The Playlist of Life --- Trollheart's resurrected Journal

Trollheart · 01-11-2012, 07:37 PM

Great little track from the 90s today, one of the ex-Bananarama girls, this is Siobhan Fahey of Shakespear's Sister, with their biggest hit, a great song called “Stay”.

Trollheart · 01-12-2012, 05:35 AM

It's rarely if ever that I feature bands from the sixties, but I'm going to make an exception for this one, because in order to demonstrate the differences in the versions of this song I have to refer to the original. Released by Herman's Hermits in 1966 the song was a big hit, and has been covered since of course, but the version I want to put side-by-side with the original here is one I heard on one of my favourite TV shows, “Sons of Anarchy”. It's performed by Joshua James and the Forest Rangers (whom I have to assume is the same JJ from the Runaway Trains, if I'm wrong let me know), and though it retains the downbeat pessimism and fatalism of the original, it's played in a downbeat way, whereas the original is played like a pop song, happy, uptempo, light and breezy, belying the lyric.

James changes the song into an ominous, depressed piece of introspection --- yeah, I know: my favourite word. Don't you know any others? --- with a vocal that's almost mumbled, and a great guitar breakout to end the song. Though sticking to the original theme and idea of the song, I believe he does a great job updating it and interpreting the song in his own unique way.

Anyway, as ever here are the two versions for you to compare, original first followed by Joshua's cover.

Trollheart · 01-12-2012, 06:00 PM

Trollheart · 01-12-2012, 06:03 PM

Whatever happened to Roxette? The worm was not a fan, but at one stage they did seem like they were about to conquer the world, then poof! Never heard from again. How weird. Here they are with one of their big hits, this is “The look”.

Trollheart · 01-13-2012, 08:44 AM

Well, it's an extremely bland and unadventurous (not to mention incongruous) cover, and on first (and only) listen I found the album to mirror the cover. Given that here is the man who steered Dire Straits to worldwide fame and dominance over the course of thirty-odd years, and considering his “Local hero” solo single was just really good, I was expecting a whole lot more from the man with the strangely-spelled surname, who has given his name to a Strat, but on first listen I was very much underwhelmed. Let's check it out again and see if time has changed my opinion of this album.
Sailing to Philadelphia --- Mark Knopfler --- 2000 (Mercury)

Apparently the title is a tribute to the two explorers who established the Mason/Dixon line in the USA, the accepted border between Northern and Southern states in America, but I was definitely put off by the mixed message the sleeve conveys. I mean, why not have had a picture of a ship instead of an aircraft? Planes don't sail, except in literary description --- but if someone tells you “I'm sailing to wherever”, you expect them to be on the high seas. Anyway, it's not hugely important but it kind of put me on the back foot before I had even heard a note, which is never a good thing.

As you would expect, there's a lot of guitar on this album, and it's heavily in evidence on opener “What it is”, with, again as you might guess, something of a Dire Straits melody, but with some interesting violins from Aubrey Haynie differentiating it from the DS sound. Knopfler's guitar signature is of course recognisable and synonymous with the band with whom he made his name, so it's hard not to make the obvious comparison, but for what it is (hah!) he handles the guitar well on the first track, his trademark mutter clearly in evidence on the vocals.

There are the usual guest stars, some heavyweights, including James Taylor on the title track, which he co-wrote with Knopfler (the only one on which the Dire Straits frontman collaborates) and duets with him on the vocals. It's a folky ballad, with some nice acoustic guitar and piano, telling the story of Charles Mason and Jeremiah Dixon as they head off to Philadelphia to establish the famous border. It's a nice laidback song, perfect for travelling as long as you're on a slow boat or a train, something that allows you to take your time getting there. Nice little touches from Paul Franklin on the pedal steel gives the song a nice midwestern feel.

It's a bit more uptempo for “Who's your baby now”, strummed guitar meshing with Franklin's pedal steel and taking the song along at a nice lick, then “Baloney again” is a lazy, harmonica-led semi-ballad with, would you believe, cricket noises? The insect type, not the sport, idiot! Gives the song a real backwoods atmosphere, nice slide guitar adding its influence and great Hammond organ cutting in here and there, adding flourishes when needed. A nice, classic Straits guitar solo from Knopfler finishes things off nicely.

Another great (though not a favourite of mine, but then, you can't like everyone, can you?) lends his considerable expertise to “The last laugh”, and I think --- though I'm never sure what one sounds like --- that that is an autoharp playing. There's definitely one on the album, so it could be here. It's another semi-ballad, again quite country in its flavour, and personally I don't feel Van Morrison's vocals add much if anything to the song, but there you go, I'm bound to say that, aren't I? Nice keyboard work by Guy Fletcher, who has followed Knopfler from Dire Straits into his solo work and has been with him for most if not all of his solo albums.

“Do America” recalls the joyous uptempo rock of “Walk of life”, with more great keyswork from Fletcher, and a cool little guitar workout by the man. One trap Knopfler avoids is that of having songs that are overlong: there are only five of fourteen here that top the five minute mark, and most of the remainder clock in at around four. More star talent steps up for “Silvertown blues”, where Squeeze stalwarts Glenn Tilbrook and Chris Difford share vocals with Knopfler. It's a dark, dangerous little tune, with a dramatic air about it, the idea that something bad is in the wind. Fletcher's atmospheric keyboards help to create and maintain this air, as Knopfler relates the tale of a city which has been bled of its resources (I don't know which one he's referring to, though he does mention Canning Town?) and to whose inhabitants the only option left is emigration: ”And I can make out the words 'seven flights every day'/ Says six of those birds are bound for JFK.” Quite reminiscent in many ways of Dire Straits' epic “Telegraph Road”, even the guitar ending to fade.

Horns take “El macho” in, a low, broody, moody song played at mid-pace, nice use of trumpet and flugelhorn, followed by “Prairie wedding”, on which country stars and partners Gillian Welch and David Rawlings guest on vocals. It's another country/folk-styled laidback semi-ballad, and there's really little, so far, apart from “Do America”, to make the heart quicken a little or even get the fingers tapping. Very relaxed, almost acoustic album. Boring? Well, let's not say that just yet. We've another six tracks to go. Still, I have to admit, I almost fast-forwarded this track: this album is not lighting any fires underneath me!

“Wanderlust” does little to change that, another slow, steady song with guitar and keys and a drawled vocal from Knopfler which doesn't so much fill me with wanderlust as wonderlust, as in, wonder when this album will finally be over? There's a return for Welch and Rawlings on “Speedway at Nazareth”, along with the very welcome return of Aubrey Haynie's violin. It's the longest track on the album, just under six and a half minutes, and my heart sinks, but at least it's a more uptempo song, kind of bluegrass with some nice vocals from the country duo: hey, at least my foot's tappin' now! How long will that last, though? Good use of banjo here too, with the guitar then cutting in, and a great duet between the guitar and Haynie's violin. If more of the album was like this I probably would enjoy it more. As it is, this is something of a rarity, a track that makes you want to move, and for once, not your hand towards the forward slider!

The tempo remains relatively fast for “Junkie doll”, a kind of blues boogie with some nice stride guitar and bright piano, but the idea is a little limited and the song doesn't really end up going anywhere. “Sands of Nevada” is a dour ballad where Knopfler sings of wasted years and missed dreams, nice keyboard line backing him, but the song doesn't really leave any impression on me, and then the album closes on “One more matinee”, another folky ballad which is ok but it's not a very strong closer.

TRACKLISTING

1. What it is
2. Sailing to Philadelphia
3. Who's your baby now
4. Baloney again
5. The last laugh
6. Do America
7. Silvertown blues
8. El macho
9. Prairie wedding
10. Wanderlust
11. Speedway at Nazareth
12. Junkie doll
13. Sands of Nevada
14. One more matinee

So, having listened to the album for the second time, has my view changed? Not really. I don't think it's the crapfest I originally believed it to be, but it's no classic either. There are definitely more bad songs on it than good, and the whole flavour of it is so laidback that it really does border at times on boring. I've more than once reached for the forward slider, but managed to restrain myself, as I wanted to give every song a chance. But there are few positives to take out of this.

I'll be filing this away again after this review, and I really doubt that I'll be taking it out again any time soon. Sorry Mark, you've had your shot at the Last Chance Saloon, and I'm afraid it's a pine box for you!

Trollheart · 01-14-2012, 05:14 AM

Trollheart · 01-14-2012, 05:28 AM

The worm always liked this one from the Carpenters, a different sort of song to their usual lovesong fare, this was a tpo ten hit for them in 1977, it's called “Calling occupants of interplanetary craft”.

Trollheart · 01-14-2012, 01:22 PM

It seems like ages since we last explored how a live version of a song can differ so radically from the studio version --- oh, wait! It has been: last time we did this was last October! Wow! Certainly let that one slip. Must be time to delve in again then.

Known for their excellent live sets, Dire Straits produced one of the seminal live albums of the mid-eighties in “Alchemy”, and from that double-live recording came a song which originally appeared on their second album, 1979's “Communique”. It's a great song even studio, but live on “Alchemy” Dire Straits more than doubled the length of “Once upon a time in the west”, without making it overlong or boring. Just have a listen to the two versions here and see what you think.

Trollheart · 01-14-2012, 06:19 PM

One-hit wonders, ya gotta love 'em, eh? Well, sometimes. Maybe. This one the worm does love, not a classic by any means but he remembers listening to it when he was younger. Girl called Patsy Gallant, with “From New York to LA”.

Trollheart · 01-14-2012, 06:20 PM

01-11-2012, 07:37 PM	#721 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	Great little track from the 90s today, one of the ex-Bananarama girls, this is Siobhan Fahey of Shakespear's Sister, with their biggest hit, a great song called “Stay”. __________________ Trollheart: Signature-free since April 2018

01-12-2012, 05:35 AM	#722 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	It's rarely if ever that I feature bands from the sixties, but I'm going to make an exception for this one, because in order to demonstrate the differences in the versions of this song I have to refer to the original. Released by Herman's Hermits in 1966 the song was a big hit, and has been covered since of course, but the version I want to put side-by-side with the original here is one I heard on one of my favourite TV shows, “Sons of Anarchy”. It's performed by Joshua James and the Forest Rangers (whom I have to assume is the same JJ from the Runaway Trains, if I'm wrong let me know), and though it retains the downbeat pessimism and fatalism of the original, it's played in a downbeat way, whereas the original is played like a pop song, happy, uptempo, light and breezy, belying the lyric. James changes the song into an ominous, depressed piece of introspection --- yeah, I know: my favourite word. Don't you know any others? --- with a vocal that's almost mumbled, and a great guitar breakout to end the song. Though sticking to the original theme and idea of the song, I believe he does a great job updating it and interpreting the song in his own unique way. Anyway, as ever here are the two versions for you to compare, original first followed by Joshua's cover. __________________ Trollheart: Signature-free since April 2018

01-12-2012, 06:00 PM	#723 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	__________________ Trollheart: Signature-free since April 2018

01-12-2012, 06:03 PM	#724 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	Whatever happened to Roxette? The worm was not a fan, but at one stage they did seem like they were about to conquer the world, then poof! Never heard from again. How weird. Here they are with one of their big hits, this is “The look”. __________________ Trollheart: Signature-free since April 2018

01-13-2012, 08:44 AM	#725 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	Well, it's an extremely bland and unadventurous (not to mention incongruous) cover, and on first (and only) listen I found the album to mirror the cover. Given that here is the man who steered Dire Straits to worldwide fame and dominance over the course of thirty-odd years, and considering his “Local hero” solo single was just really good, I was expecting a whole lot more from the man with the strangely-spelled surname, who has given his name to a Strat, but on first listen I was very much underwhelmed. Let's check it out again and see if time has changed my opinion of this album. Sailing to Philadelphia --- Mark Knopfler --- 2000 (Mercury) Apparently the title is a tribute to the two explorers who established the Mason/Dixon line in the USA, the accepted border between Northern and Southern states in America, but I was definitely put off by the mixed message the sleeve conveys. I mean, why not have had a picture of a ship instead of an aircraft? Planes don't sail, except in literary description --- but if someone tells you “I'm sailing to wherever”, you expect them to be on the high seas. Anyway, it's not hugely important but it kind of put me on the back foot before I had even heard a note, which is never a good thing. As you would expect, there's a lot of guitar on this album, and it's heavily in evidence on opener “What it is”, with, again as you might guess, something of a Dire Straits melody, but with some interesting violins from Aubrey Haynie differentiating it from the DS sound. Knopfler's guitar signature is of course recognisable and synonymous with the band with whom he made his name, so it's hard not to make the obvious comparison, but for what it is (hah!) he handles the guitar well on the first track, his trademark mutter clearly in evidence on the vocals. There are the usual guest stars, some heavyweights, including James Taylor on the title track, which he co-wrote with Knopfler (the only one on which the Dire Straits frontman collaborates) and duets with him on the vocals. It's a folky ballad, with some nice acoustic guitar and piano, telling the story of Charles Mason and Jeremiah Dixon as they head off to Philadelphia to establish the famous border. It's a nice laidback song, perfect for travelling as long as you're on a slow boat or a train, something that allows you to take your time getting there. Nice little touches from Paul Franklin on the pedal steel gives the song a nice midwestern feel. It's a bit more uptempo for “Who's your baby now”, strummed guitar meshing with Franklin's pedal steel and taking the song along at a nice lick, then “Baloney again” is a lazy, harmonica-led semi-ballad with, would you believe, cricket noises? The insect type, not the sport, idiot! Gives the song a real backwoods atmosphere, nice slide guitar adding its influence and great Hammond organ cutting in here and there, adding flourishes when needed. A nice, classic Straits guitar solo from Knopfler finishes things off nicely. Another great (though not a favourite of mine, but then, you can't like everyone, can you?) lends his considerable expertise to “The last laugh”, and I think --- though I'm never sure what one sounds like --- that that is an autoharp playing. There's definitely one on the album, so it could be here. It's another semi-ballad, again quite country in its flavour, and personally I don't feel Van Morrison's vocals add much if anything to the song, but there you go, I'm bound to say that, aren't I? Nice keyboard work by Guy Fletcher, who has followed Knopfler from Dire Straits into his solo work and has been with him for most if not all of his solo albums. “Do America” recalls the joyous uptempo rock of “Walk of life”, with more great keyswork from Fletcher, and a cool little guitar workout by the man. One trap Knopfler avoids is that of having songs that are overlong: there are only five of fourteen here that top the five minute mark, and most of the remainder clock in at around four. More star talent steps up for “Silvertown blues”, where Squeeze stalwarts Glenn Tilbrook and Chris Difford share vocals with Knopfler. It's a dark, dangerous little tune, with a dramatic air about it, the idea that something bad is in the wind. Fletcher's atmospheric keyboards help to create and maintain this air, as Knopfler relates the tale of a city which has been bled of its resources (I don't know which one he's referring to, though he does mention Canning Town?) and to whose inhabitants the only option left is emigration: ”And I can make out the words 'seven flights every day'/ Says six of those birds are bound for JFK.” Quite reminiscent in many ways of Dire Straits' epic “Telegraph Road”, even the guitar ending to fade. Horns take “El macho” in, a low, broody, moody song played at mid-pace, nice use of trumpet and flugelhorn, followed by “Prairie wedding”, on which country stars and partners Gillian Welch and David Rawlings guest on vocals. It's another country/folk-styled laidback semi-ballad, and there's really little, so far, apart from “Do America”, to make the heart quicken a little or even get the fingers tapping. Very relaxed, almost acoustic album. Boring? Well, let's not say that just yet. We've another six tracks to go. Still, I have to admit, I almost fast-forwarded this track: this album is not lighting any fires underneath me! “Wanderlust” does little to change that, another slow, steady song with guitar and keys and a drawled vocal from Knopfler which doesn't so much fill me with wanderlust as wonderlust, as in, wonder when this album will finally be over? There's a return for Welch and Rawlings on “Speedway at Nazareth”, along with the very welcome return of Aubrey Haynie's violin. It's the longest track on the album, just under six and a half minutes, and my heart sinks, but at least it's a more uptempo song, kind of bluegrass with some nice vocals from the country duo: hey, at least my foot's tappin' now! How long will that last, though? Good use of banjo here too, with the guitar then cutting in, and a great duet between the guitar and Haynie's violin. If more of the album was like this I probably would enjoy it more. As it is, this is something of a rarity, a track that makes you want to move, and for once, not your hand towards the forward slider! The tempo remains relatively fast for “Junkie doll”, a kind of blues boogie with some nice stride guitar and bright piano, but the idea is a little limited and the song doesn't really end up going anywhere. “Sands of Nevada” is a dour ballad where Knopfler sings of wasted years and missed dreams, nice keyboard line backing him, but the song doesn't really leave any impression on me, and then the album closes on “One more matinee”, another folky ballad which is ok but it's not a very strong closer. TRACKLISTING 1. What it is 2. Sailing to Philadelphia 3. Who's your baby now 4. Baloney again 5. The last laugh 6. Do America 7. Silvertown blues 8. El macho 9. Prairie wedding 10. Wanderlust 11. Speedway at Nazareth 12. Junkie doll 13. Sands of Nevada 14. One more matinee So, having listened to the album for the second time, has my view changed? Not really. I don't think it's the crapfest I originally believed it to be, but it's no classic either. There are definitely more bad songs on it than good, and the whole flavour of it is so laidback that it really does border at times on boring. I've more than once reached for the forward slider, but managed to restrain myself, as I wanted to give every song a chance. But there are few positives to take out of this. I'll be filing this away again after this review, and I really doubt that I'll be taking it out again any time soon. Sorry Mark, you've had your shot at the Last Chance Saloon, and I'm afraid it's a pine box for you! __________________ Trollheart: Signature-free since April 2018

01-14-2012, 05:14 AM	#726 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	__________________ Trollheart: Signature-free since April 2018

01-14-2012, 05:28 AM	#727 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	The worm always liked this one from the Carpenters, a different sort of song to their usual lovesong fare, this was a tpo ten hit for them in 1977, it's called “Calling occupants of interplanetary craft”. __________________ Trollheart: Signature-free since April 2018

01-14-2012, 01:22 PM	#728 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	It seems like ages since we last explored how a live version of a song can differ so radically from the studio version --- oh, wait! It has been: last time we did this was last October! Wow! Certainly let that one slip. Must be time to delve in again then. Known for their excellent live sets, Dire Straits produced one of the seminal live albums of the mid-eighties in “Alchemy”, and from that double-live recording came a song which originally appeared on their second album, 1979's “Communique”. It's a great song even studio, but live on “Alchemy” Dire Straits more than doubled the length of “Once upon a time in the west”, without making it overlong or boring. Just have a listen to the two versions here and see what you think. __________________ Trollheart: Signature-free since April 2018

01-14-2012, 06:19 PM	#729 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	One-hit wonders, ya gotta love 'em, eh? Well, sometimes. Maybe. This one the worm does love, not a classic by any means but he remembers listening to it when he was younger. Girl called Patsy Gallant, with “From New York to LA”. __________________ Trollheart: Signature-free since April 2018

01-14-2012, 06:20 PM	#730 (permalink)
Trollheart Born to be mild Join Date: Oct 2008 Location: 404 Not Found Posts: 26,970	__________________ Trollheart: Signature-free since April 2018