Tom Lehrer, who just turned 85, has mathematics degrees from Harvard and a wit that can’t be taught. Combine it with some serious musical talent and you have a guy who can give a lesson that feels more like entertainment, which is why he was featured on public television’s The Electric Company in the 1970’s. Here he spins your head with “The New Math”, looking for solutions among the convolutions.
Until 20 seconds ago, I’d always assumed singer-songwriter Ron Sexsmith was from England. He’s actually Canadian.
If many of our last names–such as Baker, Hunter, Shepherd, Miller–originated from our ancestors’ professions, I’d like to know a little about this guy’s great great great grandfather.
Ron Sexsmith’s talents have won praise from such songwriting luminaries as Paul McCartney, John Hiatt and Elvis Costello in much the same way that the Beatles once name-dropped Harry Nilsson as a lesser-known artist worthy of more attention.
Although the production on Sexsmith’s 11th LP (by Metallica/Motley Crue producer Bob Rock) brings his talents to the fore a little more than on past records, the quality of the songwriting hasn’t changed. It’s melodic tunes with catchy choruses and heart-touching sentiments delivered by a guy with a touch of melancholy in his voice–just what his fans have come to expect.
“Late Bloomer” is an anthem of resiliency for underdogs everywhere. If no one’s singing along to your song, don’t forget there’s always a side 2 to life!
It’s just a stone’s throw From here to eternity From the back roads To where I long to be The world has changed Leaving only the truth intact You think it’s a game To me it means more than that
But I’m a late bloomer I’m a slow learner And I’ve turned the record over I’m a long player My song is my saviour I’ve got to raise it up As far as my spirit can reach That everyone might see
Within earshot Of rose-coloured dreamers at best I don’t mean to eavesdrop It’s just part of my job I guess At one glance They don’t know the truth by half How announcing your plans Is a sure way to hear god laugh
Like a crab apple on the tree They’ll find life more bitter than sweet
But I’m a late bloomer I’m a slow learner And I’ve heard the penny drop I’m a small player With a tall order To come out on top And without selling my soul That everyone might know That I’m a late bloomer
From a turntable to a phone From a revolution to a ring tone
I’m a late bloomer I’m a slow learner And I’ve turned the record over I’m a long player My song is my saviour Got to raise it up
I’m a late bloomer I’m a slow learner And I’ve heard the penny drop I’m a small player With a tall order To come out on top And without selling my soul That’s how a flower grows And I’m a late bloomer I’m a late bloomer
The band’s name comes from co-founding member Kenn Jankowski’s high school mascot. The origin of their sound is more difficult to pin down; it’s a hybrid indie folk with electronic touches adding color. And they come up with the kind of sticky melodies that earn a lot of repeat listens.
From They Might Be Giants’ latest album, Nanobots.
Directors David Cowles and Jeremy Galante have perfectly matched the absurd humor of songwriters John Flansburgh and John Linnell in their animated depiction of that guy everyone warns you not to be.
How’s this for fusion? Here we have The Sachal Studios Orchestra, based in Lahore, Pakistan, playing an innovative cover of “Take Five,” the jazz standard written by Paul Desmond and performed by The Dave Brubeck Quartet in 1959. Before he died last year, Brubeck called it the “most interesting” version he had ever heard. Once you watch the performance above, you’ll know why.
According to The Guardian, The Sachal Studios Orchestra was created by Izzat Majeed, a philanthropist based in London. When Pakistan fell under the dictatorship of General Zia-ul-Haq during the 1980s, Pakistan’s classical music scene fell on hard times. Many musicians were forced into professions they had never imagined — selling clothes, electrical parts, vegetables, etc. Whatever was necessary to get by. Today, many of these musicians have come together in a 60-person orchestra that plays in a state-of-the-art studio, designed partly by Abbey Road sound engineers.
You can purchase their album, Sachal Jazz: Interpretations of Jazz Standards & Bossa Nova, on Amazon and iTunes. It includes versions of “Take Five” and “The Girl from Ipanema.”
The sweetly sad songs of Alasdair MacLean and London quartet The Clientele are achingly beautiful things wrapped in soft textures. MacLean’s vocals combine with subdued acoustic or tremolo guitar and strings for a sound you’d swear the term “dream pop” had been coined to describe. In creating a mood of wistful melancholy this band may have no equal. They also strongly evoke 60’s pop, but it’s damn hard to pin down exactly which 60’s bands their sound is indebted to. Nevertheless, the sound is magical.
Every Moment Has A Song 