I use the word "resonance" a lot when writing about music. Sometimes, the phenomenon is a relatively straightforward thing: you hear, say, a blues record. The guitar player has that exact sort of twang & torque that you've always liked. Maybe it reminds you of T-Bone Walker a little. In any event, you know why the music appeals to you.
Then there's music you hear, are captivated by, but have no concrete idea as to why. The example I fall back on is Thomas Newman's score to American Beauty. Lucky for me that I saw that film at home instead of the movie theatre, because the music pulled my attention completely away from the visuals. I had to restart the movie after about 30 minutes because I just couldn't not focus on the music. Was it the percussive aspects that got me? The ambient, dreamlike quality of the sound? The answer is probably all of the above, plus some other thing that'll never be known to me. I guess the mystery is part of the appeal.
But what about lack of resonance? Yesterday, I gave a friend of mine a copy of a CD that I truly love. Her first comment was that the woman's voice irritated her. While it's hard for me to accept, I just have to because I've reacted that way to many, many recordings. There doesn't have to be any sort of logic involved: the reaction just IS.
So despite my optimistic musical outlook and reputation for avoiding negative reviews, I have experienced plenty of negative resonance over the years. Mostly, I keep it to myself because hey, what good's going to come of it?
With all of this in mind, I now present five records/artists that have had "inverse musical resonance" for me. Now, this isn't an attempt to redefine reality by controlling the terminlogy (That's better left to the shape-shifters of politics). No, it's just an attempt to describe my reactions. This also isn't one of those sacred cow/let's piss people off kind of things. No, they're just pieces of music that I've never enjoyed — and believe me, I've tried.
Anybody else have similar experiences?
The Lamb Lies Down On Broadway - Genesis
I know, I know...the is supposed to be the pinnacle of Genesis. The high point of 1970's progressive rock. It's also heresy to say that I'd rather listen to the music from the poppier Phil Collins era...but it's true. I've probably listened to this record twenty or thirty times. After each pass, I can remember almost nothing. Yes, I'm aware that I'm supposed to genuflect before the guitar genius of Steve Hackett. I don't hear that either. I mean, yes, I can see that he's a talented player. It just doesn't happen to do anything for me.
Article comments
— go to most recent comments1 - Glen Boyd
An interesting take on things Mark. I don't agree with a lot of it, but then that is probably because I am not you.
When I hear The Lamb Lies Down On Broadway for example, the very first thing I notice is Steve Hackett's guitar -- the way he plays is so economical, there is not a single note played that does not belong there. And his use of sustain is so damn sweet, so understated. Hackett is in fact probably my overall favorite guitar player.
As for the Collins era Genesis? I lasted up through Duke. After that it just wasn't the same band for me anymore. Though I'll admit I find the occasional song like "Land of Confusion" enjoyable enough not to switch the channel when its played on the classic rock station.
But again, that is because I am me, and I am not you.
Springsteen's Tunnel Of Love likewise appeals to me. But that is because I am admittedly, in fact kind of a "lyrics guy." But I also like the music a lot. You mention the twang on "Tougher Than The Rest," but what gets me is the "resonance" of his vocal here. The songs also hit me on a personal level. And there's that whole "but that's me" argument again.
Conversely, there are also plenty of groups and artists that I've been told I am supposed to "get" but never really have. The late sixties for example are probably my favorite overall period of music. Hendrix. Janis. The Doors. The Airplane...
Yet, I've never been able to "get" the Grateful Dead. And I have tried. I even went to a couple of their concerts. What I saw was hours of pointless jamming with nary a song to be found. Not to mention a lot of dirty, smelly, stoned, and sometimes naked people that I am sure wouldn't be able to remember a single note they heard the next morning.
Likewise, I've never been able to "get" Steely Dan. I am well aware they write great songs, with very clever lyrics that are expertly played. For me anything with that much gloss on it kinda leaves me cold though, in a rock and roll context at least. Can't these guys even just once, make a mistake or blow a note so as to indicate that they are actually human?
But again, that's just me.
Your article does an excellent job of putting this conundrum of individual taste into the personal context that it belongs.
Good stuff Mr. Saleski.
-Glen
2 - Donald Gibson
I never "got" the Grateful Dead. I know most die-hard Dead fans despise "Touch of Grey," but that's the one song of theirs I actually like (I was maybe 9 when that song came out, so I thought this cool-looking bunch of old dudes had just put out this kickin' debut single).
I've tried time and again to listen to their "classic" stuff. I even own some of it, I just don't get what the phenomenon was all about (and I'll never understand tailgating at a concert). If you're aware of what sensibilities are necessary to appreciate this band, let me know. I sometimes feel like I have a chip missing in my otherwise widespread appreciation of music.
(And I don't particularly enjoy early Genesis either. I'd much rather hear "Domino" or "Mama" over "I Know What I Like In Your Wardrobe").
- Donald
3 - Donald Gibson
Glen, I hadn't read your passage on the Dead when I was writing and posting my comment. Weird.
- Donald
4 - Glen Boyd
Suuuuure you didn't Donald...uh, huh...
Just kidding. It actually doesn't surprise me you never got the Dead either. I've read enough of your reviews to know that song structure is important to you. And they just don't have it...well, except for "Touch Of Grey" of course (okay, and maybe "Casey Jones" too)...
-Glen
5 - Glen Boyd
Oh and Donald, the sensibilities needed to get the Dead? These would be called drugs. Preferably, of the psychedelic variety...
-Glen
6 - Donald Gibson
Yeah, I'm not much of a jam band guy. I enjoy it in the context of the blues, like Clapton in Cream or listening to Buddy Guy improvise through a song. But I don't get the meandering kind of stuff from the Dead.
How do you not get Steely Dan? I've always considered their stuff more akin to jazz than rock (hence the strict attention to detail). It's hard not to groove when I hear "Peg" or "Time Out Of Mind"...
You can read my review of their show after I see them on June 9...
- Donald
7 - Glen Boyd
Honestly, I've tried (to get Dan). Their records are just too damn slick for me. It's weird too, because I honestly think they have some great songs. I love Nash Kato's (the Urge Overkill guy) version of "Dirty Work" for example. My favorite parts of De La Soul's 3 Feet High And Rising are when they sample Steely Dan (well, that and the Turtles).
But to me they produce records that are slick to the point of being sterile. I saw them live once, and half the band was redaing freaking sheet music! Which is fine at the symphony, but not at a rock show.
Again, that's just me though. I respect Dan a lot, and I certainly know they are great musicians.
It just don't "move me," ya' know??
-Glen
8 - Donald Gibson
The sheet music image reminds me of the one time I saw Linda Ronstadt a couple years ago. I guess it's rare these days for her to tour and she'd never been in my area (it was a big deal around here). The theatre was sold out, I'm sitting there waiting to hear "You're No Good," "Different Drum," "Long Long Time"...The curtain opens and there sits this orchestra and she sings the frickin' "Great American Songbook" for an hour and leaves. It was such a letdown.
- Donald
9 - Robert Allen
Hmmn...an interesting take on things, and a well-written one. It must be, because several of the albums and artists you don't appear to care for are ones I dearly love (all except Bonny 'Prince' Billy).
But the whole point of Bryan Ferry's voice is that it's supposed to be void of emotion. Here is a guy who wears a tux on stage, for chrissakes! Roxy Music works because of the disconnect between the singer and what he's saying. It worked better in the early incarnation, when Eno and Manzanera would be providing frantic, riff-heavy songs rather than the lounge act sound of the Avalon-era, but it did work to the end. I mean, what kind of voice are you supposed to sing love songs to inflatable dolls in?
I also second Glen's comments on Steve Hackett - I don't think there's a more economical solo with bite than the one at the end of "The Lamia"...
10 - Glen Boyd
I saw Ronstadt open for the Eagles in the Kingdome, which is (or was) a huge, enclosed cement domed stadium built for Seahawks football games that they have since thankfully blown up. She played those songs you mention, but there was so much echo you wouldn't have been able to recognize them.
-Glen
11 - Glen Boyd
Robert, are you the same guy I used to know at the Rocket? Just wonderin...
-Glen
12 - Robert Allen
Echo in the Kingdome? Yep, I saw the 1982 Who/Clash show from the 200 level. It was amazing, and not in a good way. Not only was my seat a half-mile from the stage (well, it felt like it, anyway) but it was just underneath a concrete overhang. One of the best shows and worst concerts I've ever been to...
Hi, Glen!
13 - Robert Allen
Hi, Glen - of course! Isn't the Genesis and Roxy Music a dead giveaway?
14 - Glen Boyd
Robert,
If this really is you, reply with the initials of my girlfriend back then...then I'll know for sure (and said former girlfriend won't get pissed by seeing her name in print).
If this is you Robert, I extend an invitation to contribute some articles for us. The pay sucks (but it did at the Rocket too, right?), but the large readership could open some doors.
(Seriously folks, this guy was one of the Rocket's best writers...well besides me anyway).
Think about it okay Robert?
-Glen
15 - Robert Allen
D.A.
I haven't written much for publication in the past few years (since about 2004), but I'd love to contribute something if there was an act or release that I felt I could say something intelligent about...
16 - Glen Boyd
Damn it is you. Wow!
Nice hearin from you again. I don't want to hijack Saleski's thread anymore than I fear I already have, but if you could drop me an e-mail I know Blogcritics would love to have a guy like you contribute some articles. You'll find my e-mail address next to my name at the top of the BC Music masthead.
I stopped writing for about ten years, but found my voice again here at BC. I suspect that would as well. E-mail me and lets talk about setting that inner-writer of yours free again...
-Glen
17 - Robert Allen
Thanks for the invitation Glen, and also for the kind words. I'll certainly drop you a line in the next couple of days. Take care,
Robert
18 - Glen Boyd
Cool Robert. I look forward to it.
-Glen
19 - Mark Saleski
i'm hoping mr. brewster chimes in here on The Dead.
first of all, i've never done any psychedelics so that part is out for me. i dunno, i guess what i like about them is how they blend so many influences in there to make their own thing. specifically, on records like American Beauty and Workingman's Dead, you have tidbits of rock, folk, blues, jazz, and bluegrass.
they say that their studio stuff wasn't nearly as good as the live material. i'd say it's just different.
the longer jams, i can definitely see how somebody wouldn't like them.
20 - Eric Gagne
mark. i'm one of the bonny billy friends. i love that dude, and i'll probably buy everything his name is attached to until i die. it's just one of those things for me. but what i really want to say is, thank you for the genesis comment. i have friends that think genesis is the most incredible band to emerge from that english prog business. it's so strange to me. they sound ridiculous. actually most of that music sounds terribly silly to me. all with exception of king crimson. they are the heaviest goddamn band on the planet sometimes (69-77). how anyone can have a different opinion on that is beyond me.
21 - Pico
"Inverse Musical Resonance"...I wonder if a prog-metal band has claimed that for their name yet ;&)
22 - Tom Johnson
I think "silliness" is an intentional component of early Genesis, Eric. There's a very thought-out campiness going on in the Gabriel-era Genesis songs, and I have to admit that I'm not the biggest fan of that era. What I do like I LOVE, however, but I consider that era far spottier than most fans. As for The Lamb, the first half is very strong while I can hardly remember a thing about the second half. It just loses steam and, thus, I lose interest.
As for The Smiths, I find Morrissey simultaneously intriguing and annoying. I think his sense of melody is stunning, but at times he just overdoes it, cramming too much lilting melody into every cranny of the song. I only got into them because of Neil Finn's really lovely cover of "There Is A Light That Never Goes Out" on 7 Worlds Collide. Otherwise, I might never have bothered at all.
And, yeah, as for Steely Dan, my reaction will likely never change: great musicians but they gross me out.
23 - El Bicho
"song structure is important to you. And they just don't have it."
Sounds like you only heard them live, Glen, and were too wasted at the time to pay attention because anyone who has listened to the albums Mark mentions or their greatest hits knows that line is a bunch of ill-informed hogwash. It's not like every song has a 30-min jam in the middle of it.
Now I understand people not liking jamming, but that means they are only fans of music as a final product, and they don't appreciate the process. You see the band create during jams, communicate and interact without words. Is it always successful? Of course, not but it isn't supposed to be. They are like deleted scenes from a movie, early brush strokes on a canvas. It's about the moment: what it offers and what you bring to it.
"I just don't get what the phenomenon was all about (and I'll never understand tailgating at a concert)."
They were an unpretentious band who understood that they were a part something bigger, providing a soundtrack to people's lives. Much like the unheard tree falling, music means little if no one is there to hear it. Their music belongs to everyone, which is why they led the way in authorized bootlegs. Hell, there's over 2k shows of theirs online.
Plus, there's a mindset, similar to "On the Road," that's there's an adventure out there waiting for you. The Dead were like a traveling circus, a musical Brigadoon, setting up for a whole weekend in different towns as the house band for whatever you wanted to make out of the day.There was a sense of freedom, and the rabbit hole was there if you chose to go down it. No show was ever the same and it went beyond the set list.
What's not to get about tailgating? Are you clean and sober fellow who just parks and runs inside the auditorium. How is it different than a sporting event? Are you not curious about the people who also enjoy the same music? Much like Jimmy Buffet, the parking lot scene was at least half the fun of the event. Rare was it to see more smiling faces, induced by whatever means, and more friendly, outgoing people at a concert than a Dead show. There's a reason that regardless of record sales, they were consistently a top-ten concert draw every year.
If you didn't get the Dead, half the fault is yours.
24 - Glen Boyd
Its not that I don't like jamming or improvisation, Bicho. Quite the opposite actually.
It's just that for me to appreciate it at least, it needs to have some point of reference. I am very much into musical experimentation and the whole idea of expanding boundaries...which is why my CD collection includes everything from Radiohead to Miles Davis to Robert Fripp to some of those other sixties bands that I thought did a far better job of it (Airplane, Quicksilver, Cream's "headier" stuff for example).
What I saw at the two Dead concerts I attended was five plus hours (or so I'm told, cause I lasted about two) of cosmic noodling without much of a common point of reference at all. Like I said, I just disn't "get it".
And that is probably because I was in fact, not wasted. That's where I probably messed up and as a result missed the "experience." As for the whole community deal, all I know is that when the hippie chick caked from head to toe in mud offered me a $1. burrito from what looked like the sort of grease pan you'd see in an engine shop, I wasn't buying.
No sir.
-Glen
25 - Mark Saleski
while i can appreciate that you don't "get" them glen, your characterization of the music isn't really close to what really goes on. i'd say on most nights, well over 95% of the material is song-based...very much like the records i pointed out.
sounds to me like the scene freaked you out too much.
and the need to be in an altered state is just bullshit.