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.
One of my favorite albums (and singers) is Norah Jones’ Come Away With Me.This might sound odd, but it’s what I most frequently listen to when cooking or baking — it’s the perfect rainy day music.
Her tone is so soft and sweet and her songs are very melodic. I love that intertwines jazz and blues because it’s hard to find that type of music now. Jones was a lot more popular in the early 2000s — I was first introduced to the album when my mom and dad would play it in our house when I was in elementary school.
She has lots of awards and has sold more than 50 million records worldwide. In the beginning of the 2000s Billboard deemed her the top jazz artist of the decade. She has won nine Grammys and writes her own songs as well as plays the piano.
Norah Jones at Bright Eyes at Town Hall 29 May 2007 (credit: Yaffa)
Come Away With Me is the album that kick started her career and launched many of her songs into popularity. The album is a fusion of jazz with country, blues, folk and pop. It was certified diamond, meaning that it sold over 27 million copies. This album alone was enough to win Jones five Grammys, including Album of the Year and Best New Artist. My personal favorite songs from the album are “Don’t Know Why” and “Shoot the Moon,” but all of the songs are so unique and enjoyable in their own way. I tend to listen to a lot of mainstream pop because it’s always on everywhere and I want to stay up-to-date on all the trending music, however, this is a nice change of pace from that. I think it’s important to listen to a wide range of artists and music, and Norah Jones is the kind of singer that I believe almost everyone would like.
Some other singers that mirror her musical vibe are Diana Krall, Corinne Bailey Rey, Alicia Keys, Adele, and Duffy. I’d say her style is a bit more laid back and the songs aren’t as fit for blasting on the radio, but her songs are written about similar themes and use little auto-tuning or electronics.
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.
With the 92nd Academy Awards freshly behind us, I’ve been thinking about my favorite film soundtracks. For me, a driving factor of what makes a movie memorable or great is its music –either score, soundtrack, or both. I love when I hear a song that I recognize during a scene, which I can dance or sing along to in my seat. On the other hand, I also love when movies introduce me to music. The only reason I loved the songs “Hungry Eyes” and “Be My Baby” so much as a kid was because of the movie Dirty Dancing.
My parents showed me Dirty Dancing at a young age, probably because I was a dancer whose first childhood dream was to be a Broadway star, and it instantly became one of my favorite movies. The soundtrack, which features songs spanning multiple decades, made an already wholesome and fun movie even more enjoyable. Even as a child, I could feel the nostalgia that it portrayed, as it features 50’s and 60’s pop hits like “Love is Strange” and “Stay” that instantly transport the viewer to a summer in 1963. Naturally, a distinctly 80s sound is also incorporated in songs like “She’s Like the Wind” sung by lead actor Patrick Swayze himself, a man of apparently many talents. And of course, many of these songs are used in dance scenes, following Baby and Johnny’s journey from frustrating rehearsals to final performance.
There are many iconic movie scenes that will be forever associated with their respective songs, or vice versa. Think: “(Don’t You) Forget About Me” with Judd Nelson’s fist in the air at the end of The Breakfast Club, or “Girl You’ll Be a Woman Soon” in Uma Thurman’s apartment in Pulp Fiction. But undoubtedly one of the most commonly known and referenced music/movie scene pairings is “(I’ve Had) The Time Of My Life” from the final dance scene in Dirty Dancing –with extra emphasis on the achievement of Baby’s lift that happens right as the song climaxes. This is the kind of flawless, emotional moment that makes the right fusion of a scene and a song selection one of my favorite aspects of film. It’s also one of the many moments that made the Dirty Dancing soundtrack go multi-platinum.
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 Lauren (class of 2023) and features Back To Black, the second and final studio album by English singer-songwriter Amy Winehouse. Thanks, Lauren!
Back to Black by Amy Winehouse is one of the most influential albums of all time that served to inspire the next wave of female artists such as Adele and Florence and the Machine. Amy Winehouse was an English singer with a uniquely soulful and expressive vocal repertoire. Her music is reminiscent of blues, jazz, and soul by conveying a deep and emotional mood. Not only was her music so revolutionary for its new sound, but it was also reflective of her life and personal struggles. The song “Rehab” featured on the album reflects on the protagonist’s desire to avoid going to rehab for alcohol abuse, unfortunately foreshadowing the singer’s demise. This album may be used for research in order to understand more about Winehouse’s personal emotions, or to learn how she influenced later female artists.
Personally, Amy Winehouse has been someone I’ve admired for her empowering songs and unique character. Even though she has since passed, she remains an iconic musical artist, whose music will be remembered forever. When I listen to Back to Black, I am immediately transported into another time-period and empowered by my femininity.
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.
The Red Hot Chili Peppers are the most successful alternative rock group of all time. Typically, you’d expect a band to reduce themselves to the lowest common denominator to find success en masse, but the Peppers managed to climb to the top while staying as perfectly weird and beautifully musical as ever. The key behind their success, of course, lies with the band members — and though their lineup has changed a handful of times over the years, there’s no doubt about the definitive Chili Peppers crew. Anthony Kiedis and Flea have been there since the beginning as the lifeblood of the group. Kiedis acts as both the face and voice of the group, and though neither his singing nor his lyricism has ever left me in awe, he remains consistent and passionate in every performance he gives. Flea, of course, is one of the best bassists of all time, and is allowed by the band to shine more so than in almost any other group. Chad Smith, as the definitive drummer, acts as the backbone of the group—and famously resembles Will Ferrell.
LOS ANGELES, CA – NOVEMBER 04: (L-R) Recording artists Flea, Anthony Kiedis and Chad Smith of the Red Hot Chili Peppers attend a signing for their book “The Red Hot Chili Peppers” at Barnes & Noble at The Grove on November 4, 2010 in Los Angeles, California. (Photo by David Livingston/Getty Images)
And then, as the final member of the definitive loadout, there’s John Frusciante. Over the years, Frusciante came and left the group due to bouts with drug addiction and mental illness, eventually parting with the band for good in 2009. To an onlooker, he looks just like any other skilled guitarist, but to the Chili Peppers, he was the brains. His talents as a songwriter were unparalleled in the group, and he excelled at writing songs that succeeded in three parts: they allowed everyone in the group to shine, they appealed to a massive audience, and they sounded uniquely phenomenal. While he wrote many incredible songs during his tenure with the band, there is no better example than his final album with the Peppers: Stadium Arcadium.
The Chili Peppers circa 2006 – L-R John Frusciante, Chad Smith, Anthony Kiedis, and Flea
In many ways, Stadium Arcadium is the group’s magnum opus. It’s their longest record, with an astonishing 28 tracks and over 2 hours of run time — but has enough raw content to keep you hooked throughout. It was their first album to debut at number one, marking the group officially as the behemoth they had become. And finally, it brought the band back in touch with their funk roots, combining with their newfound mastery of rock to create, in my opinion, their best work. Across the record, the band stays strong but varied. We ease into things with a song that would top the rock charts for weeks and pick up 2 Grammys along the way: “Dani California.” It’s a very on-brand song for the group—a nice, groovy start with Flea and Frusciante battling for the melody, Smith keeping things moving with a punchy beat, and Kiedis practically rapping over the other members. Finally, Kiedis breaks into song, moving into a grungy, distorted chorus. The appeal of RHCP can be seen perfectly here. You only need to hear the chorus once, and you’ll happily be singing along—the words are simple, yet carry a certain amount of emotion and edginess. For teen America, it was a perfect recipe for success. Finally, late in the song, you hear the first of many Frusciante solos — an aspect unique to Stadium Arcadium. Of course, he performed solos in other songs, but the solos on Stadium Arcadium were completely improvised. He doesn’t sacrifice an ounce of quality, but this fact brings another raw layer of authenticity to the album.
They don’t pull any punches with the second track, either. “Snow (Hey Oh)” was the first RHCP song I heard, and is likely the most iconic in my mind to this day. It’s light, intricate, sonically beautiful, and an absolute pain to play on guitar. The rest of the 1st disk (named Jupiter —something Spotify won’t tell you) flows back and forth from funk to finesse, before finally landing on “Wet Sand” and “Hey,” two songs that pull back from the fun, upbeat pace and end things on a somber note. “Wet Sand” dives into the difficulty of loving the dark side of a person jointly with the good, ending finally with a repetitive bridge that provides an analogy to being unable to rely on your loved ones during times of struggle, having to, instead, find strength within. “Hey” is almost the continuation of “Wet Sand,” as it talks of the difficulty—but necessity—of breakups. This eloquent end to an otherwise happy disk serves as a cliffhanger, leaving you ready to jump into the second side — Mars.
The album immediately continues in a somber fashion, with the classic Frusciante anthem “Desecration Smile.” One of my favorite techniques that Frusciante employs (as a guitarist myself) is at the forefront in this song, just as with my favorite Chili Peppers song: “I Could Have Lied” (sadly, not on this album). He combines the acoustic verse with an electric chorus, bringing the song to a crescendo when it most needs it, then calmly returning to a low key verse that juxtaposes the chorus without skipping a beat. The rest of the “Mars” side continues in a similar fashion as “Jupiter,” crescendoing into a funky midsection, but with a much more laid back and melodic aesthetic. It’s almost as if the band wants you to sing and dance your heart out on Jupiter, then collapse and just enjoy the more articulate words and melodies of Mars.
Mars ends beautifully with their first homage to the space theme (though not represented lyrically), “Death of a Martian.” Martian was Flea’s dog, one that the group became infatuated with during practices at Flea’s house. The meaning of the song was a happy surprise to Flea, who remarks on it during the CD commentary. Finally, Kiedis ends with a chanting spoken word—apparently a poem he took a particular liking to. As a message, the final track delivers little, but it’s a perfectly “RHCP” song: one that celebrates both their goofiness and empathy. The Red Hot Chili Peppers are a goofy rock band. But, as perfectly demonstrated on Stadium Arcadium, they are extremely competent at both music and songwriting. They can break out into a distorted, rocky fanfare, and they can wallow in funky baselines, but they have a complex past, but individually and united. On Stadium Arcadium, they pay tribute to both sides. For a farewell album, Frusciante couldn’t have picked better—and the heart he put into the record is at a perfect forefront. It marks the end of an era, but it does so with finesse.
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 original studio album, released by the Lumineers back in 2012, remains one of my favorite albums of all times. While “Ho Hey” might have been the most popular song to reach national radio stations and launch the Lumineers’ career, some of the more subtle songs on this track are ones that I listen to on repeat while taking a walk, studying for a test, or falling asleep. In particular, “Dead Sea” and “Slow it Down” are two songs that I have fond memories of singing to in the car as I drove around my suburban town with my mom back in high school. The songs off this album provide unique narratives, yet are open enough to allow for personal application and interpretation of lyrics and melodies.
The Lumineers have an extremely unique sound in my opinion. Wesley Schultz and Jeremiah Fraites, the two songwriters of the group, craft beautiful lyrics that are both relatable and mysterious, harkening back to a bye-gone era of simpler times. Violinist Lauren Jacobson, pianist Stelth Ulvang, bassist/backing vocalist Byron Isaacs, multi-instrumentalist Brandon Miller and cellist/vocalist Neyla Pekarek all add to the complex layering and strong beats backing each song.
Since the initial release of The Lumineers album in 2012, the Lumineers have released two studio albums. In 2016, they released Cleopatra which went platinum. Then, on September 13th, the Lumineers released their third full-length album titled III. The band began their international tour on November 6th in Munich, and will begin the North American portion of their tour in Chicago on December 7th. If you are interested in catching one of their concerts near Richmond, you can see them perform in Charlottesville on February 16, 2020 or in Washington DC on February 28, 2020.
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.
The Black Keys have always been one of those bands where I couldn’t name a single one of their songs off the top of my head, yet I know all the words to nearly every one I hear. Looking back, they very well could’ve been considered my favorite band for how often I listened to their music and how much I liked it.
I can’t say exactly why I never committed titles to memory; it certainly wasn’t because they were forgettable songs. Rather, I think it was the sheer fact that, at the height of their popularity, their music was so genre-defining and omnipresent that I only needed to hum the melody or say a few lines from the chorus, and anyone would know what song I was referring to. Take the song “Tighten Up” for instance. If you don’t recognize it from the title, listen to the first few bars of the track and wait for the instant hit of nostalgia.
The group consists of two friends from Akron, Ohio: Dan Auerbach on guitar and vocals and Patrick Carney on drums. They started the band in 2001, and like all good grassroots garage bands, dropped out of college to pursue their bluesy-rock sound and slowly built an underground fan base through extensive touring, frequent album releases, and music festival appearances until their commercial breakthrough in 2010. This album, Brothers, catapulted them from garage indie band to one of the most popular and famous bands in their genre and winning them three Grammy Awards in the process.
For me, they defined a pivotal era in my music history. Being a child who grew up on her dad’s CD collection of alternative rock albums from the 70s and 80s, The Black Keys were one of the first bands that I discovered all on my own and shaped what I would listen to from then on. They drove me to find other music like theirs: the type of music that couldn’t have been written at any other time, yet still feels timeless.
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 Gabi (class of 2020) and features Frank Ocean’s 2012 debut album Channel Orange. Thanks, Gabi!
Pitchfork recently released one of their most famous lists, “The 200 Best Albums of the 2010’s.” Although these kinds of lists and rankings are subjective, and can even be controversial at times, they open up conversations about the cultural relevance of albums, and how they may shape and define a generation. While several artists appear multiple times throughout the list, the only artist with two albums to appear in the top 10 of Pitchfork’s list is Frank Ocean. Ocean scored the number one spot with his most recent full-length album, Blond (2016), and the number 10 spot with Channel Orange (2012). As Ocean has seen additional media coverage lately for hinting at new music releases coming soon, and opening an ongoing queer nightclub event in New York City, I wanted to revisit his first release, Channel Orange, available in the Parsons Music Library.
Channel Orange was Ocean’s debut album, and his firm establishment as one of the most prominent figures in the R&B genre. Days prior to its release, Ocean posted a note on tumblr revealing that stories told through the songs on his album were about a boy, and took public ownership of his sexuality in a manner that also established him as a queer icon in the music world. The rawness and personal tone of the tumblr note is reflected in the tone of the album itself. After the album’s intro, “Start”, its first full-length song is “Thinkin ‘Bout You,” Ocean’s most famous single to date. This song evokes the emotions of longing for someone, and a lingering, unrequited love, in a simple way. Ocean sings that he’s “lyin down” thinking about this person, and creates a relatable image for the listener, who’s probably been there before. My best friend says that this song reminds her of Christmas-time, and sounds how winter weather feels.
My two other favorite songs on this album are “Super Rich Kids” and “Pyramids“. “Super Rich Kids” evokes a sense of nostalgia for me, as it reminds me the type of culture that surrounded me at a private high school in a big city growing up, and that continues to surround me at a private university. Ocean talks of materialism, and how it can cloud real emotion and “real love,” and lack of parental supervision for coming of age children that leads them to live dangerous lifestyles. As I came of age, I watched certain people around me live this kind of life, and in a strange way, this song reminds me of home. “Pyramids” is an epic standout as it is the longest song on the album, coming in at 9 minutes and 52 seconds. In this song, that can work well as a casual listen or a dance-floor hit with its electronic breakdown, Ocean uses ancient Egyptian imagery and figures like Cleopatra to depict the view of black women throughout history. As they were once appreciated as African queens, they are now objectified by pimps, which is the point of view Ocean takes on the second half of the song. The second half of the song drastically juxtaposes the first, being more rhythmic and hip-hop-esque, which reflects the pimp character’s attitude that Ocean is portraying. To me, this song is to Channel Orange as “Nights” is to Blond; a personal favorite with dynamic mid-point switches that take the listener by surprise and keep them interested the entire way through. Channel Orange remains a modern classic even 8 years after its release.
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’m fascinated by the vocal talent of musicians and for some reason, I discover a lot of artists that I enjoy through listening to covers of their songs by a cappella groups on YouTube. I had no idea who George Ezra was until I listened to the Trinitones perform a mash-up of “Barcelona,” “Budapest” and “Paradise” over a year ago. The all-male group surprised me with their impressive talent, but also with the arrangement of the songs. I was familiar with the song “Budapest” because it had been playing on radio stations at the time, but the artist behind the song had escaped my familiarity. After listening to Wanted on Voyage however, George Ezra has become a frequent artist on my Spotify playlists.
Wanted on Voyage is Ezra’s debut album released in the UK in 2014. He had first been discovered by Columbia Records in 2012 from his videos on YouTube performing his own original songs. After being contracted to work for Columbia Records, Ezra found inspiration for his album in 2013 when he traveled by train across Europe, writing about the places he visited and the people he met. From this collection of memories, Ezra sat down and penned the songs for the album, immortalizing his journey.
The album gained many positive reviews on release, attributing the success to the relatively simple composition of the songs that are dramatically enhanced by Ezra’s ability to sing. A vital characteristic to Ezra’s music is his voice, which is naturally lower than many popular artists. The pitch of his voice adds flavor to his songs that make it appear as if these songs only fit the register that Ezra is able to perform in. Some highlights of the album for me are “Budapest” and “Barcelona,” which is not a surprise considering these are the songs that led me to George Ezra’s music. The mix between Ezra’s incredible voice and the instrumentation and production on both tracks really drives home the idea of why I enjoy his music so much. Another track I enjoy is “Did You Hear The Rain?” which was released as the first single from the album.
Wanted on Voyage is a fantastic album that does not try to create complicated music. The purity of the instrumentation and vocals shine through on every track. George Ezra actually filmed a Mahogany Session video for “Budapest,” which is a video series that allows artists to acoustically perform some of their most famous songs for the world to gain a more intimate view of the artist. This particular video is great, because I honestly cannot tell the difference in the quality of Ezra’s singing between the video and the recorded song from the album. Wanted on Voyage truly shines as Ezra’s first step into the musical world and it manifested a popularity around him that still holds true to this day.
![David Lee [CC BY-SA 2.0 (https://creativecommons.org/licenses/by-sa/2.0)]](https://i0.wp.com/blog.richmond.edu/parsons/files/2019/12/The_Lumineers_2013.jpg?resize=584%2C438)
