Recommended Albums #57

kings

Kings of Convenience: Riot On An Empty Street (2004)

Erlend Øye and Erik Glambek Bøe are Norwegian indie folk duo Kings of Convenience, part of the short-lived “new acoustic movement” of the previous decade which brought such artists as Damien Rice, Turin Brakes and Starsailor to the fore.

Their 2001 album’s title, Quiet is the New Loud, practically became the movement’s rallying cry. Riot…followed a three year gap between releases which saw Øye experimenting with dance pop before returning to his acoustic folk roots here.

kings ofThis album builds on the lilting, appealing acoustic folk sound of the earlier release while expanding the sonic palate with well-placed strings, cello, horns, banjo and upright bass.

“Homesick” echoes the sound of Simon & Garfunkel’s “two soft voices blended in perfection”. The existential confusion of “Misread” wafts across on a gentle bossa nova rhythm.

Perhaps the album’s most affecting song, “Sorry or Please” finds its protagonist, recently released from prison, reconnecting with the old neighborhood and a potential new flame. The coy, clumsy, tentative first steps of a nascent love affair are articulated by both the lyric and the wistful trumpet-and-banjo solo (an unlikely but effective pairing). Exquisite.

Five weeks in a prison,
I made no friends.
There’s more time to be done, but
I’ve got a week to spend.
I didn’t pay much attention first time around,
But now you’re hard not to notice,
Right here in my town.
Where the stage of my old life
Meets the cast of the new.
Tonights actors… me and you.

Each day is taking us closer,
While drawing the curtains to close.
This far, or further, I need to know.
Your increasingly long embraces,
Are they saying sorry or please?
I don’t know what’s happening,
Help me.

Through the streets,
On the corners,
There’s a scent in the air.
I ask you out and I lead you.
I know my way around here.
There’s a bench I remember,
And on the way there I find that the movements you’re making,
Are mirrored in mine.
And your hand is held open,
Intentionally, or just what I want to see?

Your increasingly long embraces,
Are they saying sorry or please?
I don’t know what’s happening, help me.
I don’t normally beg for assistance,
I rely on my own eyes to see,
But right now they make no sense to me,
Right now you make no sense to me.

This is a remarkable album of gentle folk with a sweet nostalgic feel. It makes a persuasive case for the power of quiet music.

Listen to: “Homesick”

Listen to: “Misread”

Listen to: “Cayman Islands”

Listen to: “Stay Out of Trouble”

Listen to: “Sorry or Please”

See also: https://edcyphers.com/2013/08/11/songs-you-may-have-missed-461/

See also: https://edcyphers.com/2014/09/19/songs-you-may-have-missed-514/

See also: https://edcyphers.com/2022/06/12/songs-you-may-have-missed-731/

Recommended Albums #56

k.d. lang: Ingénue (1992)

When my (former) wife and I married and combined households in the mid-1990’s my burgeoning CD collection merged with her one-and-only CD, k.d. lang’s Ingénue.

“You own one CD?”

I scoffed (silently, to myself). Then I gave her single CD a listen and scoffed no more, realizing it was a masterpiece and better than 90% of my collection.

Actually, it did take a few listens. Most of the album is downtempo and brooding. This isn’t exactly beach party music. It’s a song cycle of consonant tone, with one contemplative mood piece following the next until the perfectly-sequenced affair concludes with the cathartic “Constant Craving”, the album’s only “hit” and a song I used to try to irritate the wife by rendering as “Instant Gravy” (never worked).

Producer and co-writer Ben Mink created a chamber pop album of such meticulous craftsmanship and consummate taste it reminds me of Elvis Costello’s Imperial Bedroom, to which the word “masterpiece” was affixed on its release.

Mink places the subdued but compelling songs in elegantly adorned settings: strings, accordion, vibraphone, mandolin, slide guitar and many other instruments make their subtle way into a mix and bow out in turn, ensuring things never get tedious.

The songs are the best batch k.d. ever assembled on one LP. From this record on, one could hear echoes of Ingénue here and there on subsequent records, but never the consistent tone or quality of songs throughout an entire album.

Ingénue marked a transition from her early, rather hokey “cowgal” period into her art pop/torch singer incarnation. It’s a unique album in lang’s career and in all of pop music’s canon.

Incidentally, the Rolling Stones inadvertently appropriated the melody of “Instant Gravy” “Constant Craving” in their 1997 hit “Anybody Seen My Baby”. Quoting Wikipedia:

Written by Mick Jagger and Keith Richards, the song also carries writing credits for k.d. lang and Ben Mink.The song is known for its chorus, which sounds strikingly similar to lang’s 1992 hit song “Constant Craving“. Jagger and Richards claimed to have never heard the song before, only having discovered the similarity prior to the song’s release. As Richards writes in his autobiography Life, “My daughter Angela and her friend were at Redlands and I was playing the record and they start singing this totally different song over it. They were hearing k.d. Lang’s ‘Constant Craving.’ It was Angela and her friend that copped it.” The two gave lang credit, along with her co-writer Mink, to avoid any lawsuits. Afterwards, lang said she was “completely honored and flattered” by receiving the songwriting credit.

The similarity is clear to hear:

Listen to: “Miss Chatelaine”

Listen to: “Still Thrives This Love”

Listen to “Season of Hollow Soul”

Listen to: “Outside Myself”

Listen to: “Constant Craving”

See also: https://edcyphers.com/2013/01/18/songs-you-may-have-missed-296/

See also: https://edcyphers.com/2015/07/01/songs-you-may-have-missed-539/

Recommended Albums #55

mayer

Mayer Hawthorne: Where Does This Door Go (2013)

Mayer Hawthorne’s latest funk-soul offering sprinkles more 70’s sounds into the stew of retro-soul (or is it “neo-Motown”?) he’d been serving up on his previous two albums. I appreciate the man’s willingness to try a number of styles, sounds and lyrical themes, although what it produces is a real mixed bag. The difference between Where Does This Door Go and its predecessors is that the high points point a little higher.

“Wine Glass Woman” is like Steely Dan Lite, which is hardly a bad thing. “Robot Love” mimics the falsetto croon of the likes of Curtis Mayfield. And “The Stars Are Ours” thieves the rhythm of Stevie Wonder’s “Higher Ground” just as Robin Thicke’s “Blurred Lines” borrowed that of Marvin Gaye’s “Got to Give it Up”.

Derivative? Sure. Groundbreaking? Hardly. Enjoyable? Decidedly.

Listen to: “Wine Glass Woman”

Listen to: “Robot Love”

Listen to: “The Stars are Ours”

Recommended Albums #54

has been

William Shatner: Has Been (2004)

When I tell people what a great album William Shatner’s Has Been is I’m consistently misunderstood. I know I have a snarky sense of humor at times. I know I often tend to communicate by saying the opposite of what I actually mean. But as unlikely a scenario as you might find it to be, I’m dead serious when I tell you this is a very, very good pop album.

And no, I don’t “like it ironically”. Albeit elements of novelty abound, this record is not in the category of Shatner’s 1960’s cheese-fest The Transformed Man, which can only be appreciated in the ironic sense. Rather than spotlight Bill Shatner the untalented singer as that spectacularly bad album did, producer Ben Folds plays to Shatner’s strengths here–namely, his ability to deliver dramatic spoken lyric. It works.

shat

When Folds signed on to produce and arrange this record (he and Shatner had worked together before, on Folds’ Fear of Pop project) he didn’t check his keen pop sensibilities at the door. The music here is top-notch, not to mention quite diverse.

And the guest performances are inspired. Listen for Joe Jackson’s impassioned take on the cover of Pulp’s “Common People”, the well-cast Henry Rollins on the duet/litany of general complaints “I Can’t Get Behind That”, or Brad Paisley taking a heartfelt turn on the chorus of “Real”. Folds himself takes vocals and piano on the tale of father/daughter estrangement “That’s Me Trying”. Folds’ plaintive melody and vocal delivery complement Shatner’s lamentation here perfectly.

Interlaced among all that is the astonishingly broadly-talented Mr. Shatner delivering what are at times shockingly honest and confessional-sounding self-penned lyrics. Most extreme example (not featured here) is “What Have You Done”, an unblinking account of Shatner’s discovery of his wife, dead in the couple’s swimming pool.

The guy has stones, or happens to be at the station in life when he just doesn’t give a shit anymore what people think. Probably both.

The album’s title track is possibly its highlight. Not only is it a brilliant musical lampoon of a now-obscure 60’s pop sub-genre typified by Lorne Greene’s “Ringo”, but it serves perfectly as a (hilarious) raised middle finger to Shat’s critics. Good for him.

Of course he’s Captain James T. Kirk to most. But the list of William Shatner’s accomplishments–best-selling author, successful horse breeder, Priceline commercial icon, Emmy-winning Denny Crane, and of course, a singer of sorts–is admirable. As he says in the album’s final track, “Real”:

And while there’s a part of me

In that guy you’ve seen up there on that screen

I am so much more

While I’m dead serious about how good an album this is, the chief reason to listen is that It’s good fun.

Listen to: “Common People”

Listen to: “That’s Me Trying”

Listen to: “Ideal Woman”

Don’t miss: “Has Been”

Listen to: “I Can’t Get Behind That”

Listen to: “Real”

See also: https://edcyphers.com/2013/02/20/songs-you-may-have-missed-337/

Recommended Albums #53

fairport

Fairport Convention: Jewel in the Crown (1995)

A band perhaps known as much for notable alumni (Sandy Denny, Richard Thompson) as for their actual recorded legacy, Fairport Convention nevertheless are among the most prominent of the bands who helped preserve England’s traditional folk song and expose new generations to it by melding it with contemporary rock.

By 1995 Fairport were almost thirty years into a career rife with lineup changes and fluctuations in quality of musical output. But Jewel in the Crown is a jewel indeed–a highlight of their later output.

The samples below represent Fairport’s typical mix of new contemporary writing and more traditional-sounding pastoral English folk, from the political (the smackdown of British colonization in the title track) to the traditional (“Kind Fortune”), to the newly-written tune that sounds like a traditional (“London Danny”) to the instrumental (the beautifully-rendered Ric Sanders fiddle tune, “Summer in December”).

It makes for a great introduction to the band, not to mention the genre. If it whets an appetite for British folk, you could do worse than to check out Steeleye Span’s All Around My Hat next.

Listen to: “Jewel in the Crown”

Listen to: “Kind Fortune”

Listen to: “London Danny”

Listen to: “Summer in December”

See also: https://edcyphers.com/2016/02/19/songs-you-may-have-missed-572/

Recommended Albums #52

moon safari

Moon Safari: Blomljud (2008)

My current musical infatuation, and the stuff I’ve been playing at antisocial decibel levels lately, is that of Swedish prog band Moon Safari. For fans of sunny, uplifting, non-metal influenced prog (as well as bands like Styx from a bygone era) this prolific band is worth checking out.

Moon Safari feature perhaps the strongest vocals in all of progressive rock. Their harmonies are like nothing in the genre, sounding more like a combination of 70’s bands such as Ambrosia and 50’s close harmony acts like the Four Freshmen–or even the Beach Boys.

Songwriting too is an obvious strength. These Swedes have mastered classic long-form prog, but keep things appealing throughout, with guitar and synth lines that grow on the listener with repeated listening. You won’t find the staggering musicianship of Yes or ELP here–song, melody and harmony are the areas of greater focus. But then again, the only 20+ minute song I’ve ever found worth listening to from beginning to end was by this band and not one of the aforementioned classic acts.

They seem to keep to the type of release schedule more befitting a 70’s prog band as well, with a massive double album due this September adding to two other releases since 2010.

Listen to: “Constant Bloom/Methuselah’s Children”

Listen to: “Bluebells”

See also: https://edcyphers.com/2013/08/16/songs-you-may-have-missed-465/

See also: https://edcyphers.com/2025/08/31/songs-you-may-have-missed-789/

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