Arachnophonia: My Chemical Romance “The Black Parade”

Posted on December 12, 2018 by marmstr3

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.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

Today’s installment of Arachnophonia is by student worker Olivia (class of 2019) and features The Black Parade, the third studio album by American rock band My Chemical Romance, aka MCR. Thanks, Olivia!

My Chemical Romance

The Black Parade

If you would care to, imagine a flustered 13 year old girl who cut her own ragged side bangs, refused to wear colors other than red and black, and printed out pages and pages of My Chemical Romance lyrics to memorize before bed each night.

This was my reality in middle school. My parents hated it. I loved it.

When I began listening to MCR, they had recently released their 2006 album, The Black Parade, a musical narrative telling the story of ‘The Patient’ who falls ill and dies, experiences the afterlife and reflects on the life he led. With the album came the platinum hair of Gerard Way (he had a different hair color for almost every album) and the peak popularity of the band’s career. The most popular song on the album, “Welcome to the Black Parade,” I played during my 7th grade piano recital, to my parents’ horror (ahh memories). The music video very accurately characterizes the theme, energy, and story continued throughout the album.

One of the things I love most about MCR is how they weave each album’s music into a crazy, creative and awe-inspiring narrative, and continue that narrative through music videos and live performances. It makes listening to their music an active experience. This was also demonstrated through their 2010 album, Danger Days: The True Lives of the Fabulous Killjoys, which featured a corresponding comic book series published by Dark Horse as well as a full
character costume for each band member – and cherry red hair for Gerard Way.

MCR Danger Days promo photo

You know I have every issue of that comic series in my room at home, by the way.

The extent to which I immersed myself in The Black Parade, (along with all of MCR’s albums) has made such a lasting impact on me. Twelve years later and I still consistently listen to my favorite band from middle school – those years are impactful and to this day I have not felt the same connection to any artist or group as I felt and still feel to My Chemical Romance.

Arachnophonia: Sam Smith “In The Lonely Hour”

Posted on December 12, 2018 by marmstr3

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.

All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.
Today’s installment of Arachnophonia is by student worker Emma A (class of 2021) and features In The Lonely Hour the 2014 debut album by UK singer Sam Smith. Thanks, Emma!

Sam Smith

In The Lonely Hour

I have been listening to Sam Smith since my freshman year of high school, which was now five years ago! His talent is so pure and he can convey such strong emotion through his songs. I love how he has a blend of sad, raw songs and upbeat, happy ones. I guess it depends on your mood… Although, the songs are so good that I’ve found myself listening to his slower ballads even on cheery and sunny days!

I love to sing, so I appreciate any artist that goes above and beyond with their music. I like the type of songs you can sing along to and understand the words to. My favorite album of Smith’s is In The Lonely Hour. At times some of the lyrics seem a bit trite and overdone with repetitive melodies, but nonetheless it is still quit enjoyable even for Smith’s voice alone. He reminds me of Adele and Duffy, two other British singers whom I like.

“Stay With Me” became a radio hit, but one that didn’t get as popular (and should have) was the more lively tune “Money On My Mind” which I’ve definitely had stuck in my head on more than one occasion. I like that his music has a pop, yet soul, flare to it and does not need the kind of auto-tuning that many current pop stars use. His voice is so versatile that many other famous artists have featured him, including the electronic duo Disclosure. In addition, I was so happy to hear that he was singing the theme song for the recent James Bond movie Spectre.

Back cover of “In The Lonely Hour”

This album‘s focus was on a lost lover, something Smith seems to sing about a lot. I hope his next album will be about something different, but if not, I am content with the talent he exudes singing about past relationships.

Arachnophonia: Steely Dan “Citizen”

Posted on October 31, 2018 by marmstr3

Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about items in the Parsons Music Library‘s collection. All links included in these posts will take you to either the library catalog record for the item in question or to additional relevant information from around the web.

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!

Steely Dan

Citizen

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.

People my age don’t really know Steely Dan, but I swear, more should! If you want to give them a listen, check out the “Citizen” CD set at the Music Library with over 60 of their best songs. You won’t regret it.

Arachnophonia: Vampire Weekend “Modern Vampires of the City”

Posted on October 24, 2018 by marmstr3

Today’s installment of Arachnophonia is by Music Library student worker, Griffin (class of 2019) and features Vampire Weekend’s 2013 album Modern Vampires of the City. Thanks, Griffin!

Vampire Weekend

Modern Vampires of the City

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.

Arachnophonia : Brahms “Ein deutsches Requiem”

Posted on October 17, 2018 by marmstr3

Today’s installment of Arachnophonia is by Music Library student worker, Emma R. (class of 2021) and features Johannes Brahms’ “Ein deutsches Requiem” which was composed between 1857 and 1868. Thanks, Emma!

Johannes Brahms

Ein Deutsches Requiem

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!

Johannes Brahms c. 1866

Arachnophonia: U2 “All That You Can’t Leave Behind”

Posted on October 10, 2018 by marmstr3

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!

All That You Can’t Leave Behind

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

“Walk On” was attributed even greater significance after the September 11th attacks, as it was performed on the September 21st television benefit concert America: A Tribute to Heroes. Subsequently, the single was interpreted as a message of hope to a nation grappling with the world changing before them. The song won the Grammy for Record of the Year in 2002, contributing to the total seven Grammys awarded to the album. Interestingly, “Beautiful Day” had previously won Record of the Year in 2001, making All That You Can’t Leave Behind the only album to receive two Record of the Year awards consecutively.

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.

Arachnophonia: Green Day “American Idiot”

Posted on April 26, 2018 by marmstr3

Today’s installment of Arachnophonia is by Music Library student worker, Duncan (class of 2018) and features American rock band Green Day’s 2004 album American Idiot. Thanks, Duncan!

Green Day

American Idiot

In discussions of individuals’ favorite music, it is often noted how certain songs, albums, and artists have a significant amount of “staying power” with those individuals. These works have managed, at numerous stages of people’s lives, to maintain their resonance. For me, the album that has had this degree of prolonged impact is Green Day’s 2004 album, American Idiot.

I was raised on “oldies” music. Throughout my childhood, starting around the age of three or four, I would go to bed each night with the music of The Beatles, The Monkees, or Simon and Garfunkel (among others) quietly playing on the boom box which rested on my bedside table. I distinctly remember my parents burying their heads in their hands in embarrassment as I sang along to The Monkees’ Greatest Hits on a crowded flight. All of this is to say that, for as long as I can remember, I had been primed for an appreciation for rock & roll.

Then, when I was in fourth grade, I came across the song “Holiday” on YouTube, and I was immediately enamored. I am the son of a (progressive, it should be noted) North Carolina pastor, and had not yet been exposed to the bluntness, ruggedness, and vulgarity of punk music. While I certainly did not understand the political significance of the song at the time (the song is a criticism of the invasion of Iraq), I enjoyed the edginess of the track; it seemed charged with angst and sarcasm. One YouTube spiral later, I was begging my parents for the album for months. Eventually, my parents were worn down by my persistence, and bought me the album.

While I initially appreciated the album for its catchiness, it has established new levels of significance for me in the decade since I first listened. The album is what the band describes as a “punk rock opera,” following a character named the Jesus of Suburbia as he faces the trials of an unhealthy home life, disenfranchisement, drug abuse, and lost love. The album is particularly effective in that it personifies the resentment of American society at the time of its conception. If anything, the issues addressed in the album have gained greater significance as our political landscape has grown increasingly polarized.

While a large part of my appreciation of the album is rooted in in nostalgia, I think the album holds up both thematically and musically. I still find myself returning to it and experiencing new levels of appreciation. The album has been incredibly significant for me, and I hope others experience it similarly.

Arachnophonia : Bon Iver “Bon Iver”

Posted on April 19, 2018 by marmstr3

Today’s installment of Arachnophonia is by Music Library student worker, Claire (class of 2020) and features indie folk band Bon Iver’s second album. Thanks, Claire!

Bon Iver

Bon Iver

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.

Arachnophonia : The Smiths “The Queen Is Dead”

Posted on April 12, 2018 by marmstr3

Today’s installment of Arachnophonia is by Music Library student worker, Aly (class of 2018) and features a classic 1986 album by the British group The Smiths. Thanks, Aly!

The Smiths

The Queen Is Dead

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.

Arachnophonia : Maroon 5 “Live: Friday The 13th”

Posted on April 6, 2018 by marmstr3

Today’s installment of Arachnophonia is by Music Library student worker, Mary (class of 2018) and features a 2005 CD/DVD release by the band Maroon 5. Thanks, Mary!

Maroon 5
“Live: Friday the 13th”

This is a live DVD and CD release by Maroon 5, and it was recorded on May 13, 2005 in Santa Barbara, California at the Santa Barbara Bowl. The live concert is a performance of all their songs and the CD contains the same tracks. I chose this one because Maroon 5 is one of my favorite artists and this CD contains one of my favorite tracks called “Sunday Morning.” “Sunday Morning” is often described as blue-eyed soul or jazz-fusion. This is one of my go-to songs when I’m driving in a nice weather. When the weather gets warm and the sky looks nice outside, I just want to drive and listen to this song. This is the kind of a song that you want to listen to when you had a lazy day, slept in on a weekend and are going to a nice brunch place on a warm nice day in April or May. The lyrics are very sweet as well as it describes someone who is all the songwriter sees when life gets hard to do. I highly recommend this song to those of you who haven’t heard it yet as the weather is warming up now!

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