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Google was of no help in this crisis.

Google was of no help in this crisis.

The Limits Of Technology

March 04, 2018 by Brian Fay in Analog Living, Listening

Several nights ago I ran up against the limits of technology. I couldn't remember a song. I was in bed with a snatch of lyric stuck in my head, unable to sleep until I figured out what song it was and hear it in my head. All I had was "Crisis of faith and crisis in the Congo" on repeat. I did not have the tune, the notes, the singer,or the rest of the lyrics, and it was driving me mad. Despite the late hour, I pushed the covers back to go get my phone and figure things out. 

I charge my phone in the kitchen so I can sleep instead of looking at the damn thing.  Technology in the bedroom, beyond clock, book, pen and paper, is a mistake. I went down to the phone and typed in the lyric, expecting my answer in a Google micro-second. I got nothing. I typed different combinations, but I had the lyric wrong. Google was no use. 

I returned to bed frustrated but also happy. I was on my own. Just me and my memory. I knew the song was in there and knew I had heard it dozens of times. I played the snippet over and over in my head. It was a male singer with a weird voice. I felt like the next line was, "yeah, we heard that before" but it didn't fit the rhythm. 

My wife asked if I had figured it out. I told her, I was still working on it. She said, thanks for putting it on an endless loop in my head. Marriage is all about giving. We turned out the lights and she rolled over. 

I kept at it. It wasn't the Congo. Crisis of faith, sure, but no crisis in the Congo. I played the line in my head without words hoping to hear where the crisis was. It remained mysterious, but the next line resolved into "Yeah, we'd heard all that before." It didn't come right away but began as a vague feeling of syllables, the sure memory that it began with _Yeah_ and ended with _before_. I tumbled that until the line came clear. 

Then I heard the voice. It was nasally, almost whiny. Later, I'd apologize in my mind to the singer, but he's dead and unlikely to take offense. 

"Crisis of faith and crisis in the hmm-hm, yeah we've heard all that before," I sang in my head, and though I couldn't put the next line together, the band and singer came to me along with the tune. It was as if I had plugged an extension cord from an outlet to the faraway, dark place where the memory lay. The light came on and music played:

“Crisis of faith and crisis in the Kremlin
And yeah we’d heard all of that before
It’s wintertime, the house is solitude with options
And loosening the grip on a fake cold war.”
— "Fireworks" by Tragically Hip (with apologies for my description of Gord Downie's voice) 

Had it been Google's answer, I'd have nodded, felt comforted, and gone to sleep like I had taken a pain reliever. Instead, I put it together slowly, piece by piece, with the possibility I might not figure it out. There's something so much more rewarding about that. 

I'm not about to ditch my phone or Google, but it's good to remember the wonder of depending on my brain while I still have it to use. 

March 04, 2018 /Brian Fay
Tragically Hip, Self Reliance, Earworm, Google
Analog Living, Listening
King Crimson, USA. U-Turn Audio Orbit Turntable, Kenwood KA-5500 amp, and Boston Acoustics A-70s (not pictured). 

King Crimson, USA. U-Turn Audio Orbit Turntable, Kenwood KA-5500 amp, and Boston Acoustics A-70s (not pictured). 

King Crimson, USA

March 02, 2018 by Brian Fay in Listening

I'm having the best vinyl experience. No, it doesn't involve a kinky dungeon. What's wrong with you? It's about a record I bought Wednesday but haven't had a chance to hear until tonight. It's an album I remember not liking much as a kid. I texted my best friend a few minutes ago asking, why didn't we like this?

King Crimson was a band that made gold and followed it with slop. Inconsistent? Yeah, you could say so. There were two golden periods. The first was Fripp (founder, guitars, Mellotron), Wetton (bass, vocals), Bruford (drums, percussion, god-like talent) and they recorded the best Crimson album together, Red. The second best band recorded Discipline (Bruford again, no surprise). 

On the turntable now with the volume up high enough to stop the snowstorm is USA, a live album with that first group. For reasons my friend nor I can remember, we didn't much care for this when we were kids, but it's so good. The band rocks hard, then moves through deep, quiet, emotional sections. The playing is exquisite. The recording is good. The E.G. Records vinyl is pristine though this is a used copy. Everything works. Maybe I was too young to appreciate this back then. 

About the only letdown is that they cut off "Easy Money" on side two, likely for time. There's a YouTube video that really ought to be on the album, but alas. 

I'll have more to say when I write my definitive essay about vinyl and turntables, but this experience, rediscovering a great album doesn't happen for me on streaming. I don't listen to streaming well. Usually it's on my laptop or phone. That compares poorly to a turntable, amplifier, and speakers filling the living room with me in the sweet spot and the volume knob up.

I'm not wearing any goddamn white earbuds. Screw that noise. 

Fripp doesn't allow Crimson on streaming anyway, that beautiful son of a bitch.

So great to sit through the snow storm with an album to enjoy, study, and take away all my worries. About the only thing better is live music in a great hall. 

U-S-A! U-S-A! U-S-A! by King Crimson (a British band) because we need something to feel good about in this country while the imbeciles are in charge. 

March 02, 2018 /Brian Fay
King Crimson, USA, Turntable, Analog, Music
Listening
The masterpiece and the first draft of this little piece. 

The masterpiece and the first draft of this little piece. 

The Moody Blues, Days of Future Passed

February 22, 2018 by Brian Fay in Listening

There's no good reason to review The Moody Blues' Days Of Future Passed. In the fifty years since its 1967 release, plenty has been said about it. I just picked up a copy (finally) and have a couple thoughts. This is not a review. 

Mark Twain, talking about his Google Play Music library, said a classic is an album often praised but seldom listened to. He needed a turntable. I've been looking for a copy of Days of Future Passed since last year when I bought my first record in decades. I've listened to it for more than forty years. On the turntable yesterday there were no surprises, but I loved it. 

I wonder how the band felt when Justin Hayward presented his two contributions. I'm competitive and might have quit the band on hearing "Forever Afternoon (Tuesday?)" and "Nights In White Satin." They're just too good. Game over. The opening cymbals and mellotron of "Tuesday" are hypnotic and the rest of the tune is beyond everything else on the album. Everything except "Nights In White Satin" which is epic, operatic, symphonic. It is classic and the highlight of the band's career. The album is good, but side two mesmerizes, largely because of those two tracks. 

It's mesmerizing for me. For my wife, not so much. The orchestra and at least two songs on side one are too cheesy for her. But our love endures despite this travesty. 

The vinyl is in great shape. I got it from Jack's Rhythms in New Paltz. The shop is small but well organized and worth a visit. 

And unless you're my wife, Days Of Future Passed is worth a couple thousand listens. Go get it. 

February 22, 2018 /Brian Fay
Records, Moody Blues, Days of Future Passed, Turntable, Analog
Listening
A steal at $8 if for no other reason than ECM pressed on incredibly good vinyl. 

A steal at $8 if for no other reason than ECM pressed on incredibly good vinyl. 

Pat Metheny, Watercolors

February 21, 2018 by Brian Fay in Listening

Watercolors is an album I didn't have as a kid and hardly listened to on streaming. Usually, I lumped it in with American Garage which isn't much of an album, but this is better than that and has more of the feel of As Falls Wichita... but in a rougher, earlier state. I picked it up mostly to work at completing my Metheny collection and because a poor Metheny album is still better than most artist's good work. It makes good writing music as I can attest right now. 

I should really work on how to write an album review, if that's what I'm doing here. It's worth studying the form to see how it's done. Of course, I would have to know the album a hell of a lot better in order to review it. This is only my second listening. 

Purchased at Jack's Rhythms, New Paltz, NY on a college visit. 

February 21, 2018 /Brian Fay
Metheny, Jazz, Watercolors, Records
Listening
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