Letters

Letters 12-14-2014

Come Together There is a time-honored war strategy known as “divide and conquer,” and never has it been more effective than now. The enemy is using it against us through television, internet and other social media. I opened a Facebook account a couple of years back to gain more entries in local contests. Since then I had fallen under its spell; I rushed into judgment on several social issues based on information found on those pages

Quiet The Phones! This weekend we attended two beautiful Christmas musical events and the enjoyment of both were significantly diminished by self-absorbed boors holding their stupid iPhones high overhead to capture extremely crucial and highly needed photos. We too own iPhones, but during a public concert we possess the decency and manners to leave them turned off and/or at home. Today’s performance, the annual Messiah Sing at Traverse City’s Central Methodist Church, was a new low: we watched as Mr. Self-Absorbed not only took several photos but then afterwards immediately posted them to his Facebook page. We were dumbfounded.

A Torturous Defense In defense of the C.I.A.’s use of torture in a mostly fruitless search for vital information, some suggest that the dire situation facing us after 9-11, justified the use of torture even at the expense of the potential loss of much of our nation’s moral authority.

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4Play

Ross Boissoneau - October 14th, 2004
Mike Keneally – The Universe Will Provide (Favored Nations)
Former Zappa guitarist Mike Keneally certainly learned a few things from Frank, and on “The Universe Will Provide” he puts some of them to use. His compositions are more like min-symphonies than rock songs, which makes sense given the fact he’s accompanied by the Metropole Orkest, a 60-piece Dutch orchestra. Keneally’s lines are ofttimes jarring, placed almost in opposition to the orchestra; at other times, the two blend, or the orchestra supports Keneally’s electric excursions. Keneally touches many bases here, from shred guitar to complex orchestral passages to sweeping melodic grandeur. If titles like “Worrywart Spoonguy” and “Four Slices of Toast” intrigue you rather than put you off, chances are the music will as well.

The Chieftains – The Long Black Veil (Mobile Fidelity)
Sting, Mick Jagger, Van Morrison, Sinead O’Connor, Mark Knopfler, Tom Jones – no wonder “The Long Black Veil” garnered notice by the masses and critical acclaim when it was released in 1995. Now this marriage of rock royalty and traditional Celtic music has been given glorious new life by the label famed for its painstaking approach to audiophile quality sound. Listen past O’Connor’s vocals on “The Foggy Dew” to the rolling drums in the distance and the pipes and bodhran, or the exquisite sound of the harp, flute and pipes on Morrison’s “Have I Told You Lately That I Love You?” that back the singer on a most heartfelt version of his hit. Really, any track here is divine, and is made all the more so by the incredible sound.


Brian Setzer – The Ultimate Collection (Surfdog)
The novelty of rockabilly bad boy Brian Setzer fronting a 17-piece big band has long since faded. Now the group can be appreciated for its musicality and muscle, and there’s certainly plenty of both on display on this double live CD. From “Brand New Cadillac” and “Sittin’ On It” from the band’s debut disc in 1994 to the surprise hit “Jump, Jive & Wail” to remakes of the themes from James Bond and “Hawaii Five-O” and big-band treatments of “Stray Cat Strut” and more, this disc swings and zings. His band boasts great soloists and a tight ensemble sound. Setzer is Setzer, of course, his growling guitar and bluesy vocals taking center stage most of the time.

Karrin Allyson – Wild For You (Concord)
Today’s best female jazz vocalist – save your arguments, it’s just the truth – turns back to her pop roots, with tunes by Joni Mitchell, Cat Stevens, James Taylor and Elton John, among others. Allyson’s sex kitten poses on the CD cover are hardly necessary, as the music itself is by turns sensual, playful, engaging, and always soulful. Like the greatest ballplayers, Allyson makes everything seem effortless. Her re-arrangements of “It’s Too Late” by Carole King is a great example of how she keeps the spirit of the original intact even as she and the band stretch out, with a great solo by guitarist Rod Fleeman before Allyson returns to the vocals and melody, then scats out to the end.
 
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