Two Flumes

I should start with some words from Uncle Frank:

The Ultimate Rule ought to be: “If it sounds GOOD to YOU, it’s bitchen; and if it sounds BAD to YOU, it’s shitty.”  . . .

On a record, the overall timbre of the piece (determined by equalization of individual parts and their proportions in the mix) tells you, in a subtle way, WHAT the song is about.  The orchestration provides important information about what the composition IS and, in some instances, assumes a greater importance than the composition itself.

     — Frank Zappa, The Real Frank Zappa Book

Thought diversion number one.  Diversion number two?  Seconds Out.

The Genesis that I love is the Peter Gabriel era, almost to the note and not a note further.  The loss of Gabriel to the band was the beginning of the end without question.  But Seconds Out is pretty much the same band with the same personnel, and there’s no way I could stand flat-footed and say that anything was ever made worse by adding Chester Thompson or Bill Brueford to it.  Maybe chili, but I would still eat it.

That being said, even with the words of Uncle Frank echoing in my mind and asking me “does it sound bitchen?”, I can’t help but to like Seconds Out a little bit less because Gabriel is not in it.  My petulant musical id blames Phil Collins for destroying Genesis and hates him for it.

Foxy Lad!

That loyalty has, recently, started to waver.

Genesis is being inducted into the Rock and Roll Hall of Fame, and Peter Gabriel will not be there for the ceremony.  He has had his own reasons for not working with the band in the past, but this isn’t a gig; he needs to show up and claim his role in the success in Genesis.  The Genesis that he was a part of, I am sure, won the band more votes than “I Can’t Dance”.

The reason he isn’t coming, according to Gabriel, is that it conflicts with his touring schedule.  Admittingly, I could take or leave Gabriel’s solo work.  I feel comfortable in saying, though, that his relevance as an artist is more born from his artistic vision in Genesis and less as his work as a solo artist.  Maybe more energy should be put into the present than in the past, which might explain letting your current art take precedence over your former.

But listening to Scratch My Back does not make me believe that anything too energetic is being done by Peter Gabriel to have artistic relevance in the present.  Scratch My Back is pretentious and dreadful sounding.

Uncle Frank’s lesson on timbre is best learned in comparing Peter Gabriel’s cover of “Flume”, the first track from Bon Iver’s For Emma, Forever Ago.


Well Lit Cigarette

Much has been ballyhooed about the circumstances of Justin Vernon recording For Emma, Forever Ago; broken heart, stuck in a cabin alone, et all.  But to call the instrumentation, the orchestration, or the arrangement of “Flume” simple or sparse would be in error.  There is a rich woven sonic picture in the song; the rattle of loose screws in the guitar and the tape hiss before the vocals kick in (like a Pavlav bell for GBV fans) lend authenticity to the sentiment of the lyrics.  The motor of the strumming and foot stomping give the vocals in the verses, and the sustained note responses after each verse(keyboard? electric guitar?), a steadiness that allow the swell and fade of the melodic lines to stand out.  The overdubbed harmony voices in the choruses provide an unobtrusive weight, while the echo chamber notes and low-string electric guitar provide some suspense, which leads into a section of guitar harmonics and acoustic restlessness adding more suspense, which is resolved by adding a female voice into the chorus.  The timbre is very telling of a complicated love and loneliness, the same store the lyrics are telling.

Did Peter Gabriel pick this song to cover to highlight his(John Metcalfe’s?) sparse arranging?  Gabriel’s cover is flat, anticlimactic, and cold.  Consisting of Gabriel’s voice, piano, and brass choir, the sparse ensemble fails to capture any richness; the vocals are never doubled, harmonized, or even supported by any other instrument.  What opportunity there is for crescendo in the choir is used to little to build drama in the countermelody line, and, save for a clichéd French horn swell or two, the individual members of the choir aren’t used to contrasting effect.  The piano fails to replace the motor of the original; the lyrics seem to fall between the chords, not soar and dive above them.  There is painfully little contrast in the vocal deliveries (it seems even that the low-range verses and high-wailing choruses add a different weight to the lyrical meaning, focusing more on “she’s the moon” more than “I am my mother’s only son”).

This cover, and the others on this album, seem to fall short of any musical goal.  The goal, more likely, was some sort of awful attempt Peter Gabriel made to add relevance to his current career.  Many of the covers are from young upstart musicians; I can imagine the conversation was “oh, they liked that Vampire Weekend thing?  Wait’ll they get a load of this!”  The accompanying album, the artists recording Peter Gabriel songs, is almost an unearnest tribute album.  Ugh.

A part of me feels shitty writing this, and I’m not trying to question Peter Gabriel’s integrity as a musician.  His motives for this album, though?  It couldn’t have been about the music.  I know what I like, sure.  But not taking the time to acknowledge how bitchen you were doesn’t pair well with trying, and failing, to prove how bitchen you are.

2 thoughts on “Two Flumes

  1. Ok, here’s what I’m doing: I’m trying to listen to the original song (if I don’t already know it well) and then listen to Pete’s version, then write my thoughts on this exercise.

    1. Heroes: You know, I’ve never been a big fan of this song… Bowie’s version, King Crimson’s, Nico’s, or Falco’s (ok, I’ve never actually heard Falco’s version, but did you know he did one? Goddamn…). Whatever. Not really liking the song itself doesn’t lend itself to me liking an old Peter Gabriel doing it… So yeah, not much here.

    2. The Boy In The Bubble: I don’t really like Paul Simon’s Graceland sound. That “white man appropriating African sounds” thing might have worked for a lot of people in the 80’s, when every comfortable white person in America was patting themselves on the back for giving like 2 bucks to Africa from Live Aid after paying for all of The Power Station’s hairspray… but that shit didn’t work for me, even back then when I was younger and stupider. It sure as hell doesn’t work for me now. Maybe Simon was trying to be ironic by having such downer lyrics set to an upbeat song, but it still sounds like freeze-dried bongo dogshit to me right now. Gabriel’s version is more somber, giving emphasis to the lyrics (which are pretty good, I think), so that’s an improvement. Still, I wouldn’t choose to listen to this over “Riding the Scree”.

    3. Mirrorball. Who the fuck is Elbow? I don’t feel like going over to Wikipedia and finding out (yeah, I’m that lazy… I’m still in my jammies, forchrissakes!). Listening to the original right now… sounds like Coldplay… with less balls, if that’s even possible. Not that good. This guy kinda sounds like Peter Gabriel… no wonder Pete covered him! He didn’t have to try too hard. Ok, I’ve had enough. Now to Pete’s version. (A few minutes later.) This actually sounds like Pete could have written it. It still fucking boring. Dramatic at the end, but who cares? He’s missing the hall of fame for this? NEXT!!!

    4. Flume: Not being familiar with this guy (Bon Iver) or this song (Flume), I decided to listen to it (Flume by Bon Iver). I know you like it, George, so I’ll try not to be a dick. Guys in cabins singing songs about heartbreak make me want to blow my fucking brains out, not because of its sadness but because it’s totes pretench. But a guy’s got a right to sing about pain and Mr. Bon does a pretty good job of it, I suppose. Even though Pete doesn’t sing it in falsetto and doesn’t double track it and slows it down, it doesn’t necessarily make it sadder, which seems to be Pete’s aim. Sparse and slow isn’t always sadder. I’m sure Mr. Gabriel is sincere in his like for the song and he’s probably trying to do a good job of making it his own, but it’s still no “Grand Parade of Lifeless Packaging”, which is so far off from the point I don’t know why I just wrote that. Whatever. I was hoping something profound would come from my ramblings, but it’s not. I don’t think Pete’s version is that bad, but I don’t really like the source material to begin with, so my opinion is kinda useless. I’d rather listen to some James Brown, honestly.

    5. Listening Wind: Ok, now we’re getting into some slightly holy territory for me here, because I happen to love the Talking Heads’ “Remain In Light”, from which this song is taken. The song, as originally recorded and placed on the album, is a kind of sparser, more meditative moment on a rather dense album. On PG’s album, it’s just another sparsey song on a sparsey album that at this point is all starting to sound the same. However, since his arrangement isn’t that different from the Heads’ version (just substitute a string quartet for Eno), it’s not bad or anything. Yeah, it’s not anything, really.

    6. The Power of the Heart: Like a billion hipsters and rock critics, I like the Velvet Underground. Unlike a billion aging rock critics, I don’t think Lou Reed has any business still making music. He has provided us with much entertainment over the years, with his Metal Machine Abuse, his cries of “Eat ratshit,” and my favorite Lou quote, “Give me an issue and I’ll give you a tissue and you can wipe my ass with it!” Speed freaks don’t have to make sense, they just have to dress in drag, be max pretench and fuck trannies. Oh, and make some kinda tolerable and mostly shitty rock and roll. I still have a significant number of Lou Reed cds in my collection, but I’ve never pretended to be smart. Anyway, I gave a listen to this song, I guess written and performed by Lou just a couple of years ago. It stunk. His bad singing is only trumped by Bob Dylan’s current mumble (there’s another guy whose current activity as a “rock and roll artist” should be deemed illegal) and his song isn’t all that hot shit either. Gabriel’s version is much better, but you know like they say: if you try to polish a turd, all you’ll get is your hands and face covered in shit. Has anybody ever said that?

    7. My Body is a Cage: Just hearing the first twelve seconds of PG’s version made me very sleepy. I don’t know if I can continue this experiment right now. I might have to do the other half later. So sleepy….. wait, that’s not tiredness. I have to go to the can!

    Ta ta for now.

    1. You know who else isn’t a big fan of Heros? Villians. And people with Celiac’s Disease.

      Thanks for replying.

      Brian Eno is replacing Bowie in the I’ll Scratch Yours album. What Gabrial song will he do?

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