Editor’s note:Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
Today’s installment of Arachnophonia is by student worker Colin (class of 2021) and features the classic 1963 bossa nova album Getz/Gilberto. Thanks, Colin!
America in the 1950s was one of the greatest growing periods of this nation’s history. The decade marked huge economic growth following the end of World War II, a spiked population rate from the “baby boomers,” and the rise of new forms of technology and music. Rock n’ roll quickly became a well-received genre among the nation’s youth, and this was expedited by the new product known as television and also the “King” of hip-shaking and dance, Elvis Presley. Jazz, which had established itself as a cornerstone of American music, found it was taking a backseat both commercially and artistically against all the attention rock had been receiving.
However, because of Tony Bennett’s trip to Brazil in 1961, the brazilian-jazz genre of bossa nova was introduced to the United States. One of the musicians that became hooked on this type of music was Stan Getz, an American saxophonist. Bossa nova then found its way into the music scene, and after João Gilberto performed a concert in Carnegie Hall centered around bossa nova, a mutual friend introduced Gilberto and Getz to one another, and the album Getz/Gilberto was released in 1963.
What first attracted me to this album was a random jazz playlist I was listening to on Spotify. Through all the eclectic songs I heard, “The Girl from Ipanema” stood out to me as significant. I had listened to the famous song before, but this version of airy, Portuguese vocals immediately drew my attention. From there, I decided to listen to the album and had such a fun and relaxing time vibing with each song. My personal favorite track is “Corcovado (Quiet Night of Quiet Stars).” The song’s lyrics are quite short, simply referring to a quiet evening in which one can enjoy the sound of music while looking upon the beautiful mountain known as Corcovado. However, the melody and performance of the song are really astounding, and this song serves as one of my favorite jazz tunes of all time.
This album was also received critically well, as it won the Grammy for Album of the Year in 1965; the only jazz album to do so up to that point in history, and it maintained that status until 2008. Also, contrary to what was mentioned about jazz earlier, the JazzTimes released an article that stated it “served as proof that it is possible for music to be both artistically and commercially successful.” Getz/Gilberto definitely helped re-establish jazz into the population’s mindset, and it pushed the doors open for foreign influence in American music.
Editor’s note:Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
Today’s installment of Arachnophonia is by student worker Madeline (class of 2019) and features Léo Delibes’ comic ballet Coppélia. Thanks, Madeline!
Coppélia is a comic ballet about a woman who rescues her fiancé after he foolishly falls for a mad scientist’s life-like doll. Though the titular character, the true heroine of the ballet is not Coppélia but a village girl named Swanhilda. Unlike the well-known masterpieces Giselle or Swan Lake, the plot of Coppélia spares the audience a tragic romantic ending. As with most ballets, it has the typical elements of grace and technical beauty, however it also includes some unorthodox and interesting character reactions. Far from the docile fairytale princesses, Swanhilda pulls pranks others and (in this production) actually raises her fists to Coppélia when she thinks she’s being snubbed. It has a similar outlandishness to Don Quixote with the happily-ever-after of Sleeping Beauty. Much like Sleeping Beauty, the entire final act is the celebrated wedding between Swanhilda and her gullible fiancé Franz. It includes synchronized acts by the corps de ballet, flirtatious pas de deux of the main couple and other villagers, and two variations meant to showcase the artistic talents and athletic abilities of the heroine and hero.
This copy is the BBC recording of the 2000 Royal Opera House performance in London. The chorographer (Dame) Ninette de Valois, is considered one of Britain’s most influential figures of ballet, and founder of the Birmingham Royal Ballet. She has been referred to as the ‘godmother’ of English and Irish 20th century ballet. Ballets and operas are best seen live, as the sound carries better in the concert hall, and nothing can trump the excitement of seeing the performers in person. However, this film contains good auditory depth when played with a surround sound system. The two advantages of having a recorded copy is being able to rewind to your favorite parts and having a full view of the stage, except when the camera focuses on the duets and soloists. If you are a fan of ballet but (like me) hate sad endings, Coppélia has a funny storyline and talented cast of dancers and musicians.
Editor’s note:Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
When a person thinks of ABBA, they most likely envision a group of four Swedes with voluminous 70’s styled hair, dressed in spectacular costumes, dancing emphatically on stage, having the time of their lives. This is why I appreciate them so much – the energy, positivity, lightness and uplifting emotion the songs bring out in listeners are infectious and inspiring. It feels so good to belt out “Lay All Your Love On Me,” twirl around to “Honey, Honey,” and it is a well known fact that no one stays quiet when “Dancing Queen” comes on over the speakers. It’s no wonder they’ve stayed popular over so many years; the feelings that their songs evoke in listeners are timeless.
While the group isn’t planning on touring (in person) any time soon, there is word that a futuristic “hologram tour” (yes, you read that right) is set to debut in 2019 or 2020. All I know is that I have to be there…
Editor’s note:Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
Gilbert and Sullivan remain known over a hundred years after their deaths for their light comic operas which have been reproduced the world over. Of their fourteen operas, The Mikado is one of the most often performed. The Mikado is a love story, a political satire critiquing the British politics of the day, and like all of Gilbert and Sullivan’s operas, it’s a comedy.
The problem? The Mikado is set in a highly fictionalized version of Japan, a culture which at the time [Editor’s note: The Mikado was first produced in London in 1885] was not well understood by the British public. Traditional performances use costuming, makeup and stage presence in ways that today can be considered stereotyping and offensive, not to mention the fact that often, the singers performing in the opera are not of Asian descent. In the century following its original production, more and more attention fell on the problematic aspects of the opera.
This year, the music department at the University of Richmond is presenting the Tucker-Boatwright Festival in collaboration with Boatwright Library, which this year focuses on the representation of the “other” in music and the arts at large, titled “Beyond Exoticism“. An advertising poster for a course tied to the festival included this photo of a production of The Mikado, and the headline “so, what do we think of this?”
The Mikado raises a lot of tough questions about the proper place for historical musical and artistic works which today can be viewed as highly problematic or even offensive. I couldn’t possibly claim to have any of the answers. Luckily, Gilbert and Sullivan operas have a history of being open to modern interpretations, re-wordings, or re-settings, leaving the door open for future directors to present The Mikado as they see fit.
In the meantime, check out this audio recording from the D’Oyly Carte Opera Company, the original producers of many of Gilbert and Sullivan’s operas, at the Music Library, think about these hard questions, and come join this important discussion at the “Beyond Exoticism” events this year.
Editor’s note:Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
John Mayer, the egotistical, narcissistic, prodigious, reformed paradox of a musician is by far my favorite artist of all time. When people think of John Mayer, they typically think of him for one of two things: his iconic love songs or TMZ headlines articulating exactly how he broke Katy Perry’s/Taylor Swift’s/Kim Kardashian’s/Jennifer Anniston’s heart. Either way, I rarely see people appreciating his musical talent or his raw songwriting genius. There’s a reason Eric Clapton calls him a “master” guitarist. And for me, there’s no better example of this mastery than on his fifth studio album, Born and Raised.
You wouldn’t guess it at first, Mayer often speaks in interviews about how his favorite type of music to write is blues. You get hints of this on sprinkled across his other hit albums, but Born and Raised is his real tribute to this passion. From first looking at the album art, it becomes apparent that this is no ordinary album from hit-machine John. There’s no photo of Mayer trying to seem like he doesn’t know his picture is being taken, and no angsty black and white filter over the whole image. No, Born and Raised sports old-fashioned text intertwined with clockwork, adorned with phrases such as “Music by John Mayer” and “Stereo Recorded Sound.” No glitz or glam, no profile shots algorithmically calculated to get girls to pick up the tape. Just the title, and a little style to set the tone.
Now, the music. The tracks on this album are slow, gentle folk songs, with a Mayeresque vibe to them. It opens with “Queen of California,” as Mayer immediately flexes his technical muscles with a flowing, articulated, methodical guitar riff cover almost the entire length of the song. It almost sounds like “Why Georgia” at first, but the album’s themes sink in after a spell. A gentle, clean electric guitar accents the track with smooth bends which work alongside Mayer’s voice to keep you interested.
Another highlight of the album comes with the fifth track, “Something Like Olivia.” If you’re still questioning Mayer’s prowess on the guitar, just watch the music video on YouTube. The fact that he can keep this riff going effortlessly whilst singing is beyond me, and the studio version certainly displays his mastery well. The lyrics are repetitive yet meaningful, and the chorus is easy to sing along to. “Something Like Olivia” is about a girl, but it’s not a love song. It’s a jam.
Finally, we have the title track. “Born and Raised” is deservingly named after the album (or… vice versa?), as the simple chord progression leaves Mayer’s voice at the forefront. A harmonica finishes out each chorus in lieu of a guitar solo, an ode to the unique blues/country rock theme of this album. Lyrically, “Born and Raised” is a strong track, telling the story of how he feels that life has passed him by, and how he no longer feels like he has dreams to work towards: “I still have dreams, they’re not the same/They don’t fly as high as they used to/I saw my friend, he’s in my head/And he said, ‘You don’t remember me do you?’”
As a whole, Born and Raised is a break from Mayer’s routine, and it feels like the first album he made more for himself than for the public. It’s not a collection of hits, and it’s not a collection of his best guitar playing. It’s a collection of jams, and though he would continue his adventure into Americana with his next album, Paradise Valley, it was a testament to the kind of music Mayer wanted to make. If nothing else, it’s a collection of good songs, and an album I think everyone should listen to.
Editor’s note:Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
I’ve chosen to discuss the libretto for The Sound of Music. Growing up this movie, play, and its music were quintessential to my after-school evenings and my sister’s love for the music. She was Maria in our school’s production of this show which inspired my own love for the drama club years later. We would watch this movie over and over until we knew every word and could sing along perfectly. They are very happy memories that I share with my sister; and the rest of my family and I will always enjoy listening to and watching The Sound of Music no matter how many times we’ve done it before.
I love how some of the songs are so intricate and over-the-top (“The Lonely Goatherd”) and some are so sweetly written and simple (“My Favorite Things”). No matter which song from the show you’re playing, they are all different — no two sound the same. Some Broadway shows can be very repetitive and over the course of three hours song after song can become boring, but that was never the case for me with The Sound of Music. In addition, the talent that you need to sing some of the songs is amazing. That’s not to say anyone can’t sing along, but to sing them well requires some major pipes. My sister had this talent and seeing her perform our favorite show was one of the moments she truly knew that music and singing would be her life’s passion.
I think that watching, or even just listening to, The Sound of Music is a must for everyone, even if you’re not into musicals. The story line is so captivating and the music is beautiful. If you’ve never seen it before give it a try! If you’re feeling so inclined after, take out this book and learn some of the songs too!
Editor’s note:Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
When I was 12 years old, my mother took me to my first concert. My love for music had become exceedingly apparent to my parents, and they figured that 12 years old was an appropriate age to expose me to live music.
My mother is a huge classic rock fan, so growing up I was fed a strict diet of Fleetwood Mac, Rolling Stones, Beatles, and other such legendary bands. However, my favorite band growing up was The Allman Brothers. Gregg Allman’s lyrics and Duane Allman’s guitar (later Dickey Betts’ guitar) constantly played over our car’s sound system during rides short and long. They were coming to our area around my birthday, so my mother decided to get us tickets. Now, although the members were in their old age, and weren’t in their prime anymore, I still believe that to this day it was one of the best concerts I have ever been to.
The Allman Brothers Band circa 1971 – Butch Trucks, Gregg Allman, Berry Oakley, Jaimoe Johanson, & Dickey Betts (L-R)
I wish I had a recording of the night, but unfortunately they weren’t taping this particular concert. The Music Library, however, has The Allman Brothers Band at Fillmore East on CD. A CD that I believe my mother and I listen to quite frequently on trips. There’s nothing better than live music, and nothing better than The Allman Brothers live; I highly recommend listening to this particular recording because it ends with two of my absolute favorite Allman Brothers songs: “In Memory of Elizabeth Reed” and “Whipping Post.”
“In Memory of Elizabeth Reed” is the first instrumental track the Allman Brothers Band wrote. It was written by Dickey Betts who dedicated it to a woman with whom he had had an affair with after she had passed away. This woman was actually Boz Scaggs’ girlfriend, but Dickey changed the name to keep their tryst a secret. Fun fact: the woman is buried in the same graveyard where Duane Allman is buried, and Dickey frequently visited to pay his respects and to write songs. He lifted the name “Elizabeth Reed” from a tombstone near where he used to write.
“Whipping Post” is a hard-hitting, in your face rock song about the torment of being in love with a woman who doesn’t love you back, even when you bend over backwards for her. Its powerful lyrics and driving rhythm really foreshadowed the Allman Brothers’ future success, as “Whipping Post” was one of the first songs written by the band. The song itself is actually quite difficult to play because the track is written in 11/4. Gregg Allman, who didn’t know how to read sheet music at first, had to ask Duane how to count it because he thought the rhythm felt wrong (rightfully so).
Editor’s note:Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
“I expect you all know the sound of trumpets. And I expect most of you know about a trumpet player’s personality as well…”
The Young Person’s Guide to the Orchestra, composed by Benjamin Britten, is an educational piece of music that combines the second movement of the Abdelazer suite, “Rondeau,” with commentary by Eric Crozier describing the instruments within an orchestra. Originally commissioned for a British educational documentary titled Instruments of the Orchestra, this piece is unique for its use of a common theme throughout each instrumental section and the conductor’s description of each section aloud before they play the theme.
Not only does each section in the orchestra perform its own perception of the theme, every individual instrument is highlighted in multiple variations throughout the 17-minute piece. Variation C is led by the clarinets when the narrator states “clarinets are very agile. They make a beautifully smooth, mellow sound.” In accordance with the description, Variation C is played in a moderato tempo where the clarinets have many slurred sixteenth-note runs to emphasize their smooth sound. The piece continues to highlight each instrument individually and multiple sections in pairs until it culminates in a triumphant ending led by the piccolos and flutes. The brass begins to play in half time, 6/8, compared to the rest of the orchestra playing rapid eighth notes in a 3/4 pattern, creating a dynamic between fast and slow that ends the composition in a glorious fashion.
Portrait of British composer Benjamin Britten circa 1949
Editor’s note:Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.
This special edition of Arachnophonia features contributions from students in Dr. Joanna Love‘s MUS 235 class: “I Want My MTV: Music Video and the Transformation of the Music Industry.”
It’s 1984. Prince has just dominated the music industry with his iconic album, and equally iconic film of the same name Purple Rain. With a top-selling album and film under his belt, Prince has officially solidified himself within the music industry as a creative genius. After the immense success of the album, fans and critics anticipated and longed for his next album to match up sonically. However, Prince’s next album, Around the World in a Day, flopped in every regard – sales, expectations of fans, and ratings of critics. With the release of his next album, Parade, fans and critics still hoped for an album with the same sound as the iconic Purple Rain. Similarly to Around the World in a Day, the album did not have the same sound. While Parade, the source of my current analysis, did not flop in the same way that Around the World in a Day did, it was released to very mixed reviews.
Prince, born Prince Rogers Nelson in Minneapolis, Minnesota in 1958, made his initial rise to fame primarily as a rock, pop, and disco artist. Though Prince was always an unpredictable, wild artist, it came as a complete surprise to fans and critics when he practically changed his whole sound to a much more psychedelic sound on Around the World in a Day. Similarly to the previous album, Parade maintained facets of the 1960s British boy rock-band inspired neo-psychedelia genre with distorted vocals, instruments and synthesizer sounds on songs such as “I Wonder U.” However, this album was also very much Prince’s introduction of the exploration of a genre known as “Baroque pop.” An infusion of rock and classical music, Baroque pop is a form of rock with a much more orchestral sound, as opposed to heavy guitar riffs. With this genre, the focus is on layered harmonies, as well as dramatic, intense strings and horns. There are also, for the most part, subtle elements of funk on the entire album. With prominent bass guitar, and noticeable drums and synthesizers, Prince and his backing band The Revolution certainly incorporate funk along with the experimentation of Baroque pop. Written as the soundtrack for a black and white romantic drama film, and Prince’s directorial debut, Under the Cherry Moon, Parade has a quite equal mix of slow tempo, somber songs (i.e. “Under the Cherry Moon” and “Do U Lie?”), as well as more upbeat, heavily-textured songs (i.e. “New Position” and “Girls & Boys”). To this day, fans and critics discuss the album Parade with mixed reviews. However, what practically everyone agrees on is that the standout song, and one of the biggest songs of Prince’s nearly four-decade long career, was the iconic “Kiss.”
Arguably the most “funky”song on Parade, Prince’s “Kiss.”
Originating as a short, acoustic demo given to funk band Mazarati, “Kiss” almost did not make the cut for this Prince album. However, after the band reworked the song into a much funkier tune, Prince decided to take the song back for himself and include it on the album at the last minute. Because of this, it makes sense that, while listening to the album in its entirety, it may seem to the listener that this eventual lead single off of the album does not quite have the same sound as the rest of the songs that make up Parade. Though the rest of the album did have characteristics of funk, the seemingly “plucked” and distorted bassline and the prominent steady synthesizer-created percussion, along with Prince’s quite soulful and sensual vocals, give this song has a much more funk-inspired vibe. Known for being unconventional, Prince, throughout this song, shatters expectations of women to constantly be beautiful or “cool” to be attractive and appealing to him. Donned in slicked back hair, makeup, and heels, Prince shatters stereotypes and norms even more in the video as he sings the lyrics in a falsetto. Though the rest of the album did not receive Purple Rain-level critical acclaim, the single “Kiss” topped charts across the globe, holding the Number 1 spot on the U.S. Billboard Hot 100 Chart for two weeks. The song won the Grammy Award for Best R&B Performance by a Duo or Group with Vocals and has sold over 1,000,000 copies since its release in 1986.
When thinking about this album Parade, and its iconic single “Kiss,” it is interesting to think about the tensions that arose between the two main reactions to the album. While some think of it as a minimalist masterpiece and an interesting follow up to Purple Rain and Around the World in a Day, others view it as a disappointment and throwaway album in Prince’s lengthy discography. One question that one may consider is, what do the overwhelming number of negative reactions to this album say about artists, specifically Black artists, and changing their sound? Why is the music industry so restrictive to artists and so reluctant to accept changes in their music? For scholars who may be studying and analyzing questions like these, comparing this album and its reactions to the music and reactions of Purple Rain could lead to very interesting analysis. Also, with the extremely prominent facets of Baroque pop present on this album, those interested in studying the genre and its then, new, success in Europe could also use this album as a site of analysis. More related to my research of the shattering of gender and sexuality norms and stereotypes for Black artists in music, one could compare the lyrics of the song “Kiss” to its representations in the music video. Analyzing Parade and “Kiss” will certainly help me in my research, as they both give me insight into Prince’s views on gender and sexuality at the time, with the aural representations of his high-pitched voice, etc. in the music, as well as visual representations in music videos such as “Kiss.”
Though Prince and The Revolution’s album Parade still receives mixed reviews, it certainly provides multiple sites for analysis. I’m sure it will assist me in my research of gender and sexuality norms for Black artists in music, as well as numerous other topics of research for other scholars.
Today’s installment of Arachnophonia is by Music Library student worker, Jane (class of 2022) and features Citizen a CD box set by the 1970s rock band Steely Dan. Thanks, Jane!
It’s the summer of 2006, and you’re sitting in the back of a 15 year-old Subaru with the windows down and your whole family is harmonizing to the chorus of “Rose Darling” by Steely Dan. Or, at least, that’s what I was doing. My parents listened to that whole cornucopia of 70’s classic rock, so I grew up with artists like Crosby Stills & Nash, Joni Mitchell, and Paul Simon. I was always particularly drawn to Steely Dan, but I wouldn’t be able to explain why until I revisited their music in 2016.
Simply put, I’m a sucker for interesting harmonies, and no one does it better than Steely Dan. All of their songs highlight different instruments or musical motifs. For example, if you want a strong bass line, songs like “Rikki Don’t Lose that Number” and “Babylon Sisters” might suit your fancy. If you’re looking for a more melodic, wistful sound, check out “Everyone’s Gone to the Movies” (it has some great, unexpected xylophone chords) or “Doctor Wu”.
My favorite though, which I had never heard until after I moved to Richmond, is “Fire in the Hole”. It starts with a rhythmic and intense piano riff that makes way for sliding electric guitar and, of course, a chorus you’ll never get out of your head, sung by none other than Donald Fagen.
