Audio

Albums

Pink Floyd – The Wall

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I had such a good roll going on these album posts each week and then I got in a funk as I do, and fell off a cliff. Conveniently enough, Pink Floyd’s The Wall is an album I used to listen to frequently when I was “in a funk”, though not quite as much anymore these days. I mentioned last post that these are less reviews and more just writing about music I enjoy or have enjoyed, and The Wall is definitely one of my “top albums” for time listened to and how much I like it.

It’s also kind of up there for “number of times I have bought it”, but that’s not hard, as I don’t own too many albums more than once. I have the CD version, I have a live CD version, I have a copy on Vinyl, an old one not a reissue, possible even one of the original versions as it doesn’t have any text on it, just the Wall itself.

When I originally bought this CD is kind of a funny story. I was quite young at the time, and had gone to Best Buy I think with my dad and uncle maybe. I forget why they went, but I went browsing through the CDs, which at the time was a giant multi aisle set up, right up front. Like 1/4th the floor space of the store or something, which is funny because now you’re lucky to find am 8 foot section of CDs at a Best Buy. Anyway, I bought a copy of The Beavis and Butthead Experience (and I think maybe also Nirvana’s Nevermind). When I got home, my mom disapproved of Beavis and Butthead, so I was forced to return the CD, and instead, I bought The Wall. I would have been like 13 or 14 at the time. Funny enough, The Wall was originally released the same year I was born.

It’s probably better in the long run. Also, I eventually bought that Beavis and Butthead CD again, later. I’m also not real sure thematically that The Wall is much better than Beavis and Butthead for a young fresh teenager.

One thing I feel like this album really influenced in my music tastes is the idea of an album that “tells a story”. It’s certainly not the first rock opera ever, but it’s the first one I was really exposed to. To this day, albums with connected underlying themes, even if it’s a super loose connection, really strike my fancy. The Wall tells a story of a man (named Pink) who grew up with a shitty abusive childhood, who became famous, goes a bit crazy, and isolates himself behind a mental wall. At the climax his inner self passes judgement and he is able to break free. The album is also circular in that the end of the album runs seamlessly into the start of the album, allowing it to be run on an endless, connected loop, though that would have been tricky to do before digital media.

Albums with literally connected tracks, are also something I really like, and The Wall may be to blame for that as well.

The album is effectively split into two parts. On the CD version, this is split into the first and second CDs. The first half is the building of the wall, and an exploration of the character’s history and life up until that point. There are quite a few returning themes that run this thread, the most blatant of which is in the three versions of Another Brick in the Wall, which serve as brief interlude moments where previous trauma is compartmentalized off as “another brick in the wall.”

The second half follows Pink’s isolation and decent into a drug induced madness. The airy calmer tracks are intermixed with several sorrowful regretful tracks before Pink hallucinates he is a fascist dictator chasing down minorities at the peak of his delusions. World War II themes are one of the underlying themes of this story as well, the character’s father having died during the way, and several tracks referencing the destruction from the war. Eventually it climaxes off with the previously mentioned The Trial, where Pink is laid bare and judged for his crimes.

The circular nature of the album also is a nod towards how cyclic depression can get, where yes, our hero has broken free and come to his senses, but all of this previous trauma still exists and will come back to close the world off once more.

It’s not worth it’s own separate post, but it’s worth mentioning that the Live Album, Is There Anybody Out There? The Wall Live 1980-81, is excellent as well.

There is also a music movie version out there, though it’s been a while since I watched it. I have also heard the live shows at the time of it’s release were incredible to watch, with huge puppets and anamatronics and such, but I would have been way to young to ever see it performed live.

Dark Side of the Moon seems to be the most popular album Pink Floyd has put out, but my favorite has always been The Wall by a long way.

Albums

Oliver and Company Original Soundtrack

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This is where I drop a slightly less than subtle reminder that technically these little music posts aren’t really reviews or recommendations and more just, what I like with a bit of my own “musical journey” sprinkled in.

The last bit is where today’s entry falls in.  The Oliver and Company soundtrack has a vaguely special place for me, not for being overly notable, or even that I enjoy it a lot.  It’s the first album I ever purchased, technically.  Released back in 1988, and probably purchased around that time.  I have vague memories of it, I bought (or maybe it was a birthday present or something) a portable cassette player, and of course, I needed some music to go with it.  I remember deciding on the Oliver and Company Soundtrack.  I will add, I know that I also had the TMNT Movie soundtrack very early, so it’s possible that it was purchased at the same time.  I want to say I was with my grandparents and after picking what I was spending my allowance on, they may have purchased the other to go with it.

I still have the cassette tape.  Though I don’t seem to have the TMNT one anymore.

I suppose it’s worth mentioning the movie a bit.  I have, almost zero memory of the movie itself.  It’s a Disney retelling of Charles Dickens’ novel Oliver Twist, only instead of people orphans, it’s about stray animals.  Oliver is a little kitten, his friend Dodger is a dog, of some kind, played by Billy Joel.  It almost feels like a bit of a prototype for “modern Disney” musically.  Yeah, even the older Disney movies had plenty of music, but it feels like this was the first time they tried to really push a Pop song for the soundtrack, with Why Should I Worry by Billy Joel.  The next animated film they did with The Little Mermaid was the one with the real hit music soundtrack though.  Like I said, it felt a bit like a prototype for this concept that would become kind of the cornerstone of Disney films afterwards.

Anyway it consists of 11 tracks, 6 of which I remember not really caring for because they were “boring music” (instrumental) tracks.  Basically, I’d always just listen to one side of this tape, then rewind it instead of flipping it over.  I probably didn’t even make it all the way through the first side though.  I don’t think I really cared a lot for the Bette Midler track, Perfect Isn’t Easy, and the follow up Good Company isn’t really a rocking pop hit either.

It almost feels like I didn’t really like this album at all, though I am sure I did, because listening to it again, before writing about it, I still remembered a lot of the lyrics, especially to Why Should I Worry, which is basically the “stand out hit” of the entire thing, and probably the movie.  I mean, the hired Billy Joel to voice a cartoon dog, and it feels like they did it to get him to provide this song for the soundtrack.  As of this writing, Billy Joel has 52 acting credits on IMDB, and Dodge from Oliver and Company, is the ONLY one where he isn’t credited as playing “Billy Joel”.

Anyway, the two non instrumental tracks I have not mentioned, One Upon a Time in New York City and Streets of Gold are also alright, with Huey Lewis doing the former and Ruth Pionter doing the latter.  Streets of Gold and Why Should I Worry are definitely the stand out tracks though on this soundtrack though.

Albums

Orla Garland – Woman on the Internet

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I’m a few years behind I suppose, but it’s worth mentioning that Orla Gartland’s debut album, Woman on the Internet, was my favorite album of 2021. Orla Garland is one of those artists that I cam to from another, as she is also Dodie’s guitarist and friend and so listening to Dodie, lead me to listening to Orla. The overall feel and tone of Orla Garland’s music is much different than Dodie’s though, it’s much much more upbeat and rock and roll, though it does share a lot of the structural characteristics of ups and downs and clever lyrics that I enjoy from Dodie’s music. I have no idea if there was any level of cross collaboration there, more that just, there is a subtle style going on that definitely has rubbed off one way or the other, or probably both ways a bit.

Though this is her first full album, Olra has had several EPs previously and regularly publishes snippets and unfinished/unreleased songs on her Patreon. I mention the Patreon only to mention that it’s literally the only Patreon I have ever subscribed to. It’s also probably worth mentioning that though I am only writing about the regular release, there is a deluxe version available as well which contains a few more tracks.

Though there is no track called Woman on the Internet, the album title does show up as a lyric and kind of, underlines a lot of the themes present in this album’s tracks about just how “fake” a lot of online people tend to be about a lot of things and how people try to strive to be like them, even if they don’t realize it. The intro track Things That I’ve Learned, feels like it sets a sort of baseline for this, and the theme is a bit ramped up in More Like You later on and comes to a bit of a head later on the album in Pretending. Pretending is probably my favorite track on this album as well, I really just love the whole theme and tune behind it.

Another good track is track 2, with You’re Not Special Babe, a nice fast paced track that makes clever use of it’s title. It’s not really what one might expect, it’s not saying you’re not special because you’re stuck on yourself, or you’re not special and are a loser, it’s more that, you’re not special, in being the only one with problems and issues. As the lyric goes,

Everyone cries, everyone lies Everyone hates you Everyone’s so scared of the future, it’s true

Essentially, everyone has bad days and times and all in all, you’re doing fine, and it will be better. Another track that kind of runs with this theme of “getting better” is Zombie!, When everything seems awful and just bottle it all up because it’s what’s expected and live like, well, an emotionless zombie.

Another one I particularly like is Codependency, which has some nice hits and ups and downs in it’s structure and an interesting theme that feels a bit like a blame game but then accepts that it’s a problem that goes both ways and that’s why it works out. As a wrap up I also wanted to call out the last track, Bloodline/Difficult Things. Which feels like an interesting topper to all of the turmoil of drama across the album, it has a touch of Orla’s own history wrapped in, but I particularly like the lyric “Skip a beat in the bloodline,” which kind of feels like the idea of breaking a bad family cycle.

All in all I just really dig Olra’s overall sound and I’m really looking forward to her next album. There’s lots of interesting emotion behind the lyrics and a lot of fun structure and shifting to the melodies and beats.

Albums

Evangelion Finally

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While I’ll talk a bit on this album, Evangelion Finally, this also covers the vinyl version of this album. So, a bit of a story here. I really don’t plan to collect up a ton of records for my recently activated vinyl hobby, but I really could not resist this one when I came across it. I was originally looking into albums at Best Buy, because I had some credit, and went to do some price comparisons, then this one, and another came up as recommended. Which has spawned a bit of a new angle of interest for my vinyl buying. Anime Albums, and to some extend, Video Game albums.

I already have a plan to build a narrow wall shelf over my record player space, and this album, will look so nice propped up on the wall. I almost wish I had a good way to also show off some of the records themselves in the display because they are often quite nice looking. This album included, it has two records, both a nice splattered hot pink color. The cover has this very vibrant image of Rei Ayanami on it.

I should probably rewind a bit more on why I care about this album. I am not currently a particularly huge Anime fan, but I used to be one. I really can’t stand a lot of modern Anime, but still like a lot of those old, 90s, early 2000s classics. Evangelion is up there as one of my favorites as well. I re-watched it recently on Netflix and it’s still really good. The soundtrack is also pretty good, though this album is not the complete sound track. It’s mostly just, all the vocal tracks, minus a few dozen versions of Fly Me to the Moon.

Back around the time I was in college, I listened to the complete soundtrack pretty regularly.

While the whole album is pretty good, assuming you are fan of Evangelion and music in Japanese, I find most of the “meat” of this album is front loaded in the first 5 tracks. As one would expect, it opens with the opening track from the series, A Cruel Angel’s Thesis. The second track is a nice version of Fly me the The Moon. Yes, the same song often associated Frank Sinatra. For those who may be unaware, this song was played during the end credits of each episode of the series, though each episode also featured a different take and version of the song.

The third and fourth tracks are from the two movies, Soul’s Refrain and Thanatos-If I can’t Be Yours-. Both tracks are good, but the fifth track is the fan favorite from The End of Evangelion, Komm, Süsser Tod (Come, Sweet Death). This track plays during the Third Impact event as the world ends during the movie, and it’s probably the most upbeat sounding song about death that you’ll ever find. It’s also a bit of an odd juxtaposition of language, the title is German, it’s from a Japanese show and sung by a Japanese woman, but the words are all in English. There is also a Japanese version of this song at Track 12, though it’s a different mix for the instrumentals.

A lot of the rest of the album I don’t immediately recognize, aside from Track 11, Shiawase wa Tsumi no Nioi. This kind of tracks with my experience with Evangelion as a whole. The one track I do recognize was from a Dreamcast game, and while I have never played the game, it would have ended up in my soundtrack pile of Evangelion media back in the day. Most of the other tracks seem to come from the more recent V2.0 Remake anime. I have, sort of watched, parts of this, but I couldn’t get into it as much as the original series at all.

While I admit, I mostly bought this album on vinyl because I want to to hand up among my wall display, it is a good collection of music from the series.

Albums

Raffaella – Ballerina

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Raffaella feels like a bit of an interesting oddity in my list of “artists I like to listen to”. For the most part, to be frank, she feels like kind of a nobody level musician, though not for not trying pretty hard to get somewhere. Though Wikipedia says she was dating Justice Smith for a while and she got a set on Vevo Discover, which is pretty sweet. I’m not really here to gossip though. My first exposure was when she opened for Sigrid in 2019. Before the show I started listening to this album just fro the sake of having some idea of who she was.

I’ve been a fan since then though. I actually listen to more Raffaella these days than Sigrid, which is also amusing. It actually feels like a bit of a shame that she doesn’t seem to be making a ton of traction in her career, because she has a really interesting and varied sound and a lot of clever lyrics going on in her tracks.

The opening track of her first EP, Ballerina, is Sororicide, an airy jazzy track that follows a little story about a girl who seems to both wants to reject and embrace the whole concept of being part of the popular crowd, and how ultimately it’s all kind of a big fake sham. This is a bit of a running theme throughout this album’s tracks. A desire to be part of the cool crowd while trying to reject it for individuality. I really like the use of vocalizations as part of the backing track to the lyrics, with the oooohh and the little do do do that pop up.

It’s followed by Bruce Willis. On a side note, I really like how this is one of those rare songs where the title isn’t just the chorus line. It has a lot of the same feel and themes of Sorocicide, though it has a much fuller sound to it. I like how the hook breaks out the way it does each time from the calmer lyrical sections.

The third track on this EP, NASA’s Fake, has a more upbeat and poppy sound to it, which a much more prominent drum line to it and a bit more synth effects to it. It also has a lot more interesting variety to it’s melodies then the first two tracks with it’s bopping chorus and it’s little break out quiet interlude near the end. It’s one of my favorite tracks on the album.

The album takes a low key turn for a bit with Hell Yeah (yeah yeah yeah yeah). The airy and light feel returns for this track as well. The title track, Ballerina, picks up the pace a bit and has a nice little inspiration, autobiographical feel to it, but keeps the more light feel up with it’s pleasant piano melodies. There are actually quite a few nice little underlying piano melodies all throughout this album. It gives it a nice light Jazzy feel overall. In the case of Ballerina, it certainly evokes the feel of a ballerina dance. Based on when I saw her on stage, and some of the videos I’ve watched, Raffaella also seems to do a lot of her performance on her barefoot tip toes.

The last track is probably my favorite track, with Balaclava (like the ski mask). It really feels like a nice culmination for the album as it takes a lot of the elements of the previous tracks and stacks them all up for one last hurrah. It also tells a little story about breaking and entering into rich people’s homes, which I find amusing.

I’ll probably do future posts on her second album, but in general, I really enjoy Raffaella’s music, and I really hope she can get somewhere bigger in the future.

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