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.
Vampire Weekend’s most recent, ableit already five years old, album entitled Modern Vampires of the City takes a leap away from the band’s quirky, Africa-inspired rhythmic playfulness. The album feels more emotionally powerful than the band’s previous work, but it hasn’t completely abandoned the playfulness that may have been the key draw to past listeners. Songs like “Step” and “Don’t Lie” both fit into more mainstream-sounding emotional pop tunes, while the band rekindles old sounds with new twists in “Diane Young”, “Worship You”, and “Unbelievers.”
2013 promotional photo of the band members L-R Ezra Koenig, Rostam Batmanglij, Chris Baio, and Chris Tomson
Deeper cuts into the album get into some of the songs which bring out the band’s famous unique sounds even more. Each song on this 12-track album is worth a listen, as each one provides a brand new experience for the listener. I come back to it time and time again because each time I listen to it, I end up interpreting stanzas or choruses or the entire song in a different way. Whether you want rhythmic, wild, and carefree or if you are looking for something to listen to as a break from studying, this may be your ticket.
For some strange reason, ever since I was a child I was drawn to classical music. It wasn’t forced on me by my parents through piano lessons or anything similar – in fact, my dad used to, and occasionally still does bemoan my lack of interest in his “oldies” (considering mine are centuries older, I question the use of this term) and acoustic singer-songwriter favorites. A memorable (and embarrassing) moment when I was entering sixth grade illustrates this complete disconnect from reality and a lack of common sense – I asked the 20-something DJ at the 6th grade ice-cream social/dance party to “please play some Mozart so I could hear myself think.” Yes, this actually happened, and no, it did not go over very well (clearly). I’ve grown somewhat over the years; my Spotify account tells me that in 2017, Sia’s “Chandelier” edged out the “Dies Irae” from Mozart’s Requiem, coming in at 46 and 47 most commonly played, respectively, but there’s still something about a good “Kyrie” or a sumptuous aria or an intriguing overture that synthesizers just can’t match.
In recent months, I’ve been listening to the Brahms Requiem more than any other album or song (I fully expect to find each movement on Spotify’s analysis of my 2018 habits). I walk across campus humming the key motives and it plays on my speakers as I do my hair or study for an exam. I’m sad to say I hadn’t discovered this piece before this year. The reason for this sudden infatuation? This piece will be the first I will perform as a member of the Richmond Symphony Chorus, with performances in the middle of November. From the night of the first rehearsal – a complete read through of the piece – cover to cover – in August, I was hooked.
Unlike the typical Latin text of the classical requiem, Brahms wrote entirely in German, and as such was free to abandon the standard movements and sections dictated by the traditional text. While I might bemoan the loss of a Brahmsian rendition of the “Dies Irae,” this gave him the ability to craft a framework of his own. My personal favorite moment of the Brahms is the second, though after a particularly intense rehearsal on the sixth I was about ready to shift my allegiances. I’m still loyal to the second though, for the reason of a specific 20 second section occurring at 9:34 – 9:54 of the second track of this recording. This moment, for me, captures the glorious beauty of wonderful music that truly stands the test of time, and let’s be honest, that soprano part is just so fun to sing!
Today’s installment of Arachnophonia is by Music Library student worker, Cole (class of 2021) and features U2’s album All That You Can’t Leave Behind. Thanks, Cole!
U2’s 10th studio album All That You Can’t Leave Behind was released on October 30th, 2000. It is their fourth-highest selling album, with over 12 million copies sold.
“Let’s be frank.” I feel like any discussion regarding U2 in 2018 has to, for whatever reason, be prefaced by those three words. The fabled Irish rock band present a somewhat curious case in the canon of The Great Rock And Roll acts; few bands achieved such a breadth of critical and commercial success without famously disbanding (see: The Beatles, The Smiths, and, to a lesser extent, Pink Floyd.) or cycling through members to the point of near-unrecognition (The Rolling Stones). No, U2 are still here, still plucking away through a slew of pedal effects. From Boy (1980) to Songs of Experience (2017), co-founders Bono, The Edge, Adam Clayton, and Larry Mullen Jr. have experienced everything that a modern musical career could promise. Eight number one albums in the United States. 22 Grammy awards (more than any other group). A PR misstep that has forever associated their name with “how do I get this off of my iPhone?” Induction into the Rock and Roll Hall of Fame. Multiple collaborations with Kendrick Lamar that can at best be described as “uncomfortable.” The Dublin boys have done it all.
So, let’s be frank: the U2 of today is not the U2 of How to Dismantle an Atomic Bomb, just as that U2 isn’t the U2 of Achtung Baby, just as that U2… etc., etc., ad nauseam. Nor should they be. A discography spanning such a great length ought to be varied, especially if the band in question is as experimental and flippant with their sound as U2. For this reason, I chose to write about their tenth studio album.
All That You Can’t Leave Behind constitutes the best of U2’s ever-changing sound. After a mixed reception to their industrial and electronic dance-inspired efforts of the ‘90s (Zooropa and Pop), the group set out to record a ‘return to form.’ Melding the electronic drums of the group’s Pop-era sound with the Edge’s signature effect-driven guitar playing, more reminiscent of The Joshua Tree than ever, the lead single “Beautiful Day” proved an instant success, charting at #1 in the U.K, the Netherlands, and Australia, and #21 in the U.S. In keeping with their tradition of social conscience, the fourth and final single, “Walk On” was inspired by and dedicated to Burmese democratic activist Aung San Suu Kyi, who was at the time placed under house arrest. “Walk On” is widely regarded as U2’s greatest ode to hope, due to both the instrumentation, centered on one of the Edge’s most gratifying riffs, and the heartening lyrics:
Walk on, walk on
What you got they can’t steal it
No they can’t even feel it
Walk on, walk on…
Stay safe tonight
All That You Can’t Leave Behind is the album that forced U2 into the very core of my musical tastes. I fully accept that The Joshua Tree is the band’s best output (and indeed, one of the greatest rock records ever), but there’s an elusive quality to this one that demands it be at the forefront in my mind. Maybe it’s just because it happened to be one of the three U2 albums forever interred in the CD player of my dad’s Oldsmobile. I’d be lying if I said I didn’t enjoy the 50 minute nostalgia injection it provides. Or maybe it’s because not a great many albums are so blatantly and unabashedly a product of the moment they were created in. From the millennium-era instrumentation and lyrical inspiration, to the life the songs took post-release, All That You Can’t Leave Behind is the musical embodiment of how Bono & co. saw the world in 2000. Even for the majority of people who didn’t grow up hearing snippets of this album every time that got in their family’s car, I think we can all appreciate the power of an album that can transport us, if only for a short while, to its moment.
Last semester, I had the chance to attend a Bon Iver concert, after being an avid fan of the band for more than six years. The concert exceeded my expectations. Since the concert, I have frequently listened to Bon Iver’s second studio album, cleverly titled Bon Iver. This album is a departure from the band’s first album, which was self-recorded in an isolated cabin in the woods of Wisconsin. Bon Iver won the Grammy for Best Alternative Music Album in 2012, and the song “Holocene” was nominated for both Song of the Year and Record of the Year, breaking into the alternative music scene in a bold and recognizable way. My favorite song on this album is, by far, “Holocene.” The name of the song is shared with geological epoch which translates to “The Age of Man.” The album also features titles of tracks with names of places, such as Hinnom, TX and Lisbon, OH, which seem to have little to do with the songs themselves. The experience of listening to this album from start to finish is difficult to describe in words, yet it brings about an intense emotional response, allowing listeners to question their own human condition in this “Holocene” we are currently living in.
One of The Smiths’ most well-known albums, The Queen is Dead, is the quintessential album for anyone looking to get into this quirky indie rock band. The album, released in 1986 and re-released as a collector’s edition in 2017, has been unanimously praised, and even considered the “greatest album of all time” by major British music publication NME. The lyrics, sung by the famous now-solo Morrissey, are filled with clever imagery and sharp social commentary. Track 9, “There Is A Light That Never Goes Out,” was featured in the classic rom-com 500 Days of Summer and remains one of the most famous Smiths songs. This album is full of songs that take a few listens to really absorb all of the witty lyric details that often hint at social unrest, emotional struggles, and even anarchy. For someone looking to indulge in some of the best vintage fight-the-power music with hints of satire, this album is definitely worth the listen.
On what would have been David Bowie’s 71st birthday, an HBO original documentary titled, David Bowie: The Last Five Years premiered on the channel. The film explores the end of Bowie’s career, ranging from his last ever live performance in 2004, to the release of his final album, Blackstar, and corresponding music videos. The film revealed a new side of Bowie to me, and as a longtime fan, I was intrigued by the processes behind his later work, which he kept so concealed from the public–until now. It has inspired me to write about Bowie’s final album, his swan song, Blackstar.
Blackstar came out when I was a senior in high school. I had listened to Bowie’s complete discography throughout my teenage years and was caught by surprise when he released a full-length album in 2016. Upon first listen, the album is very unique compared to his others, which says a great deal considering every one of Bowie’s albums represents a different stylistic era of Bowie. The album is concise, featuring only 7 tracks and a running time of 41 minutes. A new influence of jazz is also noticeable throughout the record, especially on track 4: “Sue (Or In a Season of Crime)“. This track featured collaborators like Maria Schneider, a notable jazz musician and composer. Bowie even cited Kendrick Lamar‘s To Pimp a Butterfly, an album that fuses hip-hop and jazz, as an inspiration for this choice.
This jazz influence overtakes that of rock’n’roll, which many would associate as Bowie’s main style. There is also something distinctly darker and ominous in the sound of Bowie’s voice on this album as compared to others. This, paired with the mix of new, experimental styles, made the listen of Blackstar a unique one for a Bowie fan. What would he do next? Did Blackstar mark a definite new era in Bowie’s sonic exploration?
Two days after the album’s release, before having much time to process or interpret this new sound, David Bowie passed away from liver cancer. The world was heartbroken, as the disease had been kept a secret from the public since its inception. It was not until his passing, however, that the public uncovered the true genius behind Blackstar: it is encrypted with secret messages that allude to Bowie’s death.
“Something happened on the day he died
Spirit rose a metre then stepped aside
Somebody else took his place, and bravely cried
(I’m a blackstar, I’m a blackstar)”
Throughout his career, Bowie sung about space in a myriad of ways. On the song “Star”, from his 1973 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, he calls himself a rock n roll star, but now, he has faded to black. In the music video for Blackstar, we even see a nod to Major Tom himself in the opening shot, as a man in a space suit looks up at a gigantic, black star.
“Look up here, I’m in heaven
I’ve got scars that can’t be seen
I’ve got drama, can’t be stolen
Everybody knows me now”
Here, Bowie is literally calling to his listeners from the afterlife, reflecting on his time as a public figure. The corresponding music video features Bowie lying tensely in a hospital bed, and eventually he is dragged into a dark closet, almost like he was dragged away from life into death.
Tony Visconti, longtime producer, collaborator, and friend of Bowie, said that this album was Bowie’s “parting gift” to his fans. Two years after his death, the gift still resonates, and the musical risks he took throughout the project are reminders that even in his weakest days, Bowie was an innovator, and will always be remembered as one.
Amy Winehouse is famed for her distinctive voice and mastery of jazz, rhythm and blues, and soul, and the English singer-songwriter’s second album Back to Black reflects the impressive vocals and originality that brought her to fame. The album was released in 2006 and earned Winehouse five Grammy Awards, the 2007 Best British Female Artist Brit Award, and world-wide recognition.
Winehouse on the cover of Rolling Stone Magazine, June 2007
Yet in many ways, Back to Black reflects the unhappy circumstances that surrounded Winehouse’s life and led to her untimely death at the age of 27. For example, songs such as “Back to Black” and “Rehab” reveal themes of depression and substance addiction struggles, while “Love is a Losing Game” speaks to the toxic nature of Winehouse’s romantic relationships. Still, darker elements of the album are balanced by upbeat tracks, and song such as “Tears Dry On Their Own” provide a refreshing message of self-confidence and perspective. If viewed through the lens of Amy Winehouse’s life, the honesty and rawness of Back to Black is moving, yet tracks also stand on their own for listener interpretation. In this way, Back to Black can be heard as a musical feat, tribute to Winehouse and medium for artistic contemplation.
