Hello! As you may have guessed from the name of this blog, my name is Liz and I am fascinated by song lyrics. I hope you enjoy my waxing lyrical about lyrics and about music generally. I also review albums and gigs and have interviewed several wonderful musicians. Enjoy!
I enjoyed the flag parade - having it double as a fashion show was an interesting twist. I was pleased to see the musicians looking quite relaxed and happy as they strolled across the stage.
As for our hosts, Petra and Måns... where do I begin? I've heard so many people who aren't even into Eurovision saying that they loved them and they should host every year.
I found them a breath of fresh air, especially the brilliant Petra. She was even funnier and more charismatic than in 2013, which I hadn't thought would be possible. I love how the crowd chanted her name as she walked onto stage and how moved by it she seemed.
I think the postcards could have been slightly more innovative. I like how they showcased the artists' countries instead of just Sweden, but I do think they could have jazzed them up a little.
I did appreciate the cool things they did with the name of each country at the end of each postcard (different fonts and colours).
I enjoyed Graham Norton's commentary. He seemed a little less bouncy this year, but I guess that could be linked to Terry Wogan's death. I wish he could have spoken over Petra and Måns less, though as he says every time that he has to, I suppose he must. Still, it was frustrating.
I could very easily have done without Justin Timberlake and his patronising comments to the contestants. He clearly didn't realise many of them were top musicians in their country and internationally, and treated them like they were talent show newbies.
His performance wasn't amazing either; I've since grown to quite like the song but that rendition didn't catch my attention. Måns and co. on Segways also looked a bit cheesy and clumsy. He can do a lot better than that.
However, we all know the real interval act that night was Love Love Peace Peace, Måns and Petra's homage to, and parody of, modern-day Eurovision.
The song itself is amusing, but it was their performance that made it. Especially Petra, considering she is a comedian first and foremost and not a singer like Måns. I've re-watched it more than most of the night's actual entries. Again, I've heard non-Eurovision fans praise it repeatedly.
I don't think it quite matches Norway's 2010 flashmob, which in my view is the best interval act ever. But it was better than most we've had in recent years.
I had my doubts about the new way of presenting the votes. However, it worked okay. It certainly made things more exciting - and tense! - at the end.
I voted for Sweden and was glad to see they got a point from the UK public vote. To be honest, I expected more than one - Frans has a similar style to some artists who are doing well here at the moment, such as George Ezra, Tom Odell and James Bay.
Still, one was better than none and I was happy to see Sweden make the Top 5 - just!
As for the winner, I think musically it was dull but vocally it was amazing and quite haunting. I won't comment on the politics, as is my general policy with Eurovision songs.
I would have been happy with any out of Lithuania, Australia, Sweden or Belgium winning - or the UK, of course!
Overall, this was one of the best-hosted and generally most enjoyable contests I've watched. Sweden has such respect for Eurovision, which plays a big part in their success both as contestants and hosts.
I hope future host nations incorporate some elements of Sweden's two recent contests. (But not Justin Timberlake or Segways!)
I hope you've enjoyed sharing this year's Eurovision experience with me. Here's to next year!
Shortly after returning to Manchester after my wonderful Spanish summer, I saw that a Gabrielle Aplin gig was up for grabs to review for The Mancunion. I had heard a few songs by Gabrielle and liked them, and claimed the gig in the hope of getting to know her better.
There was then a lot of confusion between The Mancunion and her people and I was told by The Mancunion not to bother going as they weren't sure whether or not I would be on the guestlist. However, I decided to go to the venue - The Deaf Institute - and see what I could find out.
It transpired that I wasn't on the guestlist but when I explained what had happened they let me in anyway. Relieved, I got a San Pellegrino, took a seat and sat back to watch what turned out to be a pretty great show.
My review for The Mancunion of Gabrielle and her support Sample Answer can be found here but I also wanted to share with you some general thoughts about her music.
She has released two albums, the folksy English Rain and the rockier Light Up The Dark. The thing is, when performed accoustically, any of the songs could be from either album. It's purely the production that separates them. Gabrielle has a very definite songwriting and performing style that remains unchanged.
One of my favourites, as mentioned in the piece, is Don't Break Your Heart On Me.
This is actually a secret track on Light Up The Dark - you have to wait a while after the last official song for it to appear. I like the general concept of secret songs (although in these Internet days, can any track really be secret?) but think this one is so good it should be on the main album.
It's a classic example of what is clearly a folk song at heart, made grungier and darker by the production. I loved it sung accoustically on the night and was doubtful at first about the album version. But I've learnt to really like it.
Another song from Light Up The Dark that I love is Hurt.
Hurt is kind of the opposite of Don't Break Your Heart On Me in that I wasn't ecstatic about her live performance of it but fell in love with the studio version.
The song really reminds me of the relationship between Emily Starr and Dean Priest in Emily of New Moon and its sequels by LM Montgomery. Emily never loves the much older Dean but admires him and feels sorry for him as he has a humpback and has been spurned by society as a result.
For me, Emily's feelings towards him are evoked so strongly by this song and I wish they would make a video for it telling the story - I can imagine exactly how it would look, scene by scene! Gabrielle looks enough like Emily that she could play her and it could be amazing. The Emily books need more attention - for me they are far superior to the Anne (of Green Gables) books.
The final song I want to highlight is from English Rain and is How Do You Feel Today?
After the show I could not get this song out of my head but I wasn't totally sure it was actually by Gabrielle and not just some random other song that had invaded my mind. I kept forgetting to check it when I was online and it was getting annoying!
All the time I was remembering more and more of the song and it was coming to me more and more clearly. Eventually I looked it up and found it and love it so much. Her voice is perhaps the best in the above video that I have ever heard it (though it is always lovely) and the guitar is brilliant, too.
I hope you've enjoyed learning about Gabrielle Aplin - I have high hopes for this talented young woman.
Thanks for reading,
Liz x
Songs: Don't Break Your Heart On Me - Gabrielle Aplin - 2015
I'm pleased to tell you that my review of Shane Filan's new album Right Here has been published on The Mancunion.
I'd like to mention that the review has been edited in a way that makes me appear much more critical of the album than I actually was. In reality I found it made quite enjoyable listening.
I have recently come back from a lovely trip to Ireland - one of the best things that's happened to me in a long time. It was so nice to see my family, to attend my uncle's beautiful wedding, and simply to have a change of scene.
*
We were based in Limerick, a city I adore and which featured in my list of Top 5 River Cities for the Cuckoo Review. It is especially gorgeous at this time of year, and I enjoyed wandering around eating crêpes and photographing swans on the River Shannon.
Swan
We also spent a day in Galway, where my father was born, and I liked it a lot - I love being near the sea. We met up with a couple of old friends, which was really nice.
Salthill, Galway
Much time over the week was spent making bracelets and Despicable Me minions from loom bands! It was a brilliant holiday and, of course, I heard many songs that will now always bring me back there.
*
Firstly, Van Morrison's Brown Eyed Girl played both on the radio while we were driving somewhere, and at the wedding.
Every single time I hear the beginning of this, I think it is I Can See Clearly Now, and then I'm surprised when it's not! Fortunately, I prefer Van!
I am a big Morrison fan - I love his song The Queen of the Slipstream - yet this, perhaps his joint best known song with Moondance, sort of passed me by when I was younger. I heard bits and pieces of it, but never sat down and listened to it properly.
I really like it now, though, and it will forever remind me of dancing at the wedding. Whenever I hear it I will wish I had someone else to hand to dance with!
*
Another song from the wedding is Neil Diamond's Cracklin' Rosie.
I first encountered this on Stars in Their Eyes. I liked it. Then I heard the original, which to me sounded like a completely different song! Not singing-wise - the Stars in Their Eyes guy was pretty good if I remember rightly - the melody just seemed different.
Nevertheless, I do still like it, and will now always associate it with one particular anecdote.
It was the wedding reception, at a hotel in Limerick, and I was sitting in the bar with various relatives, chatting. I decided to go outside for some air. I hadn't realised it was raining, but I didn't mind.
Then I discovered that the door was locked from the inside and I couldn't get in again. I could hear Cracklin' Rosie being played inside, which I was pleased about. I didn't mind being out at all; it was quite atmospheric. The night was blue and the rain was light and it was really nice.
I wasn't there for long before one of the hotel staff found me and let me back in. It was a fun, unique experience - and one I will remember!
*
A third song that I heard a lot as it was on the music channels frequently is Chandelier by Sia.
I was doing a shift volunteering at the Book-Cycle - like a free library/bookshop - and I heard the first few bars of this and was unimpressed. Then I heard the whole thing and I was impressed. It suits her voice and it is really nice and quite different to other sings in the charts at the moment.
*
I had a wonderful week in Ireland and it gave me some amazing memories - connected, as always, to music. The story of my life.
And if you are wondering what the "cake" in the title refers to, we had two amazing cakes - the wedding cake, which was delicious and stunningly decorated, and a cake which my Granma bought to celebrate the summer birthdays among my family, of which there are a lot! That was lovely as well.
The wedding cake, designed by Gill Corrigan
The summer birthdays cake!
Thanks for reading,
Liz x
Songs: Brown Eyed Girl - Van Morrison - 1967
Cracklin' Rosie - Neil Diamond - 1970
Chandelier - Sia - 2014
I have recently written a piece for the Cuckoo Review on songs by Glasgow bands and artists, both old and new. These include some I have mentioned on this blog, including Deacon Blue, the Silencers and Eddi Reader, as well as two new bands.
I also did another piece for Cuckoo on my Top Five River Cities, if you are interested.
As you may remember, I saw Pete and Maura Kennedy live in Southport in June performing a show of the songs of Nanci Griffith. I had previously seen this show in 2013. Both evenings were very enjoyable.
In June I came away with the Kennedys' live album of Nanci songs, Dance a Little Closer, and it is my great pleasure to review it for you.
***
The album opens with a lively rendition of Nanci's upbeat I Wish It Would Rain. It is followed by Trouble in the Fields, which the Kennedys manage to adapt slightly, yet keep completely true to the sentiment of the original: sad but hopeful.
Next comes Across the Great Divide. I always find it so poignant and moving hearing the Kennedys perform this song, as they sang it with Nanci twenty years ago when they were her guitarist and backing singer, and it is great to see it come full circle.
It is also interesting for being the cover of a cover - the Kennedys' version of Nanci Griffith's version of a Kate Wolf song. Through its reincarnations it has managed to stay anchored firmly to the the roots of the song: a sense of loneliness, of a haunting, of coming to terms with a loss with bravery and acceptance.
Maura Kennedy's voice is always very beautiful but in this song especially, and in several others on this album, I noticed something extra in it - a deep kind of wisdom, of knowledge and sincerity, of someone who's seen many corners of the world. And so she has. It is very special to hear.
The next track is Late Night Grand Hotel, which the Kennedys previously recorded for their album Songs of the Open road. That version was nice, but this song suits being live. Maura has mentioned how important this song is to her as it reminds her of when she first started touring with Nanci. It is also a favourite of mine.
The original Late Night Grand Hotel is one of the more heavily produced Nanci tracks, so contrasts the most of any song on this album with the Kennedys' raw, emotional, acoustic trademark style.
For me, the best part of the original was the way Nanci sang the line,
"No-one ever knows the heart of anyone else,"
with such open sadness. I listened out to hear how Maura would do it, and was pleased to hear something similar in her voice.
I like how the "no"s in the chorus were held back until the end. Something I think might have been nice is for no-one to sing them on the first chorus, then Maura on her own, then Pete on his own, then both of them, rather than nobody and then both. But the way they did it still works and I prefer it to Nanci's having them all the way through.
The Kennedys also add a nice little bridge between the first chorus and second verse and an instrumental at the end, with lovely-as-ever guitar work from Pete. Overall, they did a great job on one of my favourite Nanci songs.
Their version of Lone Star State of Mind - another cover-of-a-cover - is pleasant, although I'm not too keen on the jazzy feel they have introduced. Still, it is good that they made it their own. At the very end it reverts back to folksy with some more great guitar work.
There's a Light Beyond These Woods is another song that is important to Maura as she witnessed a very emotional performance of it by Nanci which deeply moved her. She sings it beautifully; I especially like the way she sings,
"All the dreams we sang..."
I'm Not Drivin' These Wheels is a song which I liked when I was younger, which I lost, and which I spent ages trying to find again by listening to snippets of songs on Amazon.
I'm glad the Kennedys like it and identify with it as well - enough to include it not only on this album but also as their contribution on the Nanci tribute album by various artists, Trouble in the Fields, which they produced.
Their version is perfect - it keeps everything good about the original and adds some very Kennedys guitar licks. A lovely piece of musicianship.
I have sung the praises at least twice in the past of the Kennedys' version of Gulf Coast Highway, which I prefer to the original - theirs is softer, more gentle, while the original is sharper and more dramatic. The last verse, where Maura sings on her own and is then joined by Pete, is very lovely.
They then go back up-tempo with Love Wore a Halo (Back Before the War). I feel this is often neglected as a Nanci song, and it's a good one. I'm glad the Kennedys are fans. Their version live is uproarious and great to sing along to, and the recording manages to capture that fun and spirit.
We then have From a Distance. I don't really like Nanci's version of this, and I found the Kennedys' one very similar - it is probably the truest to the original of any song on the album. Still, Maura's voice is especially nice on the chorus.
Ford Econoline moves in the vein of Love Wore a Halo: wild and joyful. I get the impression from the amount of applause that it may have been the final song in the concert and I agree that it is a great note to finish a night on - so happy and fun.
The penultimate track is Love at the Five and Dime. I would really have liked this to be the ultimate track as I think it sums up all this album is about, plus it contains the line that forms the title of the album:
"Dance a little closer to me."
It's slower than Nanci's version and I like it that way - they seem to put more focus on the story and the emotion than on the melody, although the melody is there and is strong.
The final track is Hell No (I'm Not Alright). I don't want to comment on the song because I don't understand the politics behind it; even after watching the video I'm not sure what message Nanci is actually trying to give out. So I'll comment only on the musical side: the Kennedys play it well and with great enthusiasm.
This album was very enjoyable to listen to - if there are a couple of songs I wouldn't listen to regularly, it's because I dislike the original, not because the Kennedys have done anything wrong. Maura's voice is gorgeous as ever; Pete's guitar playing is sublime; the two make an amazing duo. I've said these things many times before but they never stop being true.
Overall, a lovely piece of work that is true to the person it is celebrating while incorporating the artists' own personalities, which is the best way to do a tribute.
Rating: 8/10
Song: Across the Great Divide - Nanci Griffith - 1993
