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.
Although my parents definitely read the book to me previously,my first tangible memory of The Polar Express was in first grade when my class had “Polar Express Day.” On that day we came to school in our pajamas, drank hot chocolate, and watched The Polar Express. As a result, I have always had a certain fondness for the movie.
In 2017, I played “The Polar Express Suite” with my youth orchestra as a part of our annual Christmas concert. Even with our packed program, “The Polar Express Suite” still stuck out as one of my absolute favorites. The suite highlights the main themes from the polar express soundtrack and creates the same majestic feeling the songs have in the movie. The suite is often overlooked but I find it to be just as much of a holiday classic as the movie itself.
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.
Franz Ferdinand are a Scottish Rock Band founded in Glasgow who’ve achieved worldwide success throughout the past decade and a half making post-punk revival music. Franz Ferdinand’s best work struck the world in their first ever album, you guessed it… Franz Ferdinand. Released on February 9th, 2004, the album launched Franz Ferdinand to international fame with over a million copies sold in both the United Kingdom and the United States and received a Grammy nomination for best Alternative Album in 2004.
The album has a quiet start with the soft intro of the first song on the album, “Jacqueline”, before the band explodes showcasing their eccentric talent. The album is rooted by its hit classics such as “Take Me Out” and “Michael” which blend the perfect combination of dance-rock rhythms and light pop hooks. Songs like “The Dark of the Matinee” and “Darts of Pleasure” surround your ears with a dark and soothing rhythm but almost juvenile lyrics which keep the bittersweet taste of the whole album. My personal favorite song “Auf Achse” appears melancholy at first glance but features a powerful background of instrumental talent that moves you along as if you’re feeling their world around you.
If you’re into any form of indie / alternative rock music and you’re feeling nostalgic for the early zips, this is the album for you. Even if you’ve already listened to it on repeat the past week like I have.
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.
This is Lou Reed, Metal Machine Trio: The Creation of the Universe. Originally published in 2015 by the Cranbrook Art Museum, the collection contains essays on Lou Reed’s double album, Metal Machine Music as well as photos and reproductions of archival material. When Metal Machine Music was released in 1975, the overwhelming response to the album was that it was one of the worst albums ever made. In fact, many fans returned their copies of the album under the assumption that they had purchased a faulty copy, according to Christopher Scoates. Lou Reed said it had the “highest level of returns of any record ever released.”
Before Metal Music Machine, Reed’s reputation as a solo artist wasn’t great. His best work was with the Velvet Underground under the management of Andy Warhol. The group disbanded in the early seventies because of conflicts within, mostly caused by Reed, it seems. Though Reed could be dear, the subject matter of his work was always provocative, dealing heavily with drug abuse, sex and sexuality and violence. There is a certain nihilism about Reed’s work and persona that help make sense out of Metal Music Machine, but it was unlike anything else he produced and the state of mind it operated under wasn’t clear at the time. Rolling Stone journalist Anthony Decurtis said in his 2017 biography of Reed that Metal Music Machine is a “hymn to speed”, so it’s widely assumed Reed recorded the album during a methamphetamine binge, but certainly more went into it than that. In Socates essay it’s clear that Reed was obsessed with avant-garde and experimental composers, so it wasn’t as unexpected as it seemed.
In an interview, Reed said that he partly intended for the album to repel “all those f—king a—holes” who only wanted to hear his biggest hits like “Walk on the Wild Side” and hits he wrote with the Velvet Underground. It’s a giant “F—k you,'” wrote music critic Lester Bangs, and endures more as a statement than a good album — a statement to everyone and everything conventional, that is. Critics questioned if even Reed’s most devoted fans would follow him through the more than an hour long album of experimental guitar feedback and distortion, loops of high-pitched screeches and squeals and the occasional, distant melody behind the wall of noise. He recorded it alone in his Manhattan loft with a couple guitars and amps.
It’s really no wonder the music library doesn’t have a copy of Metal Machine Music. Most people don’t listen to the entire thing, they just fast forward to see if it becomes bearable, which it doesn’t, really. But what’s fascinating to me about the album is the acclaim is has received in the decades since its release and the influence attributed to it. The Creation of the Universe exhibit catalog recognizes this influence and helps the listener make meaning where there seemingly is none. Accompanying the essays are photographs and explanations of Reed’s notes from the album’s production, as well as photographs from concerts of Lou Reed and the Metal Machine Trio performing Metal Machine 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 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.
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.
At the end of the day, as I leave my shift and head off back to my dorm, I’m on my own. By myself, I have time to decompress and utilize that time to think about everything that is happening in my life. Most days, my thoughts are filled with happiness and satisfaction with the day’s events. Other days, my thoughts are foggy, due to the fatigue caused by the emotionally and mentally draining events of the day. Turning right outside of the Modlin Center for the Arts, I traverse back to my castle on the cloud, Lora Robins court. Once I arrive, I slump into my bed as I dream a dream.
As if it was not evident enough, certain phrases such as “on my own,” “in my life,” “turning,” “castle on the cloud,” and “I dream (ed) a dream” all contain one commonality; they are all wonderful masterpieces in the Broadway musical, Les Miserables. So, it is no question to assume that I was absolutely awestruck when I saw the Les Miserables piano/vocal score on the shelf. After years of looking, I had finally found the book that I had searched for all this time.
What makes this specific piece of music so compelling and important to me?
Les Miserables opened me to the world of theatre, Broadway, piano, and French history. To begin, the movie for the beloved musical reached theaters on Christmas day in 2012. Never taking any attention to the 10th or 25th anniversary performances, I never thought of myself to have any interest in theatre or music itself. It seemed to almost take away from the plot and add nonsense that could stated simply through plain dialogue. It was not until 2017 where I finally gave it a chance. On a rainy day one summer afternoon, I sifted through DVDs in my parents’ movie collection, seeing the one movie I vowed I wouldn’t watch. After all these years, I could have been missing out on an absolute gem. With this in mind, I inserted the disc into my computer and watched the 2012 movie. The movie blew me away. Yes, some of the most popular actors at the time were featured in the movie, but that was not the one thing that captivated me. What made me so in love with the movie was the music. The combination of fast and slow songs, heartfelt and fierce songs, and the melodies were breathtaking. Additionally, the strings and the complexity of the orchestral score made the songs stand out even more.
It was simply beautiful. Every song had been sung with heart and every instrument combined with the rest to create a full orchestra unlike any other. With this in my mind, I went straight to youtube to find the 25th anniversary concert. Seeing the full choir in the back of the stage and the giant pit in front of the actors shocked me. I never really thought of musicals and concerts to have such grand setups and stages. So, completely awestruck of what was in front of me, I took to find other Broadway musicals that had music just like Les Miserables. Although there are none that compare exactly to it, I fell in love with everything Broadway. It even prompted me to join my school musical and do something that years prior I thought was not interesting.
Now Les Miserables still touches me. On top of everything mentioned, it is what made me want to learn piano. The music was so beautiful that I knew that I wanted more of an experience with the pieces. I did not just want to sing the songs or listen to them through my headphones; I wanted to play them. So, after finding the sheet music at the library here at the University of Richmond, I took to the practice rooms and began to teach myself the piano. The very first song I learned was “Stars.” A simpler yet more heartfelt song, this song was one of the ones that made me so obsessed with the musical. Because of the impact Les Mis had on my life, it was a no-brainer to choose it, filled with drama surrounding love and revolution, with characters experiencing danger and confrontation at every corner.
![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)
