The early darkness imposed by last week’s time change and the predominantly gloomy weather in Kansas City have threatened to turn me blue. Yet I don’t need a mood therapy light when I have Vives. The sunny music on Carlos Vives’ tenth studio album plays like a greatest hits collection. Each of its perfectly constructed 18 tracks is irresistible. It’s no accident that the colorful video for “La Bicicleta”, the Columbian’s lustrous Latin pop duet with Shakira, has been viewed more than a billion times. The corny video for “Al Filo de Tu Amor”, one of my favorite tracks, has a measly 41 million views. The therapeutic sonic sunshine of Vives has rescued me.
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I write weekly music previews for The Kansas City Star.
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I featured Stevie Stone on my weekly KCUR segment.
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I bought a $35 ticket to sit in the upper balcony of Muriel Kauffman Theatre to see the Lyric Opera’s production of Joby Talbot's “Everest” last night. The vertical stage set was reminiscent of the innovative production for Kanye West’s Yeezus tour. And “Everest” sounded more like “Tommy” than “Turandot.” So why was I one of the youngest people in the half-full room?
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My review of the Victor Wooten Trio’s appearance at the Madrid Theatre is at Plastic Sax.
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Lil Peep has died.
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Guitarist Dan Devine, a new addition to the Brian Blade & the Fellowship Band, completely changes the dynamic of the ensemble on the slightly disappointing Body and Shadow. RIYL: early Pat Metheny, placidity, Ralph Towner.
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Syleena Johnson, the daughter of Syl Johnson, spelled “rehash” wrong in the title of her unnecessary Rebirth of Soul album. RIYL: Ruth Brown, the good ol’ days, Solomon Burke. Here’s “Make Me Yours”.
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Yaeji’s self-titled EP is worlds of fun. RIYL: chillout rooms, The XX, alcohol. Here’s ”Guap”.
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God bless Protomartyr. I love the vibe of Relatives in Descent even though the songwriting is suspect. RIYL: the Fall, inebriation, the Hold Steady. “Don’t Go To Anacita” is the best song.
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ECM Records’ new pact with streaming services makes me feel as if I received an unexpected check in the mail.
(Original image by There Stands the Glass.)
1 comment:
In response to your question about why you were the youngest person at Everest, I always chalk-up the lack of young (and non-white) people at the symphony and opera as two things:
1. the price. Simple as that. Unreasonable for the majority of the general public, let alone a kid on a minimum wage job.
2. The other people at the symphony and opera. Up-tight, white, and dressed in suits. Every time I go to an opera or symphony, I make sure to dress down (ie. faded jeans and a t-shirt). It's the way of the world today (just like business casual or completely casual in the workplace). And if I'm a kid standing outside watching mostly white, formal people going into the theater...why do I want to be there ("doesn't look fun to me"), and more so, am I even welcome there? Because a kid sees nobody like themselves attending.
Thanks for the blog and keeping it up to date. Great stuff.
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