Saturday, July 27, 2013

The Changer and the Changed

I am genuinely perturbed at how fast July flew by. So much, in fact, I don't even want to talk about it.

I have a happier subject to dwell on anyway: my new favourite album.

The other night when I was meant to be sleeping, I found myself googling lesbian singer-songwriters, because that's where my interests lie these days.

And on some blessed compilation list on some blessed website, I ran across a recommendation for an album by Cris Williamson called The Changer and the Changed. Embedded was her song 'Waterfall'... and before the song had even finished, I knew I wanted this album. Less than 20 minutes later, I had ordered a copy. I didn't even listen to any other songs off it. I just somehow knew I would love it.

(I only doubted this when I received it and feared it was going to turn out to be a country album. But only the second track was country, to my relief.)

Cris Williamson, where have you been my whole life?

(photo credit)

I've yet to explore her other music (she's been recording since the 60s) and I look forward to doing so, but for now I just want to bask in the perfection that is The Changer and the Changed.

This album was released in 1975 without the help of any men. Seriously. It was released on the independent label Olivia Records (which was completely women-based) and in the liner notes it says, "This album was made with the help of these women" and proceeds to list a plethora of females. As a feminist, I think that's pretty awesome.
There is something timeless about The Changer and the Changed. Something indelibly golden. The ten songs that make up this album made a home within me the first time I heard them. I've had this album for only a month, but it has touched me so much already. I hope it continues to mean a lot to me over the years. (And reading what other people have to say about it, I suspect it will!)
I don't know how to classify this album. Just give it a try and if you like it--wonderful! Below I'm posting the song that started it all for me 'Waterfall':

Friday, June 28, 2013

Wizard Flurry Home

The first draft of this post was scribbled at 3 AM when I couldn't fall asleep. (Long story. Or boring story, really.) I soon discovered, to my chagrin, that while my eyes wouldn't close, my brain was not functioning with its usual (ha!) keenness.

Good news is, I've been sleeping better! And hopefully this post won't read as inanely as the words on this paper next to me. (I can barely read my handwriting, to be honest.)

Okay, convoluted opening over, let's get to the reason I'm here: to talk about Mariee Sioux.

Or more specifically, her album Faces in the Rocks. It came out in 2007, and I used to listen to it around 2008, I think. But that was the time when I was discovering a lot of new and wonderful music... and I lost touch with Mariee Sioux's music.

I went to look up Faces in the Rocks a year or two ago and discovered, annoyingly enough, it was unavailable. There was a reason for this. A reason I knew. But right now I can find no information on what happened. It's eerily like it never happened. (This is quite perturbing.) But something happened with the label, I think, and she no longer owned the rights to the songs? I have no idea anymore. All I know is, I was not able to buy this album until this past year.

Though predominately labeled simply a folk album, the Native American influence of  Faces in the Rocks is so apparent, it seems to be putting it lightly to say it was merely influenced by that culture. This album is imbued with it. The most enchanting part of this is the Native American flute that haunts the album. (I don't know if there's a more specific name for it. I'm just going off of what wikipedia is telling me.) Which is why I'm posting the opening song of the album 'Wizard Flurry Home'. I think it features the flute the most. Also it's the song I remember with the most clarity from when I listened to this album so many years ago.

(C'est tout pour maintenant. I hope to be less absent on this blog from here on out. I've missed it!)

Sunday, February 17, 2013

Till Tomorrow

I scribbled part of this post on a piece of paper somewhere, but now I can't locate it. I wouldn't be too bothered about this except I think there was a poem written on the other side. I really need to get my act together.

I've really missed music blogging, so I'm hoping to get back in the habit. I've been wanting to actually write this post for ages, so I'm ignoring the fact I'm tired, overheated, and have a stomach ache. Don't you feel sorry for me now? Well it's okay. Because I'm here to talk about someone awesome: Don McLean.

I think everyone knows either 'American Pie' or 'Vincent (Starry, Starry Night)'.  I myself have known and loved the song 'American Pie' for years. I had no idea what a wonderful store of Don McLean music exists. Sadly besides 'Best Of" type albums and American Pie, buying his music is not as convenient or cheap as one would hope for in this day in age.

I should probably put some of his biographical information in here somewhere... but nah. I'm just going to jump right in with my personal nonentities. Several months ago I downloaded American Pie on a whim and let me just say that is possibly the best decision I've made in the past 6 months.

This album was released in 1971 and was his second album. I don't know what else to say about it, except there is not a track on it I don't love. The album is mainly composed of beautiful, melancholic folk songs, but there's humour ('Everybody Loves Me, Baby'), anti-war ('The Grave'), and a cover of the traditional 'Babylon'. Not to mention the title track and opener 'American Pie' which is still, in my estimation, 8 1/2 minutes of bliss.

So I've picked the second track 'Till Tomorrow' to post, because it was the first song I listened to after I downloaded the album. When it started playing, I knew I'd made a good choice.

(The song might take anywhere from 6 to 30 seconds to load. Heh. Heh. Good things come to those who wait, though!)