![]() So Live in the Dream starts off not unlike Pink Floyd’s Us and Them, but gradually becomes more discordant and ramshackle: the squeak of fingers on guitar strings is louder than the actual guitar, the massed backing vocals clash with Clark’s voice and the sound of the track surges in a way that doesn’t sound stirring so much as sickly. They seem more like parodies, of varying degrees of knowing grotesqueness. Anyone with a passing acquaintance with Pink Floyd’s most successful album can’t fail to notice the influence of its more languid moments on Live in the Dream, which comes complete with the none-more-Floydian lyric, “Welcome child, you’re free of the cage / Trying to seem sane makes you seem so strange”.īut these don’t sound like lovingly crafted homages to the past. There are dabblings in the fingerpicked acoustic style of the era’s confessional singer-songwriters, the mock-showtune stylings of Harry Nilsson and Randy Newman and the electric piano-driven funk of Donny Hathaway or Stevie Wonder. The whole album is liberally dressed with a synthesised sitar sound that cropped up on dozens of the era’s soul singles, from Freda Payne’s Band of Gold to the Stylistics’ You Are Everything. ![]() Its sound was apparently inspired by his record collection, which evidently majored in the early 70s. Only the title track concerns her father’s imprisonment and release, although his presence lurks over the album in more subtle ways. We live in an age of prurient interest in – and boundless opinion-giving about – celebrities’ personal lives: announcing that the title of Daddy’s Home referred to her father’s release from prison after a 10-year stretch for stock manipulation was bound to have an overshadowing effect. The backstory of Annie Clark’s sixth album as St Vincent already feels well-worn.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |