The original blog of writer Graham Milne – content published from 2011-2017

Graham's Crackers

    • With a Song in My Heart: J is for…

      April 11th, 2014

      “The James Bond Theme,” The John Barry Orchestra, 1962.

      Another day, another obvious song choice?  What can I say, folks, you know me so well.  This is the original version, written by Monty Norman, arranged and performed by John Barry and his orchestra for the debut of the 007 series, Dr. No, fifty-two years ago.  Interestingly enough in that movie’s opening credits sequence the theme is chopped up and rearranged to suit the transitions of the animations and the captions, but the revolutionary sound remains:  Vic Flick’s electric guitar, drenched in reverb, racing through a surf-rock-inspired lick that to this day is an indication that something mind-blowingly cool is about to happen.  Never has another leitmotif offered that sort of guarantee, still valid after all these decades.

      Although John Barry’s is the name most associated with the “Bond sound,” the film series has been through a good assortment of composers during its tenure, each of whom has attempted to leave his individual echo behind.  Beatles producer George Martin was the first to follow in Barry’s footsteps, offering funk and jazz-flute stylings to Roger Moore’s debut Live and Let Die.  The renowned Marvin Hamlisch, fresh off Oscar wins in the mid-70’s, gave The Spy Who Loved Me a fusion of traditional grand orchestra and disco, a trend explored to its somewhat ridiculous end with Rocky composer Bill Conti’s work on For Your Eyes Only in 1981.  At the end of the 80’s, it seemed you could not have an action movie without Michael Kamen at the conductor’s podium, and so Licence to Kill accordingly inhabits the world of Kamen’s Die Hard and Lethal Weapon work with plenty of Latin flavor for the plot revolving around South American drug lords.  French composer Eric Serra attempted to relaunch Bond in 1995 with his unique synthesizer-based approach, leading a significant number of fans to jam cotton in their ears and clamor for a return to the ways of days past.  David Arnold’s assumption of music duties for five straight films beginning in 1997 brought the orchestra back to the forefront, but layered with computerized rhythm tracks in accordance with the lightning pace that movie audiences now demanded of their chase scenes.  Most recently, Thomas Newman’s complex, dignified, by turns stately and others relentless style in Skyfall led to the first major awards nominations for Bond music in decades.  Throughout these evolutions, though, the James Bond Theme has remained the vital ingredient, no matter what form it finds itself rearranged into.  You can’t have a Bond movie without the Bond theme – a lesson learned well by the makers of the clumsy, half-hearted Never Say Never Again.

      The James Bond Theme, like the hero who struts across the screen in his tuxedo as it plays, is a reassuring constant.  Though it may flex and stretch in reaction to or in anticipation of the times, it remains unbreakable, unmalleable.  Play it on a guitar, on a piano, with a host of trumpets, on a set of bongos; the true feel of it never changes.  Everyone knows how it’s supposed to go; everyone can hum a few bars when asked.  Like so many of our greatest songs, it belongs to everyone, to a multitude of moments.  For me the Bond theme can evoke either waiting for my father to come home on a Friday night with a Betamax rental of Diamonds are Forever, or parking myself on the couch with my son to watch a Blu-Ray of Quantum of Solace.  It can make me stand a bit straighter, cock my eyebrow and offer a risible pun while watching gin and vodka pour from an ice-cold martini shaker.  I know I’ll never be James Bond (nor would I really want to, as I’m fully aware that his lifestyle is destructive to the soul) but I can model myself after the best of what he represents:  confidence, taste, refinement and charm.  For a character dreamed up by one author crouched over a typewriter in sweaty Jamaican heat to become a cultural icon outlasting any pretenders to the throne, he must be able to touch something primal in our minds, to tap into aspirations we didn’t even know we had.  As we grow older and watch this character evolve with us, his theme song becomes connective tissue between the dreams of wide-eyed youth and the nostalgia of the adult.  An unbroken line from which we can pluck any memory we wish to relive, any old wish we feel like dusting off and setting out into the world, just to see what might happen.

      Going to the movies is one of the last things we do as a group in our society these days – inasmuch as social media has made connection easier, that connection is still for the most part one person sitting alone with a device, interacting with digital data.  However, when you are sitting in an audience and that electric guitar fires up, you can sense the shot of adrenaline jolting through the veins of everyone around you.  Everyone gets it.  Everyone knows what everyone is thinking and feeling about it, and we can smile at each other in recognition.  You’re in this collective of shared cool, and it’s an experience whose frequency is diminishing as the years creak on.  But it will linger as one of the last vestiges of such things, welcomed every few years with the newest installment.  When Warren Zevon was diagnosed with terminal cancer, he said he hoped to live long enough to see the next James Bond movie.  One needs offer little more than that as affirmation.  Bond, and his theme song, are forever – as are we.

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    • With a Song in My Heart: I is for…

      April 10th, 2014

      http://www.youtube.com/watch?v=ke_Pc8e5JeE

      “Imagine” – John Lennon, 1971.

      I doubt there is a soul reading this entry who’s followed my work and finds this choice surprising.  You could even argue that it’s the safe choice, the obvious choice.  Lennon again.  A few more fawning paragraphs about his immortal brilliance, as if I haven’t said enough about him already.  I do find myself growing a bit self-conscious whenever I drop in a Lennon reference, no matter how oblique, but the fact of the matter is that he and his music linger each day at the edge of perception, seeping into actions, words and deeds like an ethos that informs every moral choice.  I can’t point to a single event in my life that “Imagine” evokes because it’s always been there, like a continuous score for a movie whose running time is 38 years and counting.  Like the lyric says, I’m not the only one who thinks so.  President Jimmy Carter once said that in the many countries he’s visited, he has heard it being used equally with national anthems – imagine there’s no countries indeed.  (Given that a majority of the world’s national anthems are about war, it seems only right to have a dovish counterargument.)  So I suspect there’s meager appetite for a critical dissection of the chord structure, the history of the composition and the words; more scholarly scribes have covered this territory with far more accomplished diction.  We’ll go another way.

      Isn’t it a bit ironic, the question might be asked, for a person who has lost so many of the important people in his life – some at a very early age, no less – to embrace a song whose first line is “imagine there’s no heaven, it’s easy if you try”?  The simple answer is yeah, people are walking contradictions.  The deeper answer goes more to the essence of faith and belief and whether or not one’s ability to grieve demands a contrived Judeo-Christian image of departed relatives lounging on clouds and strumming harps.  Baptized Anglican, my gradual disillusionment with religion was like the disintegration of a finely woven tapestry, its threads pulled away one at a time by doubt and dissatisfaction with pat answers to lingering spiritual questions.  I didn’t care for bromides like “your dad’s in a better place now.”  No he bloody well isn’t, the better place is here with his wife and his children.  When my frail grandmother died almost a decade later, the weak sauce offered at the funeral was “your grandmother has been made young and strong in the embrace of the Lord.”  Like a salesman telling his mark exactly what they wanted to hear, to close the deal.  And I wasn’t in the mood to buy.  With age I understand now why those lines are delivered in those moments, but back then they did nothing but stoke anger and resentment at the whole enterprise.  I rejected attempts at comfort or counselling because I quite honestly thought the whole world was full of shit.  It was quite easy to imagine there was no heaven.  I didn’t even have to try.  Lennon got it, though.  He dared us to imagine living for today because there weren’t nothin’ waiting round the next bend.

      When Pat Tillman died, a bunch of famous politicians showed up at his funeral and spouted the usual script about Tillman being taken to the Lord’s side.  Tillman’s brother took the dais and called them out on it, asking them to keep their religion to themselves and reminding them that Pat had been an atheist and that as far as Pat’s beliefs were concerned, “he’s f—in’ dead.”  There is this tendency for human beings to handle loss by pretending that it isn’t really a loss after all.  That the deceased have merely changed lodging arrangements.  They’re just living one universe over, but there’s no reliable wi-fi between there and here.  We don’t really seem capable of being able to process the concept that something can be present in one minute and utterly vanished from existence in the next.  Instead we imagine an otherworldy waystation, and that some day we’ll catch up to those who’ve gone ahead.  The better we behave while we’re here, the better our chances of a good seat in the great beyond.

      John Lennon says no, this is all there is.  While one might initially be inclined to think of that in a negative connotation, I choose to see it as quite hopeful.  Here, in this life, we have everything we’ll need.  Because it contains everything that ever was and ever will be.  The cosmos is the greatest recycler – new worlds are born from the deaths of the old.  Every atom in your body and in the chair you’re sitting in and the air you’re breathing and even the words you’re reading right now came from a supernovaed star and will still be here long after they have ceased to exist in their present state.  People die and are transformed.  Physicality becomes memory, and the impact of action becomes imprinted in history.  The music remains embedded in the record even after the needle has been removed.  Footprints on the soft, malleable continuum of time are immune to the wash of the tide.

      So can you imagine there’s no heaven and still consider yourself a spiritual person?  Maybe that’s one contradiction too many for some, but it’s what I’ve considered myself to be.  There is a magnificence to the universe that moves me.  Throughout the chaos, patterns emerge, and their perfection is, for lack of a less obvious term, musical.  My mind grows restless at the idea of settling on an answer provided for me by thousands of years of dogma; I would rather search out my own, and spend life imagining possibilities and connecting with those who fancy the notion of life as this ongoing quest, with all the supplies we require laid out before us in a limitless bounty.  Living for today, and in peace.

      I hope someday you’ll join me.

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    • With a Song in My Heart: H is for…

      April 9th, 2014

      http://www.youtube.com/watch?v=MSvSsNSuVtk

      “Hotel California” – Eagles, 1977.

      “Hotel California” is not a song I like very much.  That’s something of an understatement, really.  I detest it.  The hatred began as a seed of indifference, nourished by decades of hearing it overplayed on the radio, oversung off-key at karaoke bars, over-requested at weddings and over-selected on pool hall jukeboxes, blossoming finally into a putridly fragrant flower of pure, embittered, soul-deep loathing.  Even hints of the first tinny, ear-scraping chords are enough to send me into paroxysms of bile-spitting fury, questioning how anyone could possibly endure this egregious example of rock & roll wallowing in its own crapulence yet again.  And I know I’m in the minority opinion, as there are millions who consider it one of the finest rock songs ever written.  Rolling Stone magazine ranks it 49th on their list of the 500 Greatest Rock & Roll Songs of All Time.  Myself, if I have to hear the insipid banality of the warm smell of colitas or sweet summer sweat or prisoners of our own device one more time, I may punch something.  You know when I laugh the loudest at The Big Lebowski?

      theeffineagles

      Yep, right there.  As an aside, there’s a story to this:  The infamous Allen Klein was planning on charging the Coen Brothers $150,000 to use Townes Van Zandt’s cover of the Rolling Stones’ “Dead Flowers” over the closing credits, which would have broken the movie’s music budget.  When Klein saw this scene, he erupted in a fit of gut-busting laughter and told the Coens they could have “Dead Flowers” for free.  So even though I rue realizing I have anything in common with Allen Klein, on this point he and I are in complete agreement.  And before you ask, yes, Dad had a worn copy of Their Greatest Hits 1971-1975 and Mom loved Glenn Frey, so clearly that was one trait that skipped a generation.  (My son does not know who the Eagles are so perhaps we’ve broken the cycle – now I need to cure him of his fixation with Nickelback.)

      At this point you are wondering, why on earth is this song on the list?

      In July 2008, just after a certain junior Senator from Illinois secured the Democratic Presidential nomination, my wife announced that she’d purchased tickets to the upcoming Eagles show in Toronto, part of their Long Road Out of Eden Tour.  It is a common occurrence in marriage, I suspect, that from time to time one partner must work on feigning excitement in something that the other is bubbling with enthusiasm over.  “We’re going to see the Eagles” was about as scintillating to me as suggesting that we attend a three-hour dramatic reading of Canada’s federal tax code.  I chewed through my tongue to prevent quoting the above-noted Lebowski moment and said “great!” while simultaneously invoking my inner weasel to think of legitimate reasons to not attend.  Still, I knew it was important to her, and I reconciled with the idea by reasoning that the Eagles were considered in some circles to be legends, and that seeing them live would be something to tick off the proverbial liste de seau.  I’d just have to endure the visions of a bunch of aging 70’s rock fans swaying on replaced hips to that damnable song for 7 interminable minutes.

      The date arrives, we find our way to the venue and take our seats.  It’s the first time I can recall that I’ve never felt the slightest twinge of anticipation about a concert.  This should be a big deal, and it isn’t.  I’m wasting a seat someone else who will enjoy these guys even a modicum more could be otherwise making better use of.  No matter though, I’m here and I’ve gotta get through this.  I’ve gotta choke this down like that childhood plate of brussel sprouts.  The lights go down, the crowd roars, and the Eagles take the stage.  Don Henley, Glenn Frey, Joe Walsh and Timothy B. Schmit walk out attired in matching dark suits, pick up their instruments, check their amps and start to play.

      And they rock.

      By the second song I’m sold.  They’re incredible.  They play with the studied, impeccable craftsmanship acquired only by those who’ve been at it for forty years.  They banter together and with the audience with the healthy self-deprecation that is earned only by a life hard-lived and knocks well-taken.  (Glenn Frey, introducing “Take it to the Limit,” or as he calls it, the ‘credit card song:’  “I’d like to dedicate this to my first wife, or as I call her, Plaintiff.”)  They blow the typically reserved Canadian audience back against the wall with nothing but tunes and talent.  Joe Walsh even earns some hometown cred (or cheap applause, if you will) by donning a Maple Leafs cap for a couple of numbers.  Running through a healthy combination of Eagles classics, covers, selections from their respective solo careers and material from the new album, the Eagles, for lack of a better word, fly.  It’s one of the tightest, most accomplished, most exciting shows I’ve ever seen.  No messing about with pyrotechnics or stage diving or bollocks political posturing.  Just four gifted guys bringing their best, seasoned game.  This is a shimmering blade of rock and roll forged with an expert hammer and polished to a perfect shine.

      Naturally, there comes an inevitable point midway through the song list.  Those all-too-recognizable tinny chords start twanging.  The crowd loses it.  As Don Henley invokes the dark desert highway, my wife gives me a knowing look, and I smile.  Yeah, okay.  This isn’t so bad.

      Since that night, “Hotel California” has been a lesson in humility for me.  A reminder to temper my opinions, to crawl back from the edges of extremism and recognize that the truth lies somewhere in the mushy middle.  It’s one thing to hate a particular song, or movie, or any work of art, really, but there are precious few instances where that can lead legitimately to a complete dismissal of the artist as a worthwhile creative force.  There is usually some value to be found in everything, and in the cases where there isn’t, it’s not worth giving those sorts more than a microsecond of our precious consideration.  Music preference, and by extension the professional criticism of same, has always been about strong opinions, but the danger is in letting ourselves get caught up in how much this band is infallible while this other one sucks beyond redemption.  It’s hardly worth the rise in blood pressure, especially when – as the Eagles proved for me – you can still occasionally find yourself pleasantly surprised, and well and truly rocked.

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    • With a Song in My Heart: G is for…

      April 8th, 2014

      “Goodbye Yellow Brick Road” – Elton John, 1973.

      A song that for its performer was the hope of remaining himself as his star rose ever higher, for me has a more literal meaning in that it summons recollections of the by turns pitted asphalt and by other turns smooth concrete curves of Interstate 75, the artery by which thousands of Canadian snowbirds flock each year from their wintry, igloo-bedecked homeland (at least if you believe the propaganda) the seventeen hundred miles to the palm trees and orange groves of Florida.  Cast a glance out the window on the southbound lane and you’ll no doubt spot dozens of minivans or sedans crammed to bursting with holiday gear and restless kids kicking the backs of the parents’ seats.  It’s a rite of passage for families in this part of the world, as it was for my family, at least once a year, usually over Easter.  Though my parents shared the driving, my father’s heaping piles of mixtapes were the music of choice, with this particular tune conjuring a visceral image of an empty road just after sunrise, bellies full of the “kids eat free!” breakfast from the exit ramp Days Inn, and the trees and mountains of Tennessee blurring into streaks of green beyond the cold glass.

      What lay beyond the Yellow Brick Road?  My grandmother’s winter home in Englewood, on the Gulf Coast just a few miles south of Sarasota.  It was, and probably still is, a sleepy community of retirees who live in converted mobile homes built on trail-like roads that wind their way between tiny ponds.  The waterfowl that lend their names to the streets flock lazily amidst the bulrushes and the tall marsh grasses, eager for a crumb of bread from a passerby.  A mile from my Nana’s old place on Mallard Drive was Englewood Beach, where I spent hours combing the surf for shark’s teeth and curious seashells and got my first severe sunburn – never again would I fail to apply sunscreen to the backs of my knees.  There was also the shopping plaza with a Beall’s, a Publix (home of my favorite yogurt) and an Eckerd Drugs.  An innocent’s perception of Oz, but more than enough to seem like a slice of paradise.

      Getting there was a dervish of anticipation and scrupulous attention paid to each detail of the voyage.  It’s interesting that I have almost no memory of the return trips, except perhaps the resignation that pervaded the last night in Emerald City with the long road that beckoned beyond dawn’s first light, and the envy of those who could stay behind.  The southbound adventure, on the other hand, is replete with trivia; loading up the Griswold-mobile in the bleakness of the cold Ontario morning on day one, the dry stretch down to the Ambassador Bridge crossing at Detroit, the transition into the wide-eyed novelty of the UNITED STATES.  Woohoo!  Gallons instead of litres.  Miles instead of kilometres.  Bright red-and-blue highway signs instead of our modest old white ones.  Amoco and Chevron and Exxon stations instead of Petro-Canadas, Shells and Essos.  Billboards every hundred yards announcing how far you were from the next McDonald’s, or how much John Q. Lawyer could win for you if you were injured in a workplace accident.  It was all waiting past Exit 83, Next Right.

      Even the most mundane aspects became objects of fascination to a young brain determined to soak it all up.  Counting down the mile markers to the state lines and noting how quickly Michigan, Kentucky and Tennessee would slip by, versus the endless slogs through Ohio and worst of all, Georgia.  No offense to Georgians, but when you’re eight or nine and it’s not your final destination, man does it take forever, especially that Atlanta bypass.  Endless curiosity about the varying quality of the highway rest areas, depending on the state:  some full-fledged, full-service stopovers, others little more than a turnout, porta-potty and lone rotting picnic bench.  An almost OCD-like need to collect paper directories from the Days Inns, memorize their locations nationwide and wonder why we didn’t have any back home (we do now, not that I’ve stayed at one since).  Dinners at the Cracker Barrel and trying without success to conquer the jump-a-tee puzzle placed at each table before diving into something accompanied by biscuits and sausage gravy, to my mother’s chagrin.  My sister’s innocent query, as we passed through the Bible Belt, of what was with the all the pictures of the guy hanging on the post.

      And always, there was the road, and Elton John singing about what lay beyond it.  It was a perfectly prophetic number for where we were going, even if the end of the journey wasn’t anything life-changing or evolutionary – truly, how many family vacations are?  Still, the song itself is about a return to simplicity, leaving the penthouse behind and going back to the plough.  The fact that I recall with clarity such minutiae from these yearly adventures – moreso than what we did once we actually got there – speaks to the notion that you can find great joy in that simplicity, that fancying it up with expensive hotel rooms, front row seats and $500 rounds of golf doesn’t necessarily make for lasting memories.  Maybe you just need a reasonably reliable car, a loving family, and a yellow brick road.

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    • With a Song in My Heart: F is for…

      April 7th, 2014

      “The Fool on the Hill” – The Beatles, 1967.

      Once dismissed by a critic as a “most unworthy Beatles standard,” and certainly not one that gets any regular airplay, “The Fool on the Hill” makes my list for a single shining reason:  it was my father’s favorite Beatles song.  When he was alive I didn’t give a lot of thought to why people liked certain things and not others, so it never occurred to me to ask him his rationale for preferring this song over some of the more popular Beatle hits.  When I picture him singing – as he did, whenever possible, and loudly – this is the chorus I hear:

      “But the fool on the hill

      Sees the sun going down

      And the eyes in his head

      See the world spinning round.”

      Paul McCartney once said that the song was about Maharishi Mahesh Yogi (prior to the Beatles’ disillusionment with him), or, more generally, the idea of the man who sits off by himself and is thought of as lesser by his peers because of his methods or appearance, but who regardless appears to have all the answers – or at least thinks he does.  I’ve attempted to speculate as to why the lyric appealed to my father so much.  Did he see himself in the song?  Did he feel like that ostracized outsider watching the world turn on its merry way without including him?  Or did he just like the melody?  It could very well have been the latter.  My father dragged us to church each Sunday, yet the Bible was never spoken of at home, nor were we expected to pray, or even do the barest minimum of saying grace except at large family holiday gatherings.  No, Dad went to church so he had an excuse to belt out hymns at the top of his lungs.  It didn’t matter that he didn’t appear convinced of the message in those hymns; for him it was the sensory reverie of notes flowing from the larynx and reverberating from nave to narthex.  Mostly that came from his own mother – more on that when we get to “Q” – but you got the sense from my father that singing was the only time he ever felt truly free, and song choice was irrelevant.

      Back to “The Fool on the Hill,” though.  Many years later I finally saw Paul McCartney play live and at one point in the set his bandmates left the stage, and without introduction he plunked himself down at a psychedelic-hued piano and started playing this “most unworthy standard.”  Did I chance to look up, even for just a second?  Maybe.  Certainly I paid much closer attention to the lyrics, picturing the man sitting at the crest of a sea of tall, windblown grass, knees to chest, overlooking the village in the valley below and contemplating the great mystery, instead of staying where he ostensibly belongs.  As I mentioned in the previous post, I fancy myself a questioner of things, looking evermore for the solutions to the riddles that evolve into new riddles themselves.  Wondering why things work the way they do and if there is a pattern to it all lingering just out of reach.  However, the biggest questions, indeed, the biggest doubts, are reserved for myself.  I doubt my ability, my purpose and my voice, endlessly, and find solace to these doubts in fleeting, empty validations.  I fear that I am missing out on life by commenting on it rather than participating in it; that while some might consider the unexamined life not worth living, there must be some life there to examine first.  I wonder if that makes me the fool, and if the whole enterprise would be served better by me shutting up, packing it in and going down the pub for a few pints with the lads.  Few are the days when these particular thoughts don’t flit across my consciousness.  Fewer still are the days when I confidently think the reverse.

      It seems eerily prescient that even though my father was long gone before all of this took shape – whatever this turns out to be – whenever he dusted off “The Fool on the Hill” he could have very well been describing his son, the man his son would one day become.  Though he never thought of me as foolish; like most fathers the slightest of my accomplishments merited praise to anyone who’d listen.  Perhaps, though, he noted the eyes in my head seeing the world spinning round.  Certainly the moment he died was the instant I became obsessed with making sense of why the world operated as it did, why fairness remained elusive and why history was built on reactions to random occurrences.  Or finding meaning in a boy losing his father when there was so much yet to learn and so many Beatles songs left to sing together.

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    • With a Song in My Heart: E is for…

      April 5th, 2014

      “Even Better Than the Real Thing” – U2, 1992.

      I can kick this post off by reassuring readers that it won’t be quite as heavy as yesterday’s.  Instead we’ll just offer a few paragraphs about one of my favorite bands, one with whom I have savored and at times rued a two-decade-long love/huh? relationship.  (You’ll also note that I appear to be constitutionally prohibited from in-depth appreciation of bands from my own side of the Atlantic.)  U2 first came to my attention in the mid-early-80’s when they were transitioning away raw, angry Irish proto-punk into more mature, textured material that wasn’t all allegorical retellings of the Troubles. I can say that now that my vocabulary has developed substantially; back then it was only a matter of taking the slightest interest in the Unforgettable Fire poster on my cousin Brad’s bedroom wall.  Even when their legendary Joshua Tree album dropped a few years later they didn’t really register for me.  They seemed too serious, too dire, too preachy.  What is interesting to me now, as a devoted fan, is going back and realizing just how many of Bono’s lyrics are intended to be about God, but that like the best pieces of art (or religious texts, as it were), you can interpret them to mean, or be about, whatever or whomever you want.

      What do U2’s songs mean to me?  Well, let’s go back and talk a bit about how I finally got into them.

      1997 for U2 brought the release of Pop, what is probably their most polarizing album, setting aside the art-for-art’s-sake Passengers misfire.  (Given the aforementioned Christian focus of Bono’s lyrics you could assign a double meaning to the title of this one as well:  Pop – Poppa – Father – God.)  The lead single was “Discotheque,” a foray into 90’s club music, featuring an appropriately cheesy video which had Bono and company donning the garb of the Village People and performing an easily mimicked hip-thrusting dance.  My playlist had grown stale and I was hungering for something fresh, and this fit the bill.  For once, those dour Irish dudes seemed like they were having some fun, and I could get into this.  The trouble was the rest of the album wasn’t so great.  Aside from one beautiful standout (“Gone,” which should have been a single but wasn’t for whatever reason), it remains a hard-to-listen-to mishmash of misbegotten experiments and half-finished ideas.  But no matter, the fish had bitten into the hook and I began to mine their back catalogue.  That’s when I found Achtung Baby.

      I’ll happily argue with anyone who doesn’t think it remains their best album by a mile.  Almost like a greatest hits collection, there isn’t a single song on there that can’t stand up to years of replays.  In rock journalist Bill Flanagan’s terrific book U2 At The End of The World, the band talks about how the album took much of its inspiration from Nighttown in James Joyce’s Ulysses, and as such follows a wanderer who, seduced by more hip-thrusting rhythms, descends into an orgiastic abyss,  confronts his soul and winds up spent and wrecked in the damp gutter as the dawn finally begins to break.  Backed at every harrowing step, of course, by some simply marvelous tunes.  Now I don’t remember enough of what I read of Ulysses (i.e. almost nothing) to draw all the connections for you, but listening to Achtung Baby uninterrupted, start to finish, does feel like an odyssey of sorts, and you do find yourself feeling a bit worn as the closing track “Love is Blindness” fades away, but the journey’s been worth it.

      So it’s ’97, I’m spinning Achtung Baby and “Even Better Than the Real Thing” nonstop, and driving my friends bonkers by being the worst version of a U2 n00b (U200b?) you can imagine, prattling on as if I’d discovered them.  “Did you guys know that Bono’s real name is Paul Hewson?  Did you guys know that the first time Axl Rose heard ‘One’ it made him cry?  Did you guys know that they used to be called Feedback?  Did you guys know…” and so on and so forth.  Looking back on it even I would have told myself to shut up.  But when you’ve found something that fills a void you weren’t sure was even there, your first instinct is to share the news far and wide, and be incredulous that not everyone else mirrors your admittedly insufferable enthusiasm.

      U2 have released six albums and a couple of compilations since Achtung Baby, and what keeps me buying the new ones even though none have lived up to its standard, is the idea that U2 remain seekers and questioners.  They subscribe to the concept that faith unchallenged is not true faith, and are ever reinventing themselves and their sound to pursue the glaringly contradictory aim of a brutally necessary yet realistically unachievable goal:  solving What It’s All About.  However, this approach can test the patience of those fans who only want to hear the old Joshua Tree classics reinterpreted with some new guitar licks (i.e., The Rolling Stones Career Plan, patent pending.)  When you’re trying for that elusive objective as well, your heart is more forgiving of the missteps no matter how awkward or brash – especially since theirs tend to sound much better.  U2 have been called pretentious, phony, egotistical, preachy, hypocritical and even clueless, but they’ve never been accused of being boring.  Their ability to surprise is like that of life itself – built in the DNA.  Though they may never again equal the achievement that is Achtung Baby, their choice to not rest on those laurels is an admirable one.  Go away and dream it all up again, as Bono once said.  What is even better than the real thing?  Knowing that the questions, and the choice to pursue those questions, are sometimes more valuable than the answers.

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    • With a Song in My Heart: D is for…

      April 4th, 2014

      “Don’t You (Forget About Me)” – Simple Minds, 1985.

      Day Four and we’re on to our third of four anthems in the list (though perhaps “Convoy” might be considered an anthem of sorts to truckers, I don’t know any I could ask for confirmation.)  Recorded (but not written) by Brit band Simple Minds for the seminal John Hughes 80’s teen angst film The Breakfast Club, the song sketches for everyone who hears it the broad strokes of a particular generation and their own slice of recent history.  It’s sometimes hard to believe that this song is almost 30 years old.   For me, “30 years old” is doo-wop and Buddy Holly, before I see the swath of gray hair in the mirror in the morning and I remember just how far along the track I’ve come.  In 1995, however, only ten years out from the debut of the athlete, the princess, the brain, the basket case and the criminal, The Breakfast Club soundtrack found itself lodged in the tape deck of my car, with Jim Kerr pleading not to forget about him on repeat as I drove the thirty minutes each day from our house to the hospital where my mother was dying of cancer.

      It was a little less than five months between her initial diagnosis and her admission to that cold and sterile room where she would breathe her last on an ironically sunny, warm June evening.  Radiation and chemo and determination to fight did little to slow the progress of the disease; it seemed oftentimes during those months that fate had etched its decision in cement:  this far and no farther.  Mom too acted as though she knew it wasn’t going to be a lengthy battle, even from the ground-shifting instant in January she gathered my sister and I in our pink-carpeted sunroom and told us what she’d learned from her doctor on an otherwise unremarkable afternoon.  She’d never been the same after we lost my dad eight years earlier; a piece of her soul had been carved away, and a lingering sadness that could never be soothed left in its place.  There was a resignation as her voice cracked, as if she’d been waiting for this news ever since.  The first snowfall after an unusually long summer heat wave.  Expected, and inevitable.

      When she spoke the three horrendous words, “I have cancer,” I was halfway through my first year of university and had to return two days later to a place where I was already feeling alien, knowing now that I had to be away from her, enduring the daily banalities of the douchebag residents of my dorm as she commenced the litany of appointments and treatments designed to arrest against odds the relentless progress of this tiny, unwelcome malignancy.  And even then I was too focused on how I felt about the situation, in that unique arrogance only teenagers possess.  How could this happen to me, I wondered.  Still, I rebuffed with uncharacteristic brashness every best-intentioned attempt by relatives, friends and counsellors to get me to open up.  I’m not the one with the illness, was my customary response to the tedious question, “How are you doing?”  F—ing peachy, was what I really wanted to say.

      Kerr’s “la la la las” would fade out and the tape would rewind automatically to the single, synthesized snare drum shot that introduces the opening chords, and the vocal call to action:  “hey hey hey heyyyyy, ooh ooh ooh ooh-whooaaaa.”  I’d signal and change lanes, looking ahead to the off-ramp and the “H” sign for the hospital.  Sometimes my sister would be with me, sometimes not.  We never really talked to each other about what was happening.  This had merely become the new routine, as normal as breakfast and a shower each morning.  The most selfish part of me even resented having to do it, but in that, my mother and I were in agreement.  More than anything else, she wanted to come home.  But she needed to be there, hooked up to those machines and bags of fluid, though they could do progressively less and less to make her well again.  Would it have been so much to ask, I say now, to let her spend her last week in familiar surroundings, to lie again in the bed she’d once shared with her beloved husband, even if she might be only barely aware of it?  Little, inconsequential things we take entirely for granted until they’re ripped away and dangled out of reach.  Like the presence of a mother in our lives.

      The Breakfast Club is about five kids struggling to forge identities in the eyes of parents and authority figures who see them as stereotypes, and discovering in the course of a Saturday detention that they are each far more than who they appear to be.  Its theme song is a lament for the end of a relationship, a request to keep some part of it alive, even in the most fleeting thought.  In the numbness of the hours that followed my mom’s passing, someone else, a family friend probably, drove the car.  The stereo remained silent, but the refrain kept playing in my head as the scenery slid by the windows on this march back to the house that was for the first time entirely without wise parents, the residence now of only a too-young brother and sister with precious little idea of what the hell we were supposed to do next.  Guilt pressed down upon me now, a wave of hundreds of things I should have done for my mother when I had the chance.  Called more often.  Helped out around the house.  Set my own drama aside for one solitary minute to listen to how she was feeling.  To try to comprehend the extent of her loneliness coupled with the sheer depth of her bravery and how she resolved to live and work every day for her two children until life itself was pulled from her.  She did the best she could with the hand she was dealt and any successes my sister or I might enjoy are due entirely to her efforts.  She proved the power and resourcefulness of single moms.  She saved our family.  She saved us.

      This was how I wanted to remember her, not as the frail shell my sister and I held onto until the final beat of her heart.  Strength comes in many forms, and while my shy, retiring mother may have been the opposite of my boisterous, larger-than-life father, it was her behind the scenes keeping the operation running smoothly, ensuring that we grew up with values and morals and the kindness that can be so lacking in an increasingly cynical time.  We probably each know someone who is spotlight-averse, who will go forever without the recognition showered freely on those who make spectacles of themselves.  Those are the ones it’s important that we don’t forget about, as we walk on by.  They are the backbone of our world and we are nothing without them.

      And I won’t ever forget about you, Mom.

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    • With a Song in My Heart: C is for…

      April 3rd, 2014

      http://www.youtube.com/watch?v=le2bPRGvKXE

      “Convoy,” C.W. McCall, 1975.

      Wait, you’re thinking, what???  That goofy one-hit wonder novelty from the birth of the disco era, featuring lingo that is as arcane and indecipherable to our generation as selfie, retweet and search engine optimization would be to theirs?  You’ve lost it, G.  Well hey, I never said they were all going to be great songs, just songs that evoke strong memories.  And this one certainly does – memories of a specific point and place in time, the basement of the first house I lived in.

      That warm, reverse-L-shaped retreat with the stone fireplace at the end was as much a product of its era as this song, with the wood paneling and vinyl flooring that has been left mercifully in that long-past time along with puke green appliances and bell-bottomed trousers.  It was also a place of celebrations; birthdays, Christmases, really, any excuse my father could find to have people over for drinks and laughs.  As was common to a lot of finished basements at the time, it had a bar in the corner opposite the fireplace nook, framed in brown faux-leather padding and stocked with treasures:  curious samples of exotic liqueurs retrieved archaeologist-like from shops discovered on overseas jaunts.  And to a five-year-old boy far from the eyes of his parents and looking to impress cute little blond Cathy, as irresistible to open as the Ark of the Covenant.  What flavors!  Rich kirsch, smooth creme de cacao, some other unknowns rather bitter to a palate that shouldn’t be entertaining such tastes for another fifteen years, but no inhibitions are present in that moment.  Another round, Cathy?  (I should postscript this by adding that I have no recollection of events immediately following this incident, aside from never seeing Cathy again, which you can hardly blame her parents for.)

      But aside from that one memorable-and-yet-not venture into pediatric alcoholism (oh come on, like you don’t have a similar story), that basement was my retreat, affording opportunities for play not present in the glorified cubbyhole that was my bedroom upstairs.  I could tear up and down the length of the room on tiny legs and tumble harmlessly into the walls, practice golf drives with Swiss-cheese-inspired plastic balls, and most importantly, score any monkeyshines with songs retrieved from my father’s enormous record collection, in particular, a favorite from the ranks of those old K-Tel hits-of-the-year compilations that were popular for parties (to my younger readers, this is what people did before the shuffle option on the iPod).

      And so we come to “Convoy.”  The epic tale of truckers who go by the handles of “Rubber Duck” and “Pig Pen” leading a drive to New Jersey while eluding the “bears” trying to shut the enterprise down, it was a song I enjoyed acting out with my collection of toy cars as the record creaked and popped away in the background.  Didn’t really matter that none of the ragtag assortment of Hot Wheels or Tonka trucks resembled anything described in the song (except perhaps the “eleven long-haired friends of Jesus in a chartreuse microbus”), many an occasion would find every plastic wheeled conveyance lined up along the floor from one wood-paneled wall to another, and the stereo blasting out McCall’s monotone narration.

      It’s fascinating how as kids we have this capacity for mimicry, that we can latch onto particular things and repeat and recreate them endlessly.  It calls to mind the notion of the tabula rasa, that we are blank slates waiting to be written upon, and that we cannot abide the void, that our hunger to etch something on that big empty space is insatiable.  We latch on to anything we can find, in subconscious hope that enough input will lead to a critical mass and subsequent explosion into a personality that is uniquely ours.  In this case, it isn’t just the song, it’s the place, the year, the recollection of my dad helping me line the dinky cars into place and singing along with the chorus:  “We got a great big convoy, riding through the night.  We got a great big convoy, ain’t it a beautiful sight.”

      It was indeed.

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    • With a Song in My Heart: B is for…

      April 2nd, 2014

      “Bitter Sweet Symphony” – The Verve, 1997.

      Back when I was still playing around with what kind of blog I was looking to write, and fancying part of myself a frustrated successor to Lester Bangs, I did a pretty comprehensive review of The Verve’s Urban Hymns album, which you can read here.  That of course was a clinical discussion of the music’s technical merits with little space given to personal reflection.  What I didn’t get into was how that album and this song in particular clobbered me out of a fog of complacency like an electric sledgehammer in 1997.

      After my mother succumbed to cancer in the early spring of 1995, leaving my sister and I orphaned teenagers, I spent months trying to figure out who I was and what the hell I was going to do now.  A little more on this “lost weekend” period when we get to the “O” song in a few weeks, but suffice to say it was months spent reeling, wallowing, sinking into a mire out of which I had no desire to climb, while faking a smile for the cameras and for the benefit of friends and family I did not want to see me as an inconsolable basket case.  I hid away in my garret of an apartment and wrote screenplays.  They were formless, profanity-heavy treatises of obvious anger and guilt, the only way I knew how to process the turmoil in my brain and the rift in my heart.  From the comfortable perch of twenty years’ distance I can laugh at them as examples of Graham’s Emo Period, to be sequestered forever in the Vault of Bad Ideas, but back then they were my lifeline, as was the non-Internet capable computer I was writing them on.  If nothing else, they helped me become a much faster typist, as my fingers had to learn to keep up with the gushing wellspring of angst.

      “Bitter Sweet Symphony,” as Verve fans know, is layered on a sample of an orchestral version of the Rolling Stones’ “The Last Time.”  I heard it for the first time while visiting my sister up at her university one weekend.  Having only a few soundtrack CD’s in my collection at the time, relying too much on a shoebox full of old mixtapes and being somewhat phobic of the radio, I wasn’t hearing much that was new, or, at least, non-orchestral.  But like so many others I was arrested instantly by the bold, melancholy string motif that introduces the song in a gentle crescendo, building to the moment Richard Ashcroft opens his mouth and lets the words pour out in a soulful torrent.  His first message isn’t terribly enlightened, or optimistic for that matter:  “Trying to make ends meet, you’re a slave to money then you die.”  Indeed, I’ve read more than one review that has dismissed the lyrics as trite.  But as the strings continue to bow, the drums pound and the song evolves toward its multi-tracked vocal coda, something clicks.  As does the now-infamous music video, featuring the sullen Ashcroft walking a London street, so single-minded of purpose and destination he bumps into everyone he passes and ignores the young woman he flattens.

      Being “a million different people from one day to the next” is rather what is expected of us in what can often be a bittersweet life, isn’t it.  Be the husband, the father, the best friend, the professional, the stranger, the lover, the fighter, the poet, the misanthrope, the shoulder, the cold shoulder.  Somewhere in that mass of contradictions, the cacophonous throng of a million different people, we find the truth of who we are, and it shifts like sand beneath our feet blown by the west wind.  In 1997, “Bitter Sweet Symphony” was proclaimed an anthem, and for me, it still is.  I could recognize that although the place I was in was dark, it was not eternal, and that at some point the skies would lighten and the dawn would break, because there is that next day, and the opportunity to be another of the million different people – a better one.

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    • With a Song in My Heart: A is for…

      April 1st, 2014

      http://www.youtube.com/watch?v=s-pFAFsTFTI

      “All You Need is Love,” The Beatles, 1967.

      So we begin this 30-day, 26-song collection with what might seem a fairly obvious choice; indeed, an immensely popular, zeitgeist-entrenched piece of music that means pretty much the same thing to millions of people all over the world.  But rather than attempt some lurching, musical-snob faux-hipster, high-falutin’ rationale of why “All You Need is Love” is more significant to me than it is to the rest of you posers who only got into the Beatles after they became popular, I can merely set the scene and leave the judgment to my dear readers.

      What is the meaning of “All You Need Is Love”?  Is it a tremendous oversimplification, cynical pablum for the forlorn masses, or is it a justifiable mantra, a truth keyed into by four Scouse musicians and shared, prophet-like, in the Our World broadcast of 1967 – in a performance where author John Lennon can be seen nonchalantly chewing gum, conveying perhaps his true opinion of its significance (or maybe just trying to soothe a dry mouth)?  No matter; once the sound flies from the amplifiers it no longer belongs to its creators, but to the world.  We puzzle over the strains of “La Marseillaise” leading into that undanceable 7/4 time introduction, and Lennon’s litany of pronouncements.  “There’s nothing you can do that can’t be done.”  Reminds us a little of the opening of Waiting for Godot:  “Nothing to be done.”  But what’s he really saying?  That there are no horizons left to conquer, or that there is nothing beyond accomplishment?  Does it matter?  It’s still a killer tune no matter how you interpret it.

      But there’s one line that gets me.  “There’s nowhere you can be that isn’t where you’re meant to be.”  It’s not the easiest of ideas to hear, let alone believe, particularly in the moments when the excrement is weighing us down to the point we can barely lift our legs to take the next step.  You have to come to accept the notion that the worst of experiences are essentially mid-terms for the soul.  However, the news isn’t all bad, because where you’re meant to be applies equally to the best of times.  On a warm summer day, roundabouts five in the afternoon, sandwiched between a bocce tournament and a family picnic, beneath blue sky and upon green grass I looked out over the faces of sixty-four treasured family and friends, clutched the gentle hand of the woman I’d just pledged myself to and heard this song play.  The first song I heard as a married man.  The first song for the next step.

      And it was exactly where I was meant to be.

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