.
I Will Carry You - This inspirational tune follows right on the heels of Bridge. It’s the exact same type of song, in which the speaker promises to support the one he cares about, and Clay carries it out in the same grandiose manner in which he handled Bridge. Of all the tracks on the album, I think this one seems to most reflect what Clay is all about. Definitely one of my favorites.
The Way - Clay’s been singing this one on television quite a bit lately. Co-written by Enrique Iglesias, it’s the album’s romantic standout, a nice slow song describing all the things that he loves about the object of his affections. It’s a funny thing that Clay seems to specialize in love songs when he claims to have never been in love himself. You’d never guess his inexperience from the passion he brings to his renditions. This tender ballad is another of my favorite tracks.
When You Say You Love Me - A pretty up-tempo number with just a touch of a country feel. The speaker states his affection for a girl he admires but insists he is interested in her for the long run. No no-one-night-stands insistence sounds very Clayish. An all right song, but it doesn’t really grab me.
No More Sad Songs - Possibly my favorite track on the album, this piano-driven ballad has heavy echoes of Elton John, an artist whose material Clay has covered with mastery before. Aside from the slightly distracting presence of the phrase “the way” in the opening line after the song of the same title two tracks earlier, this is a very strong song which allows Clay’s opportunity the chance to shine the way it should.
Run to Me - Another nice ballad in which the objects of the speaker’s affections has been bruised by a prior relationship and the speaker wants to assure her that he can wait for her to heal. Not bad, but not a particular standout for me.
Shine - This is another sort of inspirational song, and it’s got kind of a nice message, but it doesn’t do much for me musically. It’s got a bit of a techno feel to it and is one of the most overproduced tracks on the album – and every track is overproduced.
I Survived You - This is an interesting song, because it seems to be either the favorite or least favorite track of most everyone who listened to this album. I didn’t like it much at first, and though it’s grown on me somewhat, it’s still nowhere near the top. Clay sounds uncharacteristically bitter here, leading to speculation that he may really be thinking of his estranged father in his delivery of the song. The speaker has clearly been scarred by this relationship but is going to rise above it. It’s inspirational in a way, a song of survival, but it’s a little too acidic for me. The pace is a little strange, too; he often seems like he has to rush to get all the words out before the music moves on to the next line. And for all the emphasis on Clay’s valiant fight to keep this album clean, these lyrics include a mild but unnecessary bit of profanity. It’s easy to miss, though; I didn’t even catch it until the third or fourth time listening to it.
This is the Night - Ooh boy! A bonus track of a song that everybody who bought this album already owns! I know I’m excited. Oh, well, it’s still a good song, but if they’re only going to give us twelve songs, couldn’t they have given us something we haven’t heard before? Aside from the overproduction, my biggest disappointment with this album was the fact that I had heard it was going to be very cover-heavy, drawing from such sources as Elton John and Neil Sedaka. I guess they wanted to move Clay away from material that is firmly established in the realm of more experienced artists, but those are the types of songs I love and Clay performs them so well, I would have been happy with a whole album full of classy covers. As it was, none of the promised standards survived the final cut. A much more satisfying bonus for me would have been the inclusion of Solitaire or Can You Feel the Love Tonight?. I’m still waiting for those…
Perfect Day - There’s an enjoyable exuberance to this track, a demonstration of that on-top-of-the-world just-fell-in-love feeling. It’s kind of fun, but a little loud for me.
Measure of a Man - Another standout song, and an appropriate choice for title track. Like I Will Carry You, this seems to be a song very much in keeping with Clay and his values. It’s particularly appropriate to him now that he has achieved such star status so quickly. He’s got thousands of girls who would give anything for a date with him. But what if all the glitz and glamour was gone? All the fame and prestige? And what if they discovered that the angelic Mr. Aiken has a few faults of his own? Would he hold up when the pedestal of their unrealistic expectations begins to weaken? This is one of my favorite songs lyrically and vocally, except for one baffling moment towards the end when his words are engulfed by what sounds like a sonic boom. I always forget about it until that part comes along and it scares me silly. What were they thinking?
Touch - Definitely my least favorite. This, like I Survived You, is favored by many who have the album, while others find it out of keeping with Clay’s style. For one thing, if Shine had a touch of techno, it’s out in full force here. I would say it’s the least musical of the tracks, and also the least G-rated. As hard as Clay worked to keep inappropriate innuendo out of his album, this is an awfully steamy song for my tastes. True, it’s not describing a one-night stand, but it still seems out of keeping with Clay’s persona. I usually shut the album off after Measure of a Man.
So is it a good album? As good as can be expected, I suppose, when he’s tethered to this company. It has grown on me since I first bought it, and most of the songs are pretty good, even very good when Clay sings them live. But for some reason, the producers seem to feel the need to drown out that gorgeous voice in the studio. A lot of contemporary pop is overproduced because the singers can’t make the grade on their own. That’s clearly not the case with Clay. So let his voice stand on its own already!! I’m thrilled the album went double platinum and hope that this means Clay will have greater creative control over his next album. I want a return to the quietude and vocal clarity of his exquisite demos. Until then, I’ll have to satisfy myself with the knowledge that he did the best he could with what he had to work with. I’ll give it a five on the strength of Clay’s voice, but it’s taken me three months to feel it merited that. Support Clay by picking up a copy, but if you really want a sense of what he can do, hunt down Look What Love Has Done and Redefined.
Invisible - After singing Bridge Over Troubled Water and This is the Night on television appearances for three months, it probably was a bit of a relief for Clay to be able to sing something new. I’ll wager he soon grew rather tired of this little number too, though. I first heard it at the American Idol concert in Cleveland in July and it failed to capture my imagination. After listening to it dozens of times, it’s grown on me, but I think I still like This is the Night better. It’s a catchy number in which the narrator bemoans the fact that the girl he adores doesn’t seem to know he’s alive. The chorus gets a bit stalkerish as he imagines himself being invisible and watching her in her room before it switches to the realization that, in a metaphorical sense, he truly is invisible. There’s all kinds of weird effects on this one that, to my mind, detract from the overall listening experience, but it’s a pretty solid song and certainly has gotten a decent amount of airplay.
I Will Carry You - This inspirational tune follows right on the heels of Bridge. It’s the exact same type of song, in which the speaker promises to support the one he cares about, and Clay carries it out in the same grandiose manner in which he handled Bridge. Of all the tracks on the album, I think this one seems to most reflect what Clay is all about. Definitely one of my favorites.
The Way - Clay’s been singing this one on television quite a bit lately. Co-written by Enrique Iglesias, it’s the album’s romantic standout, a nice slow song describing all the things that he loves about the object of his affections. It’s a funny thing that Clay seems to specialize in love songs when he claims to have never been in love himself. You’d never guess his inexperience from the passion he brings to his renditions. This tender ballad is another of my favorite tracks.
When You Say You Love Me - A pretty up-tempo number with just a touch of a country feel. The speaker states his affection for a girl he admires but insists he is interested in her for the long run. No no-one-night-stands insistence sounds very Clayish. An all right song, but it doesn’t really grab me.
No More Sad Songs - Possibly my favorite track on the album, this piano-driven ballad has heavy echoes of Elton John, an artist whose material Clay has covered with mastery before. Aside from the slightly distracting presence of the phrase “the way” in the opening line after the song of the same title two tracks earlier, this is a very strong song which allows Clay’s opportunity the chance to shine the way it should.
Run to Me - Another nice ballad in which the objects of the speaker’s affections has been bruised by a prior relationship and the speaker wants to assure her that he can wait for her to heal. Not bad, but not a particular standout for me.
Shine - This is another sort of inspirational song, and it’s got kind of a nice message, but it doesn’t do much for me musically. It’s got a bit of a techno feel to it and is one of the most overproduced tracks on the album – and every track is overproduced.
I Survived You - This is an interesting song, because it seems to be either the favorite or least favorite track of most everyone who listened to this album. I didn’t like it much at first, and though it’s grown on me somewhat, it’s still nowhere near the top. Clay sounds uncharacteristically bitter here, leading to speculation that he may really be thinking of his estranged father in his delivery of the song. The speaker has clearly been scarred by this relationship but is going to rise above it. It’s inspirational in a way, a song of survival, but it’s a little too acidic for me. The pace is a little strange, too; he often seems like he has to rush to get all the words out before the music moves on to the next line. And for all the emphasis on Clay’s valiant fight to keep this album clean, these lyrics include a mild but unnecessary bit of profanity. It’s easy to miss, though; I didn’t even catch it until the third or fourth time listening to it.
This is the Night - Ooh boy! A bonus track of a song that everybody who bought this album already owns! I know I’m excited. Oh, well, it’s still a good song, but if they’re only going to give us twelve songs, couldn’t they have given us something we haven’t heard before? Aside from the overproduction, my biggest disappointment with this album was the fact that I had heard it was going to be very cover-heavy, drawing from such sources as Elton John and Neil Sedaka. I guess they wanted to move Clay away from material that is firmly established in the realm of more experienced artists, but those are the types of songs I love and Clay performs them so well, I would have been happy with a whole album full of classy covers. As it was, none of the promised standards survived the final cut. A much more satisfying bonus for me would have been the inclusion of Solitaire or Can You Feel the Love Tonight?. I’m still waiting for those…
Perfect Day - There’s an enjoyable exuberance to this track, a demonstration of that on-top-of-the-world just-fell-in-love feeling. It’s kind of fun, but a little loud for me.
Measure of a Man - Another standout song, and an appropriate choice for title track. Like I Will Carry You, this seems to be a song very much in keeping with Clay and his values. It’s particularly appropriate to him now that he has achieved such star status so quickly. He’s got thousands of girls who would give anything for a date with him. But what if all the glitz and glamour was gone? All the fame and prestige? And what if they discovered that the angelic Mr. Aiken has a few faults of his own? Would he hold up when the pedestal of their unrealistic expectations begins to weaken? This is one of my favorite songs lyrically and vocally, except for one baffling moment towards the end when his words are engulfed by what sounds like a sonic boom. I always forget about it until that part comes along and it scares me silly. What were they thinking?
Touch - Definitely my least favorite. This, like I Survived You, is favored by many who have the album, while others find it out of keeping with Clay’s style. For one thing, if Shine had a touch of techno, it’s out in full force here. I would say it’s the least musical of the tracks, and also the least G-rated. As hard as Clay worked to keep inappropriate innuendo out of his album, this is an awfully steamy song for my tastes. True, it’s not describing a one-night stand, but it still seems out of keeping with Clay’s persona. I usually shut the album off after Measure of a Man.
So is it a good album? As good as can be expected, I suppose, when he’s tethered to this company. It has grown on me since I first bought it, and most of the songs are pretty good, even very good when Clay sings them live. But for some reason, the producers seem to feel the need to drown out that gorgeous voice in the studio. A lot of contemporary pop is overproduced because the singers can’t make the grade on their own. That’s clearly not the case with Clay. So let his voice stand on its own already!! I’m thrilled the album went double platinum and hope that this means Clay will have greater creative control over his next album. I want a return to the quietude and vocal clarity of his exquisite demos. Until then, I’ll have to satisfy myself with the knowledge that he did the best he could with what he had to work with. I’ll give it a five on the strength of Clay’s voice, but it’s taken me three months to feel it merited that. Support Clay by picking up a copy, but if you really want a sense of what he can do, hunt down Look What Love Has Done and Redefined.
Thursday, February 5, 2004
"You Gotta Be Quick With Me! I'm From Erie, PA!"
I was browsing through the cast page of a Lord of the Rings
website recently and was disappointed to discover that whoever compiled
the list of film credits for each actor neglected to mention Elijah
Wood’s role as Huck Finn, the character with which I always identified
him prior to LotR. Now he is most widely recognized for
portraying one of the greatest characters in British literature, but I
would have thought one of the greatest characters in American literature
would have been worth mentioning as well. My disillusionment was
further exacerbated when my scanning of Liv Tyler’s bio revealed another
glaring omission: That Thing You Do. For some reason, this
family-friendly flick about a group of guys who hit the big time with a
catchy tune seems to be one of Tom Hanks’ most forgotten films. I
consider it nothing less than my civic duty to protest.
And why is that? Because America’s favorite Guy Next Door decided to make a movie set in my own little neck of the woods. Heck, I took piano lessons at the very college where the fellas get their first big break in a local talent show. I attended the high school of the same name. I’ve got a personal connection to this movie, even if Hanks declined the offer to premiere it in Erie at the newly built Tinseltown, at the time one of the largest movie theaters in the country. Even if none of the filming was actually done in Erie either. Even if most of the cast members have probably never been to Erie and have no interest in ever checking it out. Doggone it, it’s about hometown pride! Besides, it’s a pretty great movie too.
When Art Garfunkel ventured to Erie back in 2000, he caused the audience momentary confusion when he brought up “the O-nee-ders,” the butchered pronunciation of the name the band in the film chooses for itself. Once we caught the allusion to That Thing You Do, Garfunkel went on to tell us how he liked the film because it reminded him of his early days in the music business, ramming around England with Paul and singing in the streets while their friend Kathy collected money. There certainly is an air of youth and innocence about this film, which takes place during the same general time when Art and Paul were starting out. But this little band wasn’t destined to have quite the same shelf life. The film chronicles the fictional foursome’s roller coaster ride from obscurity to stardom and back again.
The key player in the film is Guy Patterson (Tom Everett Scott), a likable young man who bears a remarkable resemblance to Hanks. Passionate about music but always butting heads with his father, he drowns his dreams in the drudgery of tending the family store until a stupid prank leaves the percussionist of a local band incapacitated. The band members just happen to be friends of Guy’s and happen to be playing a big talent show at Mercyhurst College that night, so they convince him to fill in. As it turns out, Guy does for the soon-to-be-named-Oneders what Ringo did for the Beatles, taking the band to a level it could not have achieved with its old drummer. His fast-paced percussion turns That Thing You Do from an insipid wannabe ballad into a catchy up-tempo number. It really is an enjoyable song, though we probably hear it one too many times in the course of the film. It was one of the first songs my brother learned to play on the guitar. It’s easy to imagine such a tune rising through the ranks of the pop charts.
The film’s focus remains largely upon Guy, but it follows the whirlwind success of the Oneders, who soon become the Wonders to avoid confusion. Its other members include Jimmy (Jonathan Schaeck), the arrogant songwriter and bandleader; his long-suffering girlfriend Faye (Tyler); the future GI bass player (Ethan Embry); and Lenny (Steve Zahn), the lovable goofball with the maturity of your average 6-year-old. We watch them soak up the thrills from winning a talent show, landing local gigs, and recording a single to hearing their song on the radio for the first time, setting off on a nationwide tour and landing a spot on a show of the Ed Sullivan variety. They are soon joined by Mr. White (Hanks), a no-nonsense manager who puts them on the road to mass exposure but knows that an implied “One-Hit” will soon precede their group moniker. He’s a savvy character, with maybe just a touch of cynicism, but he’s pretty classy nonetheless and serves as a good mentor for Guy, who’s left holding the drumsticks when the band crumbles around him.
Despite the untimely demise of the Wonders, the film is primarily a light-hearted romp through a more innocent time, a clean comedy with a touch of romance and plenty of good music to help it along its way. At its core, it’s a tribute to all those corny pop groups of the Sixties who may not have lasted long but sure had a good time getting to the top. And hey, it starts out in Erie. Who could ask for anything more?
And why is that? Because America’s favorite Guy Next Door decided to make a movie set in my own little neck of the woods. Heck, I took piano lessons at the very college where the fellas get their first big break in a local talent show. I attended the high school of the same name. I’ve got a personal connection to this movie, even if Hanks declined the offer to premiere it in Erie at the newly built Tinseltown, at the time one of the largest movie theaters in the country. Even if none of the filming was actually done in Erie either. Even if most of the cast members have probably never been to Erie and have no interest in ever checking it out. Doggone it, it’s about hometown pride! Besides, it’s a pretty great movie too.
When Art Garfunkel ventured to Erie back in 2000, he caused the audience momentary confusion when he brought up “the O-nee-ders,” the butchered pronunciation of the name the band in the film chooses for itself. Once we caught the allusion to That Thing You Do, Garfunkel went on to tell us how he liked the film because it reminded him of his early days in the music business, ramming around England with Paul and singing in the streets while their friend Kathy collected money. There certainly is an air of youth and innocence about this film, which takes place during the same general time when Art and Paul were starting out. But this little band wasn’t destined to have quite the same shelf life. The film chronicles the fictional foursome’s roller coaster ride from obscurity to stardom and back again.
The key player in the film is Guy Patterson (Tom Everett Scott), a likable young man who bears a remarkable resemblance to Hanks. Passionate about music but always butting heads with his father, he drowns his dreams in the drudgery of tending the family store until a stupid prank leaves the percussionist of a local band incapacitated. The band members just happen to be friends of Guy’s and happen to be playing a big talent show at Mercyhurst College that night, so they convince him to fill in. As it turns out, Guy does for the soon-to-be-named-Oneders what Ringo did for the Beatles, taking the band to a level it could not have achieved with its old drummer. His fast-paced percussion turns That Thing You Do from an insipid wannabe ballad into a catchy up-tempo number. It really is an enjoyable song, though we probably hear it one too many times in the course of the film. It was one of the first songs my brother learned to play on the guitar. It’s easy to imagine such a tune rising through the ranks of the pop charts.
The film’s focus remains largely upon Guy, but it follows the whirlwind success of the Oneders, who soon become the Wonders to avoid confusion. Its other members include Jimmy (Jonathan Schaeck), the arrogant songwriter and bandleader; his long-suffering girlfriend Faye (Tyler); the future GI bass player (Ethan Embry); and Lenny (Steve Zahn), the lovable goofball with the maturity of your average 6-year-old. We watch them soak up the thrills from winning a talent show, landing local gigs, and recording a single to hearing their song on the radio for the first time, setting off on a nationwide tour and landing a spot on a show of the Ed Sullivan variety. They are soon joined by Mr. White (Hanks), a no-nonsense manager who puts them on the road to mass exposure but knows that an implied “One-Hit” will soon precede their group moniker. He’s a savvy character, with maybe just a touch of cynicism, but he’s pretty classy nonetheless and serves as a good mentor for Guy, who’s left holding the drumsticks when the band crumbles around him.
Despite the untimely demise of the Wonders, the film is primarily a light-hearted romp through a more innocent time, a clean comedy with a touch of romance and plenty of good music to help it along its way. At its core, it’s a tribute to all those corny pop groups of the Sixties who may not have lasted long but sure had a good time getting to the top. And hey, it starts out in Erie. Who could ask for anything more?
Saturday, January 24, 2004
Make a Place for Garrison Keillor in Your Home for the Holidays
Tonight, renowned humorist Garrison Keillor - a man hailed by some as
the next Mark Twain - brings his nationally broadcast radio show, Prairie Home Companion,
to my own little neck of the woods. His arrival has been eagerly
anticipated since the date was first announced this past fall. Yes, here
in Erie, Pennsylvania, we’re serious about Prairie Home Companion.
It could be our atmospheric affinity with Minnesotans; Garrison will
feel right at home when he steps out on the Erie sidewalk and his hair
follicles begin to frost over. It could be the considerable population
of Lutherans, whose antics Garrison so aptly captures in his skits and
hometown yarns. Or it could be the fact that although Erie is one of the
largest cities in Pennsylvania, it’s podonk enough that its residents
almost feel like we live in a small town like Lake Wobegon. Whatever the
reason, Erieites snatched up all of the tickets in a few hours and will
watch in glee tonight as Garrison picks apart our hometown on the stage
of the Warner Theater for all those tuning in to National Public Radio
to hear.
In the long hiatus between the purchasing of the tickets and the watching of the show - and the shorter breaks between the weekly broadcast, which I’m not always able to catch - I kept the edge off my hunger with A Prairie Home Christmas, which sits near the top of my Essential Christmas Albums list. This double-CD set spanning several years of PHC Christmas specials is packed with warmth, humor, and music in just the right proportions. All the tracks are worthwhile; I’ve highlighted the ones that stick out most in my mind.
Disc 1
Christmas Time’s A-Comin’
Jordan/Carols
Shop for Christmas Presents - One of my favorite tracks on the album. Generally, while there is no dearth of talented musicians on PHC, it is the zany humor that really gets me going. When you combine the two, it’s an especially welcome treat. This track begins with Garrison complaining to Santa about all the work involved in Christmas shopping, leading to Santa’s stern admonition to “shape up and shop.” He’s backed by a choir singing, to the tune of Lonesome Valley, encouragement to the weary mallers: “You’ve gotta shop for Christmas presents. You’ve gotta do it by yourself. Nobody else can do it for you. You’ve gotta shop for Christmas presents by yourself.” He does manage to drop a few colorfully illustrated hints along the way, however. If you’re ever stuck for a gift, just remember dried food, stamps, and underwear and you’ll be just fine!
Scrooge - The obligatory nod at Dickens comes this time with a theatrical twist. Walter Bobbie is an actor who just can’t summon up Scrooge’s curmudgeonly spirit. His nice-guy antics seem harmless enough until the ghost of Joanne Marley reveals to him the negative impact his untraditional performance will have on the theater.
Children, Go Where I Send Thee
The Twelve Days of Christmas - Truly one of the most insufferable songs in the Christmas carol canon. I’m not one to dislike Christmas music, but even I’ll admit this little number has given me a headache from time to time. And as if it weren’t hard enough to remember all those obscure and, frankly, ludicrous gifts, there are half a dozen slightly different versions floating around. Garrison plays on the irritation factor of this song-that-never-ends, creating my all-time favorite rendering of the song. This is sound effects man Tom Keith’s shining moment as he pumps all his energy into absurd vocal representations of the gifts. The result is as hilarious as it is abbreviated.
Christmas Gifts for the Staff - One of the most ridiculous of the tracks, this sketch has Garrison single out several significant members of the PHC staff and present them with Christmas gifts purchased with the profits garnered from a dubious business deal with a casino in Sparks, Nevada. The gifts range from the laughably luxurious - a jumbo jet, a 50-foot limo, and a farm - to the pathetically paltry - a nonexistent dog. This is wacky Garrison at his best.
If It Doesn’t Snow on Christmas - This track is actually the reason we bought the album. This was my dad’s favorite Christmas song as a kid, but he couldn’t find a recording of it anywhere. When my mom happened across this, she had to get it for him. The song, a cute little soliloquy by a kid worried about how Santa’s going to make it to his house if there’s no snow on Christmas, is performed by John McDonough, the same fellow who played Santa in Shop for Christmas Presents. Interesting contrast...
Settin’ By the Fire - This here’s my anthem. A nice laid-back tune about a person content to just sit by the fire with her dog and while her days away, not caring about anyone else’s expectations. Not too Christmassy, but it has a cozy wintry feel about it.
Nothing But a Child - This is probably my favorite serious religious song on the album. It’s performed with gusto by Robin and Linda Williams, frequent PHC contributors whom Garrison has called a more impressive duo than Simon and Garfunkel. They certainly do a nice job with this tune, which reminds us that Christmas all started with “nothing but a Child,” so at this time of year “we all can be children for a while.”
Christ Child’s Lullaby
Nowel: Owt of Your Sleep
Bach’s Christmas Oratorio - An interesting blend here of the humorous and the serious. This is mostly an amusing tale about poor Bach’s attempts to write a Christmas oratorio while working for a bunch of lunkheads teaching music to a crew of untalented pre-teen boys. But when he finally does finish his work, we get to hear bits of this deeply religious song, and it leaves us with a sense of awe and majesty, as well as sadness that this composer was not properly acknowledged during his own time.
Disc 2
A Polish Christmas with Walter Bobbie
Det Kimmer Nu
Oh How Lovely is the Evening
Silent Night - A very fun, bluesy take on the song. Not very silent sounding, but nonetheless one of my favorite renditions of the classic carol.
Nine Lessons and Carols - My dad complains about this track because it treats Christmas with such cynicism. It’s true, this is not a very heartwarming look at the holidays. But it is a hilarious peek into the chaos that mars the holidays of most families out there from time to time. The series of vignettes focus on various members of a particular family as they prepare to gather together for Christmas. Each discordant scene is followed by an ironic snippet of a carol extolling the virtues of home. You may never listen to “I’ll Be Home for Christmas” quite the same way again.
Carol of the Children
Mr. Bergy’s Christmas - Here at last is the News from Lake Wobegon, the segment of each show in which Garrison stands up and weaves a tapestry of life in his imaginary hometown, seemingly introducing threads on a whim and leaving others dangling. It’s a long time to sit and listen to one person talk, but Garrison is a master storyteller, and somehow it all comes together in the end. This particular tale is infused with little gems of wit but its overall tone is wistful, bemoaning the fact that nothing can ever be quite as nice as we’d like it to be, or as we remember it being when we were young. A rather sobering monologue.
Solstice Medley
The Christmas Pageant - Mostly religious with splashes of humor, this is the traditional Christmas pageant, including everything from the holy family’s arrival at the inn to the journeys of the shepherds and wise men and underscored by several carols.
There are Angels Hovering Round / O Little Town of Bethlehem - Although it wasn’t drawn from the same performance, this feels like a natural conclusion to the pageant sketch and makes for a nice understated finale to the album.
Christmas may be over, but A Prairie Home Christmas is worth a listen at any time of the year. I’d recommend it to long-time fans as well as the uninitiated; this album may just make you a regular listener.
In the long hiatus between the purchasing of the tickets and the watching of the show - and the shorter breaks between the weekly broadcast, which I’m not always able to catch - I kept the edge off my hunger with A Prairie Home Christmas, which sits near the top of my Essential Christmas Albums list. This double-CD set spanning several years of PHC Christmas specials is packed with warmth, humor, and music in just the right proportions. All the tracks are worthwhile; I’ve highlighted the ones that stick out most in my mind.
Disc 1
Christmas Time’s A-Comin’
Jordan/Carols
Shop for Christmas Presents - One of my favorite tracks on the album. Generally, while there is no dearth of talented musicians on PHC, it is the zany humor that really gets me going. When you combine the two, it’s an especially welcome treat. This track begins with Garrison complaining to Santa about all the work involved in Christmas shopping, leading to Santa’s stern admonition to “shape up and shop.” He’s backed by a choir singing, to the tune of Lonesome Valley, encouragement to the weary mallers: “You’ve gotta shop for Christmas presents. You’ve gotta do it by yourself. Nobody else can do it for you. You’ve gotta shop for Christmas presents by yourself.” He does manage to drop a few colorfully illustrated hints along the way, however. If you’re ever stuck for a gift, just remember dried food, stamps, and underwear and you’ll be just fine!
Scrooge - The obligatory nod at Dickens comes this time with a theatrical twist. Walter Bobbie is an actor who just can’t summon up Scrooge’s curmudgeonly spirit. His nice-guy antics seem harmless enough until the ghost of Joanne Marley reveals to him the negative impact his untraditional performance will have on the theater.
Children, Go Where I Send Thee
The Twelve Days of Christmas - Truly one of the most insufferable songs in the Christmas carol canon. I’m not one to dislike Christmas music, but even I’ll admit this little number has given me a headache from time to time. And as if it weren’t hard enough to remember all those obscure and, frankly, ludicrous gifts, there are half a dozen slightly different versions floating around. Garrison plays on the irritation factor of this song-that-never-ends, creating my all-time favorite rendering of the song. This is sound effects man Tom Keith’s shining moment as he pumps all his energy into absurd vocal representations of the gifts. The result is as hilarious as it is abbreviated.
Christmas Gifts for the Staff - One of the most ridiculous of the tracks, this sketch has Garrison single out several significant members of the PHC staff and present them with Christmas gifts purchased with the profits garnered from a dubious business deal with a casino in Sparks, Nevada. The gifts range from the laughably luxurious - a jumbo jet, a 50-foot limo, and a farm - to the pathetically paltry - a nonexistent dog. This is wacky Garrison at his best.
If It Doesn’t Snow on Christmas - This track is actually the reason we bought the album. This was my dad’s favorite Christmas song as a kid, but he couldn’t find a recording of it anywhere. When my mom happened across this, she had to get it for him. The song, a cute little soliloquy by a kid worried about how Santa’s going to make it to his house if there’s no snow on Christmas, is performed by John McDonough, the same fellow who played Santa in Shop for Christmas Presents. Interesting contrast...
Settin’ By the Fire - This here’s my anthem. A nice laid-back tune about a person content to just sit by the fire with her dog and while her days away, not caring about anyone else’s expectations. Not too Christmassy, but it has a cozy wintry feel about it.
Nothing But a Child - This is probably my favorite serious religious song on the album. It’s performed with gusto by Robin and Linda Williams, frequent PHC contributors whom Garrison has called a more impressive duo than Simon and Garfunkel. They certainly do a nice job with this tune, which reminds us that Christmas all started with “nothing but a Child,” so at this time of year “we all can be children for a while.”
Christ Child’s Lullaby
Nowel: Owt of Your Sleep
Bach’s Christmas Oratorio - An interesting blend here of the humorous and the serious. This is mostly an amusing tale about poor Bach’s attempts to write a Christmas oratorio while working for a bunch of lunkheads teaching music to a crew of untalented pre-teen boys. But when he finally does finish his work, we get to hear bits of this deeply religious song, and it leaves us with a sense of awe and majesty, as well as sadness that this composer was not properly acknowledged during his own time.
Disc 2
A Polish Christmas with Walter Bobbie
Det Kimmer Nu
Oh How Lovely is the Evening
Silent Night - A very fun, bluesy take on the song. Not very silent sounding, but nonetheless one of my favorite renditions of the classic carol.
Nine Lessons and Carols - My dad complains about this track because it treats Christmas with such cynicism. It’s true, this is not a very heartwarming look at the holidays. But it is a hilarious peek into the chaos that mars the holidays of most families out there from time to time. The series of vignettes focus on various members of a particular family as they prepare to gather together for Christmas. Each discordant scene is followed by an ironic snippet of a carol extolling the virtues of home. You may never listen to “I’ll Be Home for Christmas” quite the same way again.
Carol of the Children
Mr. Bergy’s Christmas - Here at last is the News from Lake Wobegon, the segment of each show in which Garrison stands up and weaves a tapestry of life in his imaginary hometown, seemingly introducing threads on a whim and leaving others dangling. It’s a long time to sit and listen to one person talk, but Garrison is a master storyteller, and somehow it all comes together in the end. This particular tale is infused with little gems of wit but its overall tone is wistful, bemoaning the fact that nothing can ever be quite as nice as we’d like it to be, or as we remember it being when we were young. A rather sobering monologue.
Solstice Medley
The Christmas Pageant - Mostly religious with splashes of humor, this is the traditional Christmas pageant, including everything from the holy family’s arrival at the inn to the journeys of the shepherds and wise men and underscored by several carols.
There are Angels Hovering Round / O Little Town of Bethlehem - Although it wasn’t drawn from the same performance, this feels like a natural conclusion to the pageant sketch and makes for a nice understated finale to the album.
Christmas may be over, but A Prairie Home Christmas is worth a listen at any time of the year. I’d recommend it to long-time fans as well as the uninitiated; this album may just make you a regular listener.
Thursday, January 8, 2004
Return of the King a Soundtrack as Enchanting as the Film Itself
The Voice of Middle-earth
One of the most satisfying aspects of the Lord of the Rings film trilogy is its score, through which Howard Shore developed the themes running through the films with the intricate textures of his music, evoking the rich tapestry of Tolkien’s world with breathtaking skill. Listening to the music on its own, it is easy to visualize the characters and situations that accompany it; in context, it provides more than a backdrop. Playing as vital a role in the success of the film series as the New Zealand’s majestic landscapes, it provides the voice of Middle-earth.
Most of this third soundtrack repeats and builds upon themes already established in the first two. We have the pastoral hobbit music, which makes brief appearances throughout the soundtrack before dominating the final two instrumental tracks. More predominant is the music of Rohan, a theme mixing valor and despair through the plaintive strains of a fiddle, and the tentatively triumphant theme used to indicate moments of great bravery. Here, too, are the dark, pounding choruses of the orc hordes and Sauron himself and the ethereal Elven choirs, not to mention the Gondorian theme characterized by Sir James Galway’s wistful flute. Most tracks interweave despair with hope, evil with good, building up the tension that will finally explode during the climactic tracks.
Track List
1. A Storm is Coming
2. Hope and Memory
3. Minas Tirith
4. The White Tree
5. The Steward of Gondor
6. Minas Morgul
7. The Ride of the Rohirrim
8. Twilight and Shadow
9. Cirith Ungul
10. Anduril
11. Shelob’s Lair
12. Ash and Smoke
13. The Fieldsof the Pelennor
14. Hope Fails
15. The Black Gate Opens
16. The End of All Things
17. The Return of the King
18. The Grey Havens
19. Into the West
I won’t review each of the individual tracks here, but I will give particular attention to those which had the most powerful impact on me. The whole of the soundtrack, indeed of this and the prior two soundtracks, builds up to tracks 15 through 18. In the first two, evil is unleashed with unmatched ferocity, yet the pervading aura of gloom and doom provided by the booming choruses and percussion gives way to moments of hope and victory accentuated by Galway’s flute and Renee Fleming’s soprano. These tracks resound with great and terrible majesty, making way for the final two, which bring resolution to the most beautiful themes in the trilogy.
“My Friends, You Bow to No One”
The nearly 10-minute-long title track begins on a hushed note with a return to the themes of courage, hope, and Gondor itself before yielding the floor to Viggo Mortensen, whose regal Elvish chanting gives a nice authentic flavor to Aragorn’s acceptance of the throne. Then it is the haunting chords of the elves themselves as Arwen and Aragorn reunite. But it is the theme of friendship which resonates most strongly here, the stirring melody featured in The Breaking of the Fellowship which I consider the main musical theme of the entire trilogy. It is whenever this theme reappears that the heart truly swells. Here, as it intermingles with the whimsical hobbit motif and the magisterial tones of Aragorn, the theme provides the support for his thrilling acknowledgment of the hobbits’ contribution to the quest, a gesture as simple and grand as the halflings themselves.
”We Come at Last to the Breaking of our Fellowship”
One of my favorite film finales is the ending scene of Ghost, which features a gentle orchestral version of Unchained Melody to accompany the image of Sam being engulfed in light and, after a touching farewell, making his way into the next life. Such is the scene here, although it is more than one theme being developed. Hints of the courage theme and the elegiac strains following Gandalf’s fall creep into The Grey Havens, but for the most part the track makes a very tender, hesitant transition from In Dreams into this film’s end-credits anthem, Into the West.
While there is an undercurrent of sadness, the pervading sense is one of acceptance and peace. Gandalf now leaves his friends on his own terms, imparting comfort in a scene as placid as his first departure was tumultuous, while Galway’s whistle acts as a whisper on the wind, summoning Frodo to a land far beyond the burdens this life has placed upon him. And so he follows, to meet the sunrise with his mentor, his dear uncle, and the noblest of elves, but carrying with him the undying love of Merry, Pippin, and most especially Sam.
”Death is Just Another Path”
Of the three songs that grace the credits of each volume of Lord of the Rings, Into the West is my favorite. A companion to both The Grey Havens and In Dreams, the song, performed by Annie Lennox, hearkens back to Gandalf’s heartening words to Pippin as they watch the enemy’s monstrous battering ram pound its way into the city. Having experienced death first-hand, Gandalf is uniquely qualified to give the comfort Pippin seeks. We cannot say for certain if the wizard speaks from this authority or has merely woven a beautiful web of words in which to entrap his young charge’s terror, but faith that he speaks the truth carries us until the end of the film, when we, too, can see it just beyond the horizon into which Frodo is about to sail.
I’m still not clear if the words address Frodo directly, in this particular instance, or are meant to apply generally, towards all those who fell over the course of the films in the struggle to defeat evil and all those who will eventually come to this journey themselves. I lean towards Frodo because, after all, this is the conclusion of his quest, and because he and Bilbo are unique among hobbits in their inclusion on the Elven ships departing West. The song’s courageous undertones seem particularly suited to these weary but intrepid travelers. Yet the film leaves us with the powerful sense that while Frodo has taken an unusually direct path, those distant shores are not for him and Bilbo alone.
”Why Should Your Songs Be Unfit for My Halls?”
I realize I have gone out of order here, but that is only appropriate given the surprising nature of this track. As inspiring and beautiful as those last three tracks are, they also provide exactly what I anticipated. I expected a glorious conclusion, a sweeping return to all of the trilogy’s loveliest themes, particularly In Dreams, and a haunting aural actualization of the Grey Havens with all its emotional import. No less did I presume the final end-credits song would focus upon Frodo’s departure from the Havens. My expectations were gorgeously met, but it was The Steward of Gondor that left me open-mouthed, in no small measure because it caught me completely off-guard.
After the extreme diminution of his role in Towers, I wondered if Pippin might be lost in the shuffle in Return. I decided to trust the scriptwriters to allow Sam to carry the day - and Astin, I knew, would rise to the challenge - but I wasn’t even certain what I wanted out of Pippin besides more air time than Towers allowed him. Although I fell instantly in love with Boyd’s cheeky portrayal in Fellowship, the depth and sincerity he brought to Pippin in Return astonished me, and the scriptwriters’ decision to give him some of the most powerful scenes in the film left me deeply impressed.
This track finds Pippin in the service of Denethor, depraved Steward of Gondor. In the face of the lord’s grief over the death of his son Boromir, Pippin rather rashly offers himself in payment of the debt left to him when Boromir saved his life. The finality of this decision causes him to stumble as he pledges lifelong allegiance to Denethor, whose unkindness to his remaining son shocks Pippin. The lord is decent enough to the hobbit, but watching him gorge himself in his empty hall as his son rides to near-certain death leaves a bitter taste in Pippin’s mouth. Adrift in the midst of this grotesque grandeur, finally aware of how bleak the future of Middle-earth looks, he receives the request of a song from his new lord and master.
We have seen Pippin sing before, once in the extended edition of Fellowship and once near the beginning of this film. Both times, it’s a rowdy drinking song which includes dancing on the table by him and Merry. We get the sense that Denethor finds Pippin amusing, and he probably intends to use him more for a court jester than anything else, so it is most likely this type of entertainment that he seeks from his young servant. But as so often is the case in literature, it is the “fool” who speaks most wisely here.
We sense that Pippin’s hesitation stems not only from a sense of inadequacy but a reluctance to accept the full burden of knowledge of the horror about him; once he puts his fear into words, there can be no going back to the bliss of ignorance. The two and a half minutes leading up to his performance are the aural equivalent of a looming thundercloud about to burst until the unsteady advent of Boyd’s dulcet tones which echo funereally through the hollow halls of Minas Tirith. The words are Tolkien’s, from an old walking song written by Bilbo, and the Celtic flavor suits Boyd’s exquisite accent perfectly. The lament is made all the more powerful in the film by phenomenal editing, which turns the song into an elegy for Faramir’s doomed troops.
Boyd’s stirring a capella delivery of the song imbues each word with such weight that we truly get the sense that the enormity of the war has all come crashing down on Pippin in this single scene. The word “edge” in particular carries a bone-chilling quality, reflecting Pippin’s fear that the end of all things is at hand, while “fade,” the heartbreaking final word which he is barely able to verbalize, carries with it the intensity of his love for the Shire, which he now believes he will probably never see again, even if, against all odds, the quest should be successful. He is an innocent swept up in matters far beyond his control, and his wistful vocals allude to all those whose simple lives have been interrupted and endangered by the catastrophe of evil.
The inclusion of this stunning track alone is enough to recommend the album by, not to mention the Kleenex-worthy final three tracks. But the entire soundtrack is a masterful work which eases the long wait until Return makes it onto DVD. A must-have for anyone moved by the film.
One of the most satisfying aspects of the Lord of the Rings film trilogy is its score, through which Howard Shore developed the themes running through the films with the intricate textures of his music, evoking the rich tapestry of Tolkien’s world with breathtaking skill. Listening to the music on its own, it is easy to visualize the characters and situations that accompany it; in context, it provides more than a backdrop. Playing as vital a role in the success of the film series as the New Zealand’s majestic landscapes, it provides the voice of Middle-earth.
Most of this third soundtrack repeats and builds upon themes already established in the first two. We have the pastoral hobbit music, which makes brief appearances throughout the soundtrack before dominating the final two instrumental tracks. More predominant is the music of Rohan, a theme mixing valor and despair through the plaintive strains of a fiddle, and the tentatively triumphant theme used to indicate moments of great bravery. Here, too, are the dark, pounding choruses of the orc hordes and Sauron himself and the ethereal Elven choirs, not to mention the Gondorian theme characterized by Sir James Galway’s wistful flute. Most tracks interweave despair with hope, evil with good, building up the tension that will finally explode during the climactic tracks.
Track List
1. A Storm is Coming
2. Hope and Memory
3. Minas Tirith
4. The White Tree
5. The Steward of Gondor
6. Minas Morgul
7. The Ride of the Rohirrim
8. Twilight and Shadow
9. Cirith Ungul
10. Anduril
11. Shelob’s Lair
12. Ash and Smoke
13. The Fieldsof the Pelennor
14. Hope Fails
15. The Black Gate Opens
16. The End of All Things
17. The Return of the King
18. The Grey Havens
19. Into the West
I won’t review each of the individual tracks here, but I will give particular attention to those which had the most powerful impact on me. The whole of the soundtrack, indeed of this and the prior two soundtracks, builds up to tracks 15 through 18. In the first two, evil is unleashed with unmatched ferocity, yet the pervading aura of gloom and doom provided by the booming choruses and percussion gives way to moments of hope and victory accentuated by Galway’s flute and Renee Fleming’s soprano. These tracks resound with great and terrible majesty, making way for the final two, which bring resolution to the most beautiful themes in the trilogy.
“My Friends, You Bow to No One”
The nearly 10-minute-long title track begins on a hushed note with a return to the themes of courage, hope, and Gondor itself before yielding the floor to Viggo Mortensen, whose regal Elvish chanting gives a nice authentic flavor to Aragorn’s acceptance of the throne. Then it is the haunting chords of the elves themselves as Arwen and Aragorn reunite. But it is the theme of friendship which resonates most strongly here, the stirring melody featured in The Breaking of the Fellowship which I consider the main musical theme of the entire trilogy. It is whenever this theme reappears that the heart truly swells. Here, as it intermingles with the whimsical hobbit motif and the magisterial tones of Aragorn, the theme provides the support for his thrilling acknowledgment of the hobbits’ contribution to the quest, a gesture as simple and grand as the halflings themselves.
”We Come at Last to the Breaking of our Fellowship”
One of my favorite film finales is the ending scene of Ghost, which features a gentle orchestral version of Unchained Melody to accompany the image of Sam being engulfed in light and, after a touching farewell, making his way into the next life. Such is the scene here, although it is more than one theme being developed. Hints of the courage theme and the elegiac strains following Gandalf’s fall creep into The Grey Havens, but for the most part the track makes a very tender, hesitant transition from In Dreams into this film’s end-credits anthem, Into the West.
While there is an undercurrent of sadness, the pervading sense is one of acceptance and peace. Gandalf now leaves his friends on his own terms, imparting comfort in a scene as placid as his first departure was tumultuous, while Galway’s whistle acts as a whisper on the wind, summoning Frodo to a land far beyond the burdens this life has placed upon him. And so he follows, to meet the sunrise with his mentor, his dear uncle, and the noblest of elves, but carrying with him the undying love of Merry, Pippin, and most especially Sam.
”Death is Just Another Path”
Of the three songs that grace the credits of each volume of Lord of the Rings, Into the West is my favorite. A companion to both The Grey Havens and In Dreams, the song, performed by Annie Lennox, hearkens back to Gandalf’s heartening words to Pippin as they watch the enemy’s monstrous battering ram pound its way into the city. Having experienced death first-hand, Gandalf is uniquely qualified to give the comfort Pippin seeks. We cannot say for certain if the wizard speaks from this authority or has merely woven a beautiful web of words in which to entrap his young charge’s terror, but faith that he speaks the truth carries us until the end of the film, when we, too, can see it just beyond the horizon into which Frodo is about to sail.
I’m still not clear if the words address Frodo directly, in this particular instance, or are meant to apply generally, towards all those who fell over the course of the films in the struggle to defeat evil and all those who will eventually come to this journey themselves. I lean towards Frodo because, after all, this is the conclusion of his quest, and because he and Bilbo are unique among hobbits in their inclusion on the Elven ships departing West. The song’s courageous undertones seem particularly suited to these weary but intrepid travelers. Yet the film leaves us with the powerful sense that while Frodo has taken an unusually direct path, those distant shores are not for him and Bilbo alone.
”Why Should Your Songs Be Unfit for My Halls?”
I realize I have gone out of order here, but that is only appropriate given the surprising nature of this track. As inspiring and beautiful as those last three tracks are, they also provide exactly what I anticipated. I expected a glorious conclusion, a sweeping return to all of the trilogy’s loveliest themes, particularly In Dreams, and a haunting aural actualization of the Grey Havens with all its emotional import. No less did I presume the final end-credits song would focus upon Frodo’s departure from the Havens. My expectations were gorgeously met, but it was The Steward of Gondor that left me open-mouthed, in no small measure because it caught me completely off-guard.
After the extreme diminution of his role in Towers, I wondered if Pippin might be lost in the shuffle in Return. I decided to trust the scriptwriters to allow Sam to carry the day - and Astin, I knew, would rise to the challenge - but I wasn’t even certain what I wanted out of Pippin besides more air time than Towers allowed him. Although I fell instantly in love with Boyd’s cheeky portrayal in Fellowship, the depth and sincerity he brought to Pippin in Return astonished me, and the scriptwriters’ decision to give him some of the most powerful scenes in the film left me deeply impressed.
This track finds Pippin in the service of Denethor, depraved Steward of Gondor. In the face of the lord’s grief over the death of his son Boromir, Pippin rather rashly offers himself in payment of the debt left to him when Boromir saved his life. The finality of this decision causes him to stumble as he pledges lifelong allegiance to Denethor, whose unkindness to his remaining son shocks Pippin. The lord is decent enough to the hobbit, but watching him gorge himself in his empty hall as his son rides to near-certain death leaves a bitter taste in Pippin’s mouth. Adrift in the midst of this grotesque grandeur, finally aware of how bleak the future of Middle-earth looks, he receives the request of a song from his new lord and master.
We have seen Pippin sing before, once in the extended edition of Fellowship and once near the beginning of this film. Both times, it’s a rowdy drinking song which includes dancing on the table by him and Merry. We get the sense that Denethor finds Pippin amusing, and he probably intends to use him more for a court jester than anything else, so it is most likely this type of entertainment that he seeks from his young servant. But as so often is the case in literature, it is the “fool” who speaks most wisely here.
We sense that Pippin’s hesitation stems not only from a sense of inadequacy but a reluctance to accept the full burden of knowledge of the horror about him; once he puts his fear into words, there can be no going back to the bliss of ignorance. The two and a half minutes leading up to his performance are the aural equivalent of a looming thundercloud about to burst until the unsteady advent of Boyd’s dulcet tones which echo funereally through the hollow halls of Minas Tirith. The words are Tolkien’s, from an old walking song written by Bilbo, and the Celtic flavor suits Boyd’s exquisite accent perfectly. The lament is made all the more powerful in the film by phenomenal editing, which turns the song into an elegy for Faramir’s doomed troops.
Boyd’s stirring a capella delivery of the song imbues each word with such weight that we truly get the sense that the enormity of the war has all come crashing down on Pippin in this single scene. The word “edge” in particular carries a bone-chilling quality, reflecting Pippin’s fear that the end of all things is at hand, while “fade,” the heartbreaking final word which he is barely able to verbalize, carries with it the intensity of his love for the Shire, which he now believes he will probably never see again, even if, against all odds, the quest should be successful. He is an innocent swept up in matters far beyond his control, and his wistful vocals allude to all those whose simple lives have been interrupted and endangered by the catastrophe of evil.
The inclusion of this stunning track alone is enough to recommend the album by, not to mention the Kleenex-worthy final three tracks. But the entire soundtrack is a masterful work which eases the long wait until Return makes it onto DVD. A must-have for anyone moved by the film.
Subscribe to:
Posts (Atom)