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  • Songs that signal closing time…

    Songs that signal closing time…

    Time to go home?
    Time to go home?

    Songs that signal closing time are meant to get people to get up– and get OUT– into the world…

    When I was younger, I had a series of jobs that required me to work evenings. One job I had was working at a men’s clothing outlet, where I usually worked until closing time. Invariably, people would show up a few minutes before closing time to do their shopping. As I tried to get things straightened up for the end of the day, they would leisurely shop for pleated pants and matching sweaters, oblivious to my desire to call it a night.

    Years later, I took a job waiting tables, where we’d have people show up a few minutes before closing time for late night noshing or perhaps a scrumptious dessert. Unlike a lot of my peers, I was less concerned about making an extra tip or two than I was about getting home. I seem to have been born without the business gene. Actually, those late night diners usually weren’t so bad. Many of them realized they were showing up late and we were about to close. But every once in awhile, there would be a lovestruck couple who would sit in the Garden Room of our restaurant and gaze passionately at each other while S-L-O-W-L-Y sipping their wine. They were oblivious to all the people they were holding up with their extended date. We’d stand around, side work all done, waiting for these people to pay their check. One couple was particularly clueless and our chef actually turned the lights down on them to give them a strong hint that it was time to GTFO.

    Anyway, the other day I was sitting at my desk, listening to the 11,000 plus songs on my iPod, when a song from the late 1990s popped up. It was a song by Semisonic called “Closing Time”. I remembered it was played on the very last episode of the original incarnation of Melrose Place, a trashy 90s era primetime soap that I was hooked on back in the day.

    The lyrics took me back to those many evening nights I waited for people to finish up and hit the road. This song brings more to mind barflies than restaurant patrons, but the sentiment is the same.

    Lyle Lovett also has a song called “Closing Time”, though its mood isn’t nearly as much fun as Semisonic’s. Lyle Lovett’s “Closing Time” is a gentle ballad, with acoustic guitar and piano and Lovett’s sweet tenor. His song is more about a musician saying goodnight to an appreciative crowd and his roadies.

    Speaking of appreciative songs for roadies, how about Jackson Browne’s “The Load Out”?

    This is a great song to end a night to… whether you’re at one of Jackson Browne’s shows or trying to close up a restaurant.

    While I’ve never heard Supertramp’s “Goodbye Stranger” used as a closing song, it occurs to me that it might make a good one, though I’ve always suspected this song was really about Supertramp’s Rick Davies and Roger Hodgson becoming increasingly annoyed with each other to the point of the band’s breakup.

    Back in the early 90s, when I’d frequent karaoke night at a bar near my college, the karaoke jockey would signal the end of the evening by playing the theme song for Rawhide. I always thought that was pretty clever, since it got the point across without resorting to anything offensive. On the other hand, I don’t have any issues with using profanity if it’s effective. Another karaoke jockey I knew introduced me to Red Peters’ brand of comedy with this song…

    The first time I heard this song, I about peed in my pants laughing. I can’t tell you how many times I had these very same thoughts running through my mind as I took care of the last stragglers sitting in my station. There’s a good reason why I don’t wait tables anymore. But I can still laugh at the memories and anyone who has spent an evening dealing with drunks or overly demanding people can relate.

    If you want to be elegant about calling it a night, you could always play “Time To Say Goodbye” by Sarah Brightman and Andrea Boccelli, otherwise known as “Con te partirò”.

    Personally, I’m partial to the way Red Peters does it, even at his live shows. As a side note, I once played this at a party I threw because I wanted a couple of guests to hear it. They took it as a hint that I wanted them to leave. Luckily, they later forgave me. Be very careful how you use “The Closing Song”!

    And with that, I bid you adieu until my next post…

  • #9 album of 2012 – In Somniphobia by Sigh

    #9 album of 2012 – In Somniphobia by Sigh

    Artist: Sigh

    Album: In Somniphobia

    It may be me showing my age, but I choose never to hang my reviews on your assumed knowledge of today’s fragmented genres. For one thing, the huge, goofy grins I get playing Sigh‘s In Somniphobia  have nothing to do with, e.g., All Music Guide’s claim that Sigh began in 1993 as a founder of Japanese black metal with thrash leanings, then evolved towards extreme sigh_japanese_metalmetal with avant-garde leanings. But even if that description did feel true, I’d want to start you somewhere more familiar, part of shared culture.

    For Sigh, to me, that’s easy. Thirty years ago, anyone who cared to could keep up with heavy-metal, and millions did: it sounded triumphant, like Deep Purple, Judas Priest, Iron Maiden, Van Halen (wagging their dicks to Eddie’s glorious pseudo-classical riffs), and Andrew Lloyd Webber’s Cats (uh, work with me on this one, k?). Sigh play faster, have a better/ fiercer drummer (Junichi Harashima), and replace the singers with grunting trolls. But they also take those old tropes, and infuse them with endless cascades of melody. Despite the vocals, In Somniphobia is the most tuneful heavy metal album I’ve heard — and quite possibly, despite lyrics about enslavement and eternal torment and “nocturnal visions invad[ing] my sanity”, the most joyous. If Ludwig van Beethoven had composed his symphonies for modern metal bands, Sigh would get the parts marked “vivace” and “allegro con brio”.

    The most traditional circa-1980 riffs and solos here are on Purgatorium, the Transfiguration Fear, and Fall to the Thrall. The textures behind the loud guitar-/bass/drums are varied, though. Purgatorium has violin, elegant enough to play for customers at fancy restaurants; sprinklings of piano; and organ fanfare. Transfiguration Fear features hand-drums, hand-claps, spooky theremin whistling, female Viking backup singers, and a poppy saxophone solo by full-time band member Dr. Mikannibal. Fall to the Thrall also has thrashy Metallica Master of Puppets-style sections, but balances them with passages of romantic lead piano for the guitars to play shiny tunes alongside.

    Stuff like that would already avoid metal’s most frequent failing for me, the part where a band’s songs blend together (an issue even Sigh faced on my prior exposure to them, the darker, heavier, and otherwise quite impressive Scenes from Hell (’10)). But those songs understate how many tricks Sigh have mastered. Somniphobia‘s riffs are meaner, more angular, elevated by singing orcs and hints of saxophone squall, before breaking into a slow-dance for Mexican robots and airport P.A. announcers. L’Excommunication a Minuit has a pulse-racing propulsion that reminds me the “Mission Impossible” theme, peppy sax, and cackling birds. Far Beneath the In-Between, in 3/4 time, is truly dark and howling for much of its length, but can’t resist a glorious melodic refrain that feels like a bar mitzvah band after the part where all the adults have had time to get drunk. (Assuming the adults are old-time Jewish dwarf miner/ warriors, sure.) Amnesia, also in 3/4 time with lots of sax and piano, would be sexy-time music in a movie, at least the kind of movie where the sex scene is intercut with the gathering outside the building of the specialist-team hunting for (or planting) explosives. Amongst the Phantoms of Abandoned Tumbrils — dusky and dramatic, soaring with bells and synth-birdcalls when a lift is needed, with too a decent synthesizer replacement for harmonica — would be perfect for improving for the 55% of Peter Jackson’s “Lord of the Rings” movie trilogy that’s long, long, long shots of characters walking. Equale doesn’t sound to me like Deep Purple, Sting, Dire Straits, and Slayer jamming together with a harpsichordist on variations from baroque sheet music, but only because — as I don’t think that collaboration would — it flows smoothly, like the most obvious thing in the world.

    I review Sigh as a heavy-metal fan (although less of one than my 2012 countdown must imply; 2012 was, for me, an *amazing* year for the genre). Heavy metal fandom is certainly useful for appreciating it: the riffs, the gleaming solos, the blastbeat drums. It’s useful for accepting the shredded vocal croaking as amusingly beside-the-point, for hearing the giddiness in routine lyrics like “Bring out your dead withered skin/ Bring out your dead languid limbs”. Maybe it’s even helpful for appreciating the basic stupid joy of, on separate songs, “I live! You die!”, “You will die tonight!”, “Your fate is on fire, the trap behind you!”, and — for variety — “Kill me now!”.

    But I’m not kidding about Beethoven. In Somniphobia is a huge burst of melody-driven expressionism. It’s a burst that at least seems informed by the classics. Ludwig didn’t live to experience electricity, amplifiers, distortion pedals; he put his grooming into powdered wigs instead of flowing, chest-length natural hair dyed Manic Panic yellow. I think the poor guy missed out. And I think it’s at least 50/50 that he’d agree with me.

    – Brian Block

    To see the rest of our favorites, visit our Favorite Albums of 2012 page!

     

  • American Idol Season 12: Cutting Down To 4

    Paula Abdul

    Photo of Paula via her Twitter page

    Before I get to anything, I have to get to the biggest news first. Paula Abdul was back on American Idol y’all!

    Last night, Candice performed Paula’s Straight Up. Ryno asked Randy if he’d talked to Paula to get her thoughts and Randy said he couldn’t get a hold of her. And then, Paula walked up behind Ryno and Candice. Paula was her usual nervously spoken self, but it didn’t matter. Paula was back!

    Ryno even let her sit with the judges, which gave us a Nicki Minaj g-string sighting when she bowed to Paula.

    Who rocked the stage?

    I love that Thursdays have become alumni night. First, Clay Aiken came back to sing Bridge Over Troubled Water.

    And before Fantasia came on to sing Lose To Win, we got to catch up with Latoya London who is trying to get her singing career going.

    Of course, Fantasia rocked it. To me, she’s still the single best performer in the history of American Idol.

    I’m not quite sure why Fantasia’s performance isn’t on the American Idol YouTube channel, but here’s the video to the song she performed.

    Who were in the bottom two?

    Ryno had to do this quickly as they were low on time.

    He sent Candice, Angie, and Amber to freedom which left Janelle and Kree (Summer) in the bottom two.

    Interestingly, I mentioned that I thought Kree was on cruise control Wednesday night.

    I also hedged on my prediction here last week that Janelle might be in trouble by saying that I thought Amber would leave because the fans simply don’t dig her style. Well, they did this week.

    If they didn’t, Nicki would’ve told them, “Simmer down, sir.”

    Who went home?

    It was time for Janelle. It wasn’t time for Kree (Summer). The elephant in the room was if the judges would use the save on Janelle so that we could have final five diva showdown part two. I don’t believe they can use it past this week. But it wasn’t meant to be. They think this should be the final four.

    Janelle goes home sweet home. She was just a notch below the other four women.

    Next week’s themes are one-hit wonders (which is a fan pick) and contestant’s choice. I don’t think they’ll be able to top this week, but it still should be excellent.