More on message…

Sleater-Kinney was another great example of a band with a voice; I’m still making my way back through their stuff, but that was clear from my second or third time through The Woods.

Let’s Call It Love blew me away; here’s a selection:

…
Want it like you never have
Timing and tiger strength
…
And you better be my bloody match
…
Been such a long time
I’ve wasted all my fucking time
…
Let’s call it love

My dear, look at my face
I’ve been waiting for you in the same old place
I’ve got a long time for love
My body is all shook up
like a bottle of pop and I wanna go off
I’ve got a long time for love
Lock the door, lock it on up
I won’t let you go until I’ve had enough
I’ve got a long time for love
…

The words may not read like much, until, first, you realize they’re written by a woman, and, second, you hear them belted out by Carrie Brownstein, complemented by the band’s raw, rhythmic cacophony. It’s powerful stuff.

Harsh Times

I just watched Harsh Times starring Christian Bale, one of the great character actors of this generation. I liked it for many reasons – the lighting and cinematography was fantastic, for example – but for Bale’s performance first and foremost. That scene where he’s ironing his shirt and talking about the imminent psychological evaluation is gold; his focus is unreal.

Hawksley Workman and the message

I bought For him and the girls, lover/fighter, and Treeful Of Starling the other day on my brother’s recommendation; boy, am I impressed. How have I missed hearing about this guy for so long? And a good ole Canadian boy, no less!

He’s that rare combination of voice – in the sense of having something to say, a message – and talent. I find myself drawn to those musicians, in spite of any apathy in might initially have regarding their music; that is, without that voice – again, the broader sense – I wouldn’t give it a second thought.

Some musicians seem to lose their voice. The analogy of a well is popular and apt. Some have more to draw on. For example, Chris Cornell’s is shallow – his lyrics have become increasingly strained since Badmotorfinger. Tori Amos’s seems deeper. I say ’seems’ because I’ve lost interest in her over these, oh, goin’ on 15 years now, I guess; but there are likely a variety of reasons for that, not the least of which is how much I’ve changed since then. There’s less doubt with Chris because, unlike Tori, I still enjoy Audioslave’s music; or its potential, anyway. But his lyrics are inane.

Aside: All that’s in the past! Rage is back, baby!

All that to say, I like Hawksley Workman’s music more each time I listen to it, and that has more to do with his voice – no need to clarify now, right? :-) behind it than the music itself. For example, I could see Panic! At the Disco playing a song that sounds just like Paper Shoes, but isn’t nearly as compelling.