Music Day - We Walk On

One of the most heartbreaking commentaries on life, maturation, and time that I have ever heard. This song embodies the monotony that I have spent my life thus far striving against. Listen to these lyrics and see if something deep within doesn't whisper (or scream) there has to be more to life than this. It can't just be plodding on from birth to death with little to nothing in between.

But the longer I flounder in this thing called life, the more I fear that this song is right -- this is all there is.

Title: We Walk On
Artist: Tonio K.
Album: Olé
Year: 1997
iTunes here; YouTube here.

Even the guitar seems melancholy.

The song's musical simplicity -- acoustic guitar with the very lightest of organ touches -- highlights a seemingly effortless but nimble and haunting lyric (in the style of Mark Heard, perhaps, or a pensive Rich Mullins). As the hopeless, fruitless tale is spun an electric guitar (very much akin to early Michael Roe/77s) comes in, strident and jagged, moving in fits and starts as if sobbing.

I don't know where the days go
They turn into weeks
They turn into years
Summers turn into Christmas, and they all disappear...

Music Day - Ping Pong

There is a lot of guitar in the world.

A lot of guitar players. A lot of guitar music. And after a while, it all sounds the same. Even across genres it starts to sound the same. It's hard to pick out a favourite or even a certain guitarist's distinctive style because there is such an overwhelming number of other guitar leads crowding our heads. I am very surprised that we as a culture have not reached saturation point, revolted, and went back to classical piano or something.

With all of that said, Michael Roe is the only person I have encountered in my musical forays across time whose guitar-playing style I not only recognise, but actually enjoy on its own merits. His music is the only music I buy specifically for the guitar work. Everyone else I listen to is judged on lyrics, vocals, and/or keyboards (usually in that order), but Michael Roe/77s alone is in my library because of the guitar work. That's how distinctive it is. And in my world, distinctive (in music) is a very, very good thing (that's literally the reason I am a Daniel Amos fan).

This song is my favourite from Michael Roe and his band, the 77s. The tap dancer in me shivers with delight every time I hear this song. Every single time. He plays with the rhythms so effortlessly (both in the music and the lyrics) and blends them together so fluidly. Keep in mind this was their debut album. He started his career here. Most of these hipster kids today won't get to this level if they live to be a hundred and seventeen. (Plus, this song is just darn good old-fashioned rock -- witness Roe's teen-rebel-esque vocal delivery -- and heaven knows the hipsters have no idea what that is.)

I would be remiss not to give a shout-out to the bass player (Jan Eric, according to BandCamp) for making a bassline that actually sounds like ping pong. Genius. And the perfect harmonic counterpart to Roe's guitar. I love this bassline. Yes, the guitar is fantastic, but without this bass work, the song is sunk. Further props to the drummer (Mark Proctor), for keeping up with and further accentuating the work of these two. And to Mark Tootle, who I assume is responsible for the other guitar line you hear in the interlude.

Title: Ping Pong Over The Abyss

Artist: 77s

Album: Ping Pong Over The Abyss

Year: 1982

Preview, read lyrics, and buy (CD or online) from the artist here.

Also, can we talk about the ending? This, kids, is how you do an ending. In music theory they told us that the longer you put off the final cadence, the more satisfying it is when you finally get there. This is exactly what Roe does here. There are about five false endings here -- you think it's ending, then he pivots and goes off on another melody line. Then just when you think it really is ending this time, he pivots again and charges off in another direction. I think he revisits every note he played in the song in the final fifteen seconds.

But -- lest you start telling me that Hillsong's Oceans doesn't end for forty-five minutes so that's the same thing -- Roe makes it interesting. He plays with several different -- but familiar to the song -- melody lines in about thirty seconds. He keeps the pace moving. It twists and turns and draws the listener in like Bm-G-D-A at a cassette tape's pace never could. It's a sonic maze, and it's full of delightful surprises. The whole song is, really, but Roe definitely saved the best for last in this case. (Take note, artists-who-fade-down-every-song-on-every-album.)

They don't make 'em like this anymore. Enjoy.

Music Day - Little Crosses

(Apologies for the late post -- Internet was out yesterday.)

So the other day I was thinking, Man... I haven't seen a good Kickstarter project in a long time. Then I logged into Facebook that night and saw not one, not two, but FOUR different projects.

1. The Choir is reissuing what is widely referred to as their best album (Circle Slide) on vinyl.
2. The 77s are releasing like four of their early albums on vinyl.

3. Phil Keaggy's making a new album.
4. And Jerry Chamberlain of Daniel Amos fame is recording a solo album.

Jerry Chamberlain is perhaps one of my favourite guitarists. As I've said before on this blog, I'm not really into guitar, even as a listener. Just not my thing (plus I think it's way overused -- I'm looking at you, CCM industry). Yeah, I'm a rocker, but I listen to that for the keyboards and the bass.

But Jerry Chamberlain and his guitar have been a crucial part of Daniel Amos since its inception in the late 70's. He was a huge part in DA's shift from country to... whatever Doppelgänger actually is. He did leave the band for a time in the mid-80's (during which time his shoes were ably filled by Tim Chandler), but he returned to work alongside Chandler in the '90s sometime and I believe that's still the state of affairs in the band today.

So here's a Chamberlain-penned track from DA's seminal album Doppelgänger.

Title: Little Crosses
Artist: Daniel Amos
Album: Doppelgänger
Year: 1983
Label: Alarma Records and Tapes
iTunes here; YouTube here. Buy the (deluxe remastered two-disc edition) CD from the band here.

It's a brilliantly sarcastic jab at Christians' tendency to put measure their spirituality (or even our very salvation) with pictures of crosses at sunset and flowers after the rain and mustard seeds as necklace pendants and pewter fishes on their bumpers. There's a delicious inversion of Matthew 6:20 in the first verse. And it's set to rock music, so really, what's not to like?

Music Day - Ba Ba Ba Ba

This song is catchy as heck. Do not listen to it if you're not prepared to be singing it all darn week. That said, it is a fun to sing along with. It could be worse. You could have Funkytown or something stuck in your head.

Despite the inane title, this song is quite deep. It opens with a cutting observation of how society (including a lot of us in the 'Christian' subculture) operates as Michael Roe purrs:
Welcome to truth custom-made
Come in and have some lemonade
Reality will re-adjust while we evade...

The rest of the song's lyrics develop the theme against a verse structure of smooth keyboard and a throbbing staccato synth before launching into a chorus backed by guitar work that still gives me chills a full year after I first heard it.

Title: Ba Ba Ba Ba
Artist: 77s
Album: All Fall Down
Year: 1984
Label: Lo-Fidelity Records
Listen and purchase from the artist here.