Friday Music Focus: 3/17/17

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While I was putting today’s list of five songs/compositions together, I came across this quote from Canadian filmmaker Atom Egoyan: “People make decisions that may have one intent and yet are somehow perverted into something else. And sometimes it’s because of design. Sometimes it’s because of happenstance. But very often, it’s mysterious to them.” Food for thought.

Bette Davis, “I’ve Written a Letter to Daddy” (scene from the film What Ever Happened to Baby Jane?, 1962, dir. Robert Aldrich). Just in time for the new FX mini-series “Feud: Bette and Joan,” I watched What Ever Happened to Baby Jane?, featuring Bette Davis’s virtuoso performance as a former child star who grew older but never grew up. Ernest Haller’s stark cinematography makes “Baby Jane” look like a frightening wax figurine of Mary Pickford or some other silent star, a face that seems to be melting under the tonnage of caked-on stage makeup and still-golden ringlets. Simultaneously, Victor Buono, playing Edwin Flagg (the accompanist), offers his own master class in reactions to Jane’s grotesque exhibition.

Billy Idol, “Eyes Without a Face” (appears on the album Rebel Yell, 1983). Heard last night while walking past a store on Sixth Avenue (the chorus’s “Les yeux sans visage…” line sung by Perri Lister, wafting dreamily out of a speaker); I haven’t thought about this song in ages. I like to think that Billy Idol decided on the title before writing the song, either because he appreciated the 1960 horror film by Georges Franju, or just because it sounded to Idol and co-songwriter Steve Stevens like a cool name for a song. The lyrics don’t exactly connect with the title, but should that matter if the melody is memorable?

Peter Haycock, Derek Holt and Paul Di Franco (film score composers) featuring Eric Gale (guitar), “Closing Credits” (from the end credits of the film One False Move, 1992, dir. Carl Franklin). The year is young, but One False Move is definitely one of the finest films I have seen in 2017. Set in Los Angeles, on the highways of the Southwest and in the small town of Star City, Arkansas, the story combines film noir and Western genre elements in a uniquely blended crime drama that provided Bill Paxton with an excellent leading role (a naive rube of a sheriff who eventually learns that real crime can be vicious and bloody; imagine Fargo, but with a male lead instead of Frances McDormand). The film also granted superb supporting roles to Billy Bob Thornton (who co-wrote the original screenplay), Cynda Williams (who married Billy Bob shortly after filming wrapped in 1990, though they divorced in 1992), Michael Beach (a solid supporting actor for the last thirty years) and Natalie Canerday (who worked with Billy Bob again in Sling Blade, and later played Michael Shannon’s mother in Shotgun Stories).

P.S. If you want an additional endorsement: Gene Siskel gave One False Move the #1 spot on his list of the top ten best films of 1992 (his explanation for his choice starts at the 16:40 mark in the linked video).

Leonard Cohen featuring Sharon Robinson, “Everybody Knows” (appears on the album I’m Your Man, 1988; subsequent scene from the film Exotica, 1994, dir. Atom Egoyan). “Everybody knows, everybody knows/That’s how it goes/Everybody knows.” The Exotica nightclub is where the lives of several Toronto citizens intersect: stripper Christina (Mia Kirshner), tax/revenue agent Francis (Bruce Greenwood), rare egg smuggler Thomas (Don McKellar) and club owner Zoe (Arsinée Khanjian), as well as other characters who don’t appear in this particular clip – Eric (Elias Koteas), the club emcee who is obsessed with dancer Christina; Francis’s brother Harold (Victor Garber) and niece Tracey (Sarah Polley); the unnamed customs official (Calvin Green) who has a one-night stand with Thomas, putting Thomas’s contraband operation in jeopardy. These characters have messy pasts that have left them damaged psychologically and, in one case, also physically.

Atom Egoyan’s Exotica is a potent cocktail of sensuality and fatalism.  And if one has to perform stripteases in order to make a living, as Christina must do every night for the Exotica clientele, then what better soundtrack for one to disrobe to than the soul-baring songbook of Leonard Cohen?

James Horner, “The Launch” (from the score composed for the film Apollo 13, 1995, dir. Ron Howard). While watching Apollo 13 again and listening to Ron Howard’s commentary track, I was struck by the dignity of James Horner’s score in the scene when the NASA spacecraft embarks on its “successful failure” of a lunar mission. The secret to Horner’s success was his ability to respectfully represent the power of ordinary people accomplishing extraordinary feats, especially when they are faced with seemingly insurmountable obstacles.

Friday Music Focus: 11/11/16

Despite this week’s soul-crushing news that Donald Trump is going to be our forty-fifth POTUS, the music-blogging wagon must roll on.

Bash & Pop, “On the Rocks” (music video, 2016; studio version will appear on the album Anything Could Happen, 2017). Bash & Pop is fronted by Tommy Stinson, former bassist for seminal Minneapolis punk/alternative rock band The Replacements; B&P released their first (and also last) album, Friday Night Is Killing Me, in 1992, so their new follow-up has certainly earned the adjective “long-awaited.” The lyrics for “On the Rocks,” which is the upcoming album’s lead single, are largely clichéd but the overall catchiness of the melody and Stinson’s lengthy guitar solo toward the end make this song a lot of fun.

PJ Harvey, “Ministry of Defence” (performed live at Terminal 5 in Manhattan, 2016; studio version appears on the album The Hope Six Demolition Project, 2016). I’ve mentioned this before, but it bears repeating: “To Make America Great Again We Need Less Donald Trump, More PJ Harvey.” With the realities of a Trump presidency still sinking in, we need proudly political, saxophone-driven music more than ever. If we could elect a British woman to the highest office in our land, PJ would get my vote.

Angel Olsen, “Never Be Mine” (appears on the album My Woman, 2016). In recent months I have made a habit of reading Pitchfork’s music reviews, and in late August I saw a review by Jenn Pelly for Angel Olsen’s My Woman that was more effusive and praiseworthy than anything I had beheld in ages. I had never heard of Olsen, but the descriptions of this St. Louis-raised singer-songwriter’s new work as “tough and tender at once, a bold rumination on how love and autonomy require one another” and that “My Woman walks a tightrope of love to figure out what it is—how to find it, how to allow it in, how to feel it, how to fight for it, how to let it go—by a person who does not lose herself in the process” made me want to learn more. The song that I love the most from the album, “Never Be Mine,” has an especially great write-up: “My Woman contains soda-pop rippers as pained and distraught and irreducible as any girl-group classic: ‘Heaven hits me when I see your face,’ Olsen sings with wide-eyed optimism that wilts on arrival, ‘But you’ll never be mine.’ So much of My Woman is rock‘n’roll in the traditional sense, from a ’50s or ’60s jukebox, and it is positively electric, a total blast.”

Suede, “What I’m Trying to Tell You” (appears on the album Night Thoughts, 2016). Suede is one of those bands that I’m forever trying to foist on my circle of friends (in the best possible way) since, like my beloved Manic Street Preachers, I’m pretty sure that Suede (or “The London Suede,” as they are legally forced to be called here) never found a wide fanbase in America, just some die-hard devotees scattered in random pockets of the country. Suede’s seventh album, Night Thoughts, was released in January, which earned them high marks from the British music press and – as you might expect – absolutely no fanfare at all in the US, where the band essentially doesn’t exist. (They played at Coachella a few years ago, but otherwise I don’t think they’ve toured here since the late 90s or early 2000s, and the only late night talk show appearance they have ever done here was on Jay Leno’s “Tonight Show” in 1993. For more discussion of Suede’s lack of impact on our nation by a longtime American fan, take a gander at this article: “Trash: The Problems of Being an American Fan of the London Suede.”) Anywho, Night Thoughts is a solid album and “What I’m Trying to Tell You” is just as enjoyable and hook-laden as any of their earlier songs; I’m particularly fond of the fact that “Tell You’s” final minute sounds similar to the “la la la…” outro of 1996’s “Beautiful Ones,” which, incidentally, was the first Suede song I ever heard, when the music video was made available for free on iTunes one day almost a decade ago and I just happened to notice it on the iTunes homepage.

Weezer, “I Love the USA” (music video; single, 2016). When Weezer put out this song over the summer, the band said that it was an honestly patriotic anthem that had to do with NASA, or something. Now that the music video is online (released last month, starring none other than Patton Oswalt), the intent is obvious. While listening to the track again, I’ve had a late-breaking realization: Rivers Cuomo sounds exactly the same at age 46 as he did at 24, the age he was when Weezer released their self-titled debut album back in 1994. Is that good or is that weird?

Rowland S. Howard, “Dance Me to the End of Love” (performed live at the Melbourne Public Bar, 1995). I cannot pretend that I am well-versed in the late Leonard Cohen’s discography since I am only familiar with the songs of his which have been covered by my favorite artists. Enough singers have been performing “Hallelujah” (from Various Positions, 1984) for the last couple of decades that the New York Times actually ran an article this past September titled “How Pop Culture Wore Out Leonard Cohen’s ‘Hallelujah,'” so instead I present you with a different song from Various Positions, a cover of “Dance Me to the End of Love” by Rowland S. Howard. I’m going to end the post with an excerpt of an interview with David Todd that Rowland did shortly before his death in 2009 (the piece was published in Todd’s book Feeding Back: Conversations with Alternative Guitarists from Proto-Punk to Post-Rock, 2012):