Crushing Krisis

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PJ Harvey

35-for-35: 1993 – Rid of Me by PJ Harvey

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[Patreon-Nov16-Post-Bug][/Patreon-Nov16-Post-Bug]This is where the choices are going to get really painful for me. I have a dozen favorite songs from 1993, at least.

Ace of Base’s “The Sign” and how it marked the end of my pop music fandom for the better part of a decade. Janet’s genre-bending “If” full of sex and squalling guitars. “River of Dreams” and the one time I could connect with my father over a piece of current music. Sheryl Crow’s Tuesday Night Music Club, a front to back listenable record that is so obviously the work of a collective of songwriters rather than a singular voice.

Juliana Hatfield, Liz Phair… I can keep going.

But, if we are going to talk about songs that really changed my whole damn life, we need to be talking about Polly Jean Harvey’s breakthrough album, Rid of Me.

All of it.

I didn’t come around to Harvey until a few years after Rid of Me, when I saw Tracy Bonham cover her “50ft Queenie.” Being a voracious consumer of female-vocal rock, it didn’t take much to convince me to head down to Borders to pick up the album that contained the original.

I was not prepared for what I heard. Rid of Me is a powerful and at-times terrifying album. This had all the rawness of Hole but the measured perfection of Tori Amos. It had guttural strength that stood up to anything on In Utero and spectral power that made it seem like a spiritual sister to Bjork’s Debut. While many fans and critics prefer her To Bring You My Love, the raw power of Steve Albini-produced Rid of Me remains her seminal work in this household.

I can’t pick just one song to highlight, so let’s just talk about half the record.

“Missed” never fails to stun me. It’s a lost track from Jesus Christ Superstar, Mary’s lament to a lost Jesus kept away in a tomb after Mary Magdelene insisting “Everything’s Alright.” It’s beautiful – takes my breath away on every play even after listening to it for 20 years.

The biblical theme continues on Bob Dylan’s famous “Highway ’61 Revisited,” the title track of his 1965 record.

Oh, God said to Abraham, “Kill me a son”
Abe said, “Man, you must be puttin’ me on”

Who on their second album decides to take a mid-record break to cover Dylan’s strutting country-rock paean to the famous road as a squalling, foreboding rock song? The Dylan original and faithful covers sound trite next to this muscular, paranoid version. The surging power chords, the surprisingly nuanced drumming, the jangling single note riff.

I’ve always felt this ought to be the credits tune to an adaptation of The Stand, with its depiction of God sparing Abraham’s son at the start to a roving gambler trying to start the next world war just to see if god would stop him in the final stanza. [Read more…] about 35-for-35: 1993 – Rid of Me by PJ Harvey

abnormally attracted to sin and debunking bestsellers

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Breaking news: Tori Amos’s new disc will be titled Abnormally Attracted to Sin.

Like, duh, Tori.

However, in the “un-duh” department, each song on the disc – will be paired with a “visualette” shot in HD and Super-8. Amanda Palmer did a YouTube version of same on her last disc, which I dug. And, Tori never does anything half way.

Abnormally Attracted to Sin is the first disc in Tori’s deal with Universal Republic Records, which is primarily for distribution – she won’t be signing away masters or publishing rights ever again.

First disc of a newly freed Tori, who ended her last tour with a full band in fierce form and is coming back with her first integrated multimedia product launch. Preliminary verdict? Probably awesome.

Good luck getting into the SXSW showcase featuring the debut of new tunes – as of this morning it just became the hottest ticket of the entire festival.

Personal Tori-worship aside, I’d probably hit PJ Harvey’s instead.

In other news, yesterday my old-skool blogging pal Martha enthused about BSG and Malcolm Gladwell, two things I can very much get behind.

Except, the NYT dinged Gladwell’s newest, Outliers, right out of the gate – causing me to back off my haste to snap it up. (Later another NYT writer liked it more, and Gladwell responded.)

Martha claims the book is enrapturing, causing her to miss her bus stop twice. Coming from Martha, this is a sufficient endorsement. However, one of her commenters felt the need to respond with a general debunking of his Tipping Point.

The debunking employs my favorite example from Tipping Point (“Broken Windows“) versus Freakonomics (crime v. abortion) – a book I panned as being superfluous.

I’m not sure the debunking convinced me in one direction or the other. Yes, Gladwell skirts direct links to causation in Tipping Point, but that’s anecdotally the point of the whole anecdotal book – causation isn’t a single, lonely factor.

That said, the debunking did convince me that A Smart Bear is a rare sensible and practical marketing blog. Sample their intelligence for yourself: ignore the wisdom of crowds or act like your price just doubled.

Illuminated Pickups, et cetera

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(1) Elise bought me a gift certificate for a pickup replacement on my primary electric guitar as a birthday gift, which is perfect timing, as Gina and I were already plotting on evolving Arcati Crisis into the electric realm over the course of the next few months.

My guitar is an Epiphone copy of a Gibson 335, and after several years of playing it and digesting online reviews it would seem that the only non-esoteric detail separating my guitar from the equivalent Gibson is the style/tone of the pickups (and also the nut).

My original birthday gift plan was to outfit my guitar exactly like a brand-new 335 – with two Gibson 57 Classic humbuckers. However, at Arcati Crisis’s Tin Angel gig I got into a conversation with our friend Chris about the possibility of buying two different types of pickups so my neck tone is differentiated from bridge.

And, um, I am not quite rock enough to know anything else about this life-altering decision.

I spent a few days researching my various indie-rock heroes, but none of them has a distinct enough setup for me to emulate. Also, I can’t turn up anything on the guitar rig of Garbage ax-slinger Duke Erickson (he being ostensibly the reason I bought this particular guitar in the first place). However, I did locate the eminently informative Guitar Player Gear Guide blog.

Do any of you wonderful people know anything about this? I have to drop my guitar off at the store on Saturday if I have any hope of getting it back before the next Arcati Crisis gig.

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(2) I want a WordPress plugin that will insert illustrated initial letters into my posts, both automatically and on-demand. Bonus points if they are illuminated.

I know enough PHP to be a minor threat when it comes to WordPress, but this particular concept is out of my realm because it involves live rejiggering of text as its being called out of the ether of my database.

Anyone?

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(3a) After an inexplicable one week delay the new PJ Harvey disc, White Chalk, came out yesterday. It’s been billed as PJ’s piano album, but that only tells a fraction of the story. It’s really more like her indie, piano-based, acoustic, English-Appalachian folk record. Sort of. Full review forthcoming.

(3b) Also inexplicable: Bruce Springsteen‘s lead single (“Radio Nowhere“) is one of the catchiest songs I’ve heard in months, and the production is all tight and sparkly and curiously “Since U Been Gone” sounding.

A quick sample spin through the rest of his newly released Magic yields similar results on at least three others songs, leading me to (for the first time ever) want to buy a Bruce Springsteen CD in a bad way. But, then I’m like, dude, you so do not like Bruce in any way, shape, or form. In my youth he was relegated to my mother’s forbidden trinity of vocal idiosyncrasies – Bruce, Bob, and Neil.

Even having disposed of a few of those systematically programmed prejudices (e.g., I do not ridiculously eschew middle Beatles) I can’t seem to succumb to the Magic of Asbury Park’s favorite son. I even tried paying for a copy with Elise’s credit card to try to alleviate some of the hard-coded guilt, but I couldn’t bring myself to go through with it.

Maybe if i just buy it track by track from iTunes I can avoid any imperative towards self-immolation my mother may have embedded in my unconscious psyche in my infancy through a series of flash cards.

(3c) OMG, I forgot to mention the best part of last week’s happy (six) hour(s): Melon is going to go to the Kelly Clarkson concert with me. Oh yessss.

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(End Note) Not only does me + Gina = awesome rock stars, but as of a few minutes ago I completed the first draft of a standard notation transcription of one of our songs, complete with guitar tabs and harmony.

I cannot express to you the undue amount of excitement this is causing me, a major sheet music fetishist.

Sheet music! Of our song! Necessary because we forgot how to play it!

(Or, more accurately, because we recorded it in one night for SongFight, so it never really existed as a song that we could play together in a physical space (though I believe we once attempted it at a Lyndzapalooza).)

Alright, enough chatter.

Under the Chalk

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I am so very behind the times when I need Rolling Stone to tell me that a tune from PJ Harvey’s forthcoming piano-based record Under The Chalk has leaked onto the internet a month ago.

What the hell?

Luckily, the internet forgives and provides. Check out a rather transfixing YouTube performance of “When Under Ether” and/or stream the leaked track below, and then head to Philly-based mp3 blog Some Velvet Blog to check out the cover and tracklist of Chalk.

I really like it. I’m looking forward to the huge, inevitable number of Tori comparisons PJ’s record draws, as if she is suddenly professing to be a pianist; the entire point of her is that every album is completely different.

(Also discovered in my mad PJ hunt – The Yellow Stereo. Very good music writing, and taste.)

Not Stamps, Nor Coins

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As sad as a commentary as this is on my recent listening habits, the excitement I feel about purchasing new music is as of late hardly ever a tangible one.

Really, it’s just the thrill of acquisition, and the subsequent thrill of careful examination and deconstruction. I could just as easily be a philatelist or a numismatist, so irrelevant can the actual fact that I am acquiring or examining a song be.

That said, at the moment I have two discs on my desk that I’m profoundly excited about.

The first is Grace Potter and the Nocturnals This Is Somewhere.

GP&N were one of the bands I had penciled into my Bonnaroo itinerary last summer. The festival was dotted with a precious few front-women, and most of the review I read were positive. So, on Saturday shortly after noon I planted myself in a dusty side-tent to hear the band for the first time.

They utterly blew me away. Grace Potter and the Nocturnals sounded like a feral, weedy, Joplinesque overgrowth of Sheryl Crow’s funky self-titled disc. Grace was an incendiary lead singer, wailing, screaming, thrashing her guitar, dancing behind her Wurlitzer, and leaping off of stage pieces to mark a number of huge crescendos. However, through all of that she was somehow still folksy – more an analog to Bonnie Raitt than to the PJ Harvey she was invoking.

Also of note, guitarist Scott Tournet was terrific, not only to listen to but to watch – a trait so many of the jam band guitarists I witnessed in passing didn’t seem to possess. (Listen below to his superb solo on the still-unreleased “Over Again” – I’m in there, screaming, somewhere. It’s currently available only on the overseas versions of the new disc.)

On the drive back I insisted we stop at the first civilized-looking mall to pick up the debut GP&N disc, but I was quickly disappointed – the disc was a calm, sterile affair, showing none of the vim of the live performance that had riveted me the day before. And, all of the best songs were absent from the disc!

This Is Somewhere has a few of those songs, and I’m hoping it fulfills the promise the Nocturnals made to me last June. Even a whisper of it would make my day.

If Grace Potter represents yet-unheard promise, then Rilo Kiley’s Under the Blacklight is a reverent hope for a return to form.

In 2002 I had no idea what Rilo Kiley sounded like – just that they were fronted by a woman and on Barsuk Record (which, back in the Death Cab’s better days, really meant something). I remember distinctly my first listen to their second disc, The Execution of All Things; I was meant to be drifting off to sleep in Elise’s bed, but I was instead riveted and wide awake.

At first RK seemed like a sort of indy-rock version of Garbage to me, one whose lead singer – lacking the queer confidence of a supervixen – instead wrote wryly about friends and potential apocalypses. But as I continued to listen I came to appreciate the significance of contributions from co-leader and guitarist Blake Sennett, who brought a tuneful, Elliott Smith-like melancholy to the proceedings, even when he was relegated to the background.

As my appreciation for the Rilo increased I also continued to play – and, now, co-write – with my best friend and musical partner Gina. One day, listening to two of Gina’s best paeans to the end of the world – “Real End” and “Fisher Price” – I realized that the strange pair of us had a chance at the same hooky, kitschy relevance that I had grown to love about RK.

It was like realizing for the first time what you want to do when you grow up – because I had. So, it was with great excitement that I purchased 2004’s More Adventurous – hoping to vicariously live out the next chapter of Gina and my musical development. Unfortunately, my excitement was quashed from track one – despite its title, the disc was a shapeless lump of peculiarly unhooky narratives, headlined by a spare duo of the superbly indie “Portions for Foxes” and the 60s Country spin through “Never Again.”

Having conceded that Rilo had lost their touch to the sappy post-folk, it came as no surprise to me when lead singer Jenny Lewis struck out on her own with an acoustic solo disc – Rabbit Fur Coat. More meandering nonsense, I assumed.

Well it wasn’t. Not quite, anyhow. As opposed to Adventurous, on which the band often seemed aimless if not excessive, Rabbit seemed like an eager bed made for absent riffs. And, it made some waves – indy and not.

Under the Blacklight is Rilo Kiley’s first major label disc, and its first after Jenny’s solo breakthrough. And, from the throbbing bass and reverberating guitar on the – yes, queer – lead single “Moneymaker,” I think the band may be back on some sort of track, even if Gina and I have since gone off the rails in our own direction.

I can’t yet recommend either disc, but I recommend getting this excited about a record. Not because you have to have it to complete your collection, or because you love an artist so much you can’t stand the wait, but because you have a fervent hope that you are about to be introduced to life-altering music.