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live and electric
October 2005
unfiltered album thoughts:
As Hanson has begun to lose their pull on my thoughts, like a piece of
chewing gum I've been chewing on for more than 8 years . . . not because
I've lost my interest in the band or because Hanson has lost their talent.
But simply because the constant chewing starts to wear thin and you spit
it out or because it's dinner time and you move on.
Either way, when the drop date
of the new album came and went and I was still waiting for my Amazon copy
in the mail, I considered, "Should I head over to Best Buy and boost
sales just for old times' sake?" I decided to spend the evening preparing
baked goods for some friends who are going through a rough pregnancy and
one who is going through chemo after her leg was amputated.
But when I listened to it for
the first time last night, I realized that the allure of a new Hanson
album, is the flattery. Let me expose my vainest thoughts, which no other
band's album could ever trigger. These thoughts are all based on my baseless
theory that Hanson not only scours things I've posted about them, but
actually makes decisions based on my opinions.
Honestly, it's annoying to
read this assumption in other people's tones, but I want to come clean
and admit that although the music can still reach me it's the self-congratulations
that adds that extra element of attraction. I feel that my narcissism
is bolstered by the fact that an independent Hanson means the decisions
are in the hands of the band. Every decision is potentially a personal
note to fans.
Enter my delusions, if you
dare:
- The
album cover is sepia-toned and black-and-white. How many times have
I ranted against stylized, overtly posed close-ups of the band's faces
as the major marketing tool in album sales?
- "Optimistic"
gives long-time fans the illusion that after years of bending our ears
to understand Taylor's mumbling in song--his own lyrical language--we've
finally mastered it. Not only that, in a cover in which he speaks in
coded messages of his angst.
- "Every
Word I Say" included as the second song is a nod to the fact that
I hoped to hear this song after the Navy Pier concert, and then was
subsequently swept away by it in Kalamazoo. Not to mention, that it
turned the engine for me before just about every concert last summer.
Was it last summer?
- "Where's
the Love" and "Look at You"--the "I knew them when"
factor is "off the hook" (reference to their most recent dvd.)
Anyway, what devoted fan doesn't chuckle and comment, "They LOVE
that song! Oh how they love it" when it comes to LAY. (c;
- "Strong
Enough to Break"--Maybe you won't admit it, but there's a certain
"Name that Tune" in 2 notes pride when it comes to old-school
Hanson fans. And this song is an excellent example since it plays incessantly
behind the back of the menus on one of the fan club cds they sent out.
Not to mention, it's an old favorite--so meaningful, heart-felt, PERSONAL!
- "I
Will Come to You"--This is my most embarrassing admission, so bear
with me. My original aol screenname was "dknstormy," which
was a joke for me since I originally thought it would be reference to
my bronze skin color (I'm Asian) and the fact that I have an unexplainable
penchant for stormy weather (the kind where nobody gets hurt, naturally!).
Anyway, even though, the screenname selection was not based on an overwhelming
love of IWCTY, I feel that this song selection is somehow personal props
from the band, an understated acknowledgement. I'm SO vain!!
Sidenote: I also find that "Look at You" and "I Will
Come to You" have hilarious, unintentional at the time they were
written?--possible references to intimate behavior. Therefore their
selections from among any other "Middle of Nowhere" tracks
to be included on this album, is Hanson's way of acknowledging that
fact and embracing them both, now that they're adults.
- "Underneath"--I
have this unhealthy fascination with the pause in the line, ".
. . the fear of losing you beneath my pause skin" . . .
I feel it is pivotal to the impact of this emotion. Well, as you can
probably guess, it sounds like Taylor makes a deliberate, conscious
effort--takes pains, if you will--to linger over that pause in this
version.
-
The persistant inclusion of "Hand in Hand" in any Hanson publication
makes me simultaneously laugh and groan out loud. We all know how much
the band loves this precious song, but it now has that "If you
only heard it one more time, you'd get it" desperate quality to
it now. Get over it--people either love it or hate it. It doesn't grow
on anybody.
- I
am probably the only person who cringes when I hear Taylor sing "In
a Little While." For all the times that he has dedicated it to
his wife, specifically--it's no secret that it is special to the two
of them. I really don't care to have the mental images of why. Especially
since the song possesses a sensual quality. Too much information.
- "Penny
and Me" At this point, who doesn't smile and wonder about the significance
of Penelope in Taylor's life . . . You wonder if this name was like
the name Seven to George Costanza. Who knew? I also happen to love this
song, however. It's the lilting quality of the music and the "don't
take a breath until the bridge" challenge of the first and second
verses. Fun for people with too much time on their hands.
- "MMMBop"--My
adoration for this song is unshaken. I would never "Stop the Bop"
even to raise money for hurricaine victims. Don't get me wrong, I am
as much of a sympathetic American as the next person . . . but I am
simply not going to Stop the Bop!
- "This
Time Around"--As a person of faith, I still think this song contains
some of the band's most overt references to their faith. I am probably
wrong, but it's how I feel and since the purpose of this list is to
display my hubris in regard to Hanson and their music . . . well, there
it is.
- "Rock
'n Roll Razorblade" . . . I have nothing to say about this song.
So the band likes this song.
- "If Only" and
"A Song to Sing" are sentimental bonus track selections. The
only thing that would have truly sealed the deal for me, would have
been if the band included the concert version of "Thinking of You"
which is among my favorite upgrades of any Hanson song at a concert.
Love this concert version.
-
And the final most vain connection, I felt with "Live and Electric"
was the concept behind the "underneath" video. This is a link
to a journal article I posted in March 2001, before I knew the album
title of "underneath": life underground.
The video seemed to have direct references to the rhizobia roots, quoted
from one of my favorite books, Barbara Kingsolver's, The Bean Trees.
Not only that, "underneath" has always spoken to my feelings
of having been adopted and the inability to really communicate that
although "they say there is nothing love can't heal" you still
feel "underneath."
By the way, the concert instrumentals
were really fun to hear undiluted by the screams and conversations. However,
I'm not sure concert albums are my thing--I go to concerts to hear the
band LIVE, in person, with other people who connect with them in the same
way I do. This is lost when I listen to canned concerts from a stereo.
However, the fact that Hanson loves to share concerts with people who
can't make it to them, is again endearing.
Well, there you have it, the
darkest corners of my heart exposed. Please share yours if you have the
time.
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