Angel LaCanfora: News

Review of the Classic Film

It took a lot to upstage the great Bette Davis (whom I love), but Claude Rains (also one of my favorite actors. I will watch anything he is in!) succeeded in this lost b&w classic from 1946. Here we have a love triangle (which never ends well!) played out by classical musicians, pianist Christine (Davis),cellist Karel (the able Paul Henreid) and the sadistic, domineering composer Holenius (Rains). Christine and Karel were madly in love when they were seperated by war, and while it's never directly said, it's implied that Karel spent the years in a concentration camp. Karel is a bundle of nerves, understandably suffering from PTSD. Christine had assumed that he was dead and during their separation, took up with the wealthy and well-known Holenius. Christine is reluctant to tell Karel about her relationship with Holenius and therein lies the deception. She nervously blathers to Karel about how Holenius was just her teacher and she his pupil. But Karel isn't buying it and goes to confront Holenius about their relationship. The smooth-talking and charismatic Holenius wins Karel over by asking him to perform a concerto he has penned. Karel is thrilled with the opportunity, but Christine is suspicious, knowing that the dastardly Holenius is up to something. On the night Karel is to perform the concerto, Holenius takes the couple out to dinner at a fine restaurant, where ensues a very funny scene in which Holenius stalls the waiters, yammering on about what to order, so that he might fray the nerves of the fragile Karel before performing. The writing for this scene is witty and sharp and was worth my rewinding to watch twice! I don't want to spoil the ending but like I said, love triangles never end well!

Apparently this film flopped in theaters upon its release. Perhaps the country wasn't in the mood for dark, satirical film noir. But it's interesting to note that this film was making an attempt at pushing some boundaries. In a fleeting scene of upscale audience members mesmerized by the cellists' performance, we see an African-American couple nodding their heads in enjoyment. The big band playing at Christine and Karel's wedding reception includes many female musicians.

Henreid and Davis are both very good as usual. Henreid does a good job of fake-cello playing, at least to my non-cello playing eyes. The film features a great original score by composer Erich Wolfgang Korngold. And while this isn't a great film, it's worth seeking out for Rains' performance as the highly neurotic Holenius.

A bunch of my mosaics are slated to be featured at one of my favorite joints around, Rapunzel's Coffeehouse. It's located way out seemingly in the middle of nowhere, but that's part of its charm! The drive there from Charlottesville is beautiful. Once there, you'll find that Rapunzel's is like a groovy oasis of funky comfort, great coffee and treats embellished with great live music (and I'm not just saying this because I've performed there!).
Details:
Rapunzel's
924 Front Street,
Lovingston, VA
Phone: 434.263.6660
Website:
http://www.rapunzelscoffee.com/

Check out "Au Naturale," in all its' organic splendor in the Pictures section of this here site. Soon to fly the coop and be mounted on the wall of the lovely Local restaurant/gallery here in Cville. Stay tuned for further details...

My experimental internet band, the Learning Lovers Project, has been on a hiatus for sometime now. But talks are currently underway to resurrect the Project. It helps that there's to be an infusion of fresh blood in the form of the fabulous soul/jazz singer, Patricia Page.

Here's how the LLP works:
Each member has the opportunity to post an "Idea" track to a private web page. LLP members check out the Idea track and decide whether or not they want to contribute something to it. So say Ben posts Idea Track #12, and I decide I would like to put some lead guitar on it, I call it, and then it's assigned to me. Then maybe Bob wants to add a bass, so once I'm finished with my part, I upload the track now with added guitar, then Bob downloads it and adds his bass bit and reposts it to the page, where it can then be worked on by the next member. And there are no constraints. If I post a reggae bass part as my Idea track, then no one is by any means held to the parameters of the reggae genre. That's the fun of the LLP; it's experimental, and the point is that everyone brings to the table their own contributions. Nothing is too outrageous. This is a loose, flexible collective, an amorphous blob of a band, where everyone enjoys the freedom to contribute whatever their heart desires.

Another benefit of doing things like this is that the roster can be as large as possible, for not everyone has to contribute to a song. If one member listens to an Idea track and isn't inspired, then they can take a pass. The Idea track originator gets to make the call on when a song is finished. And there are no time constraints. But if I have a track in my possession to work on a guitar part and I'm dawdling, the next member in line for it might give me a nudge after awhile, but no one is operating under any deadline.

If anyone is interested in participating, please drop me a line. All that's required is that (A) you be a musician and (B) you have home recording equipment and access to the internet. Members have been varied and diverse, from the alternative/indie stylings of Mark Saucier over in New Orleans to ex-Soft Boys bassist Matthew Seligman over in England.

Once we've got enough finished songs, then we will cobble together a cd. We have one such cd in existence so far. Have a listen to some of our wild and wacky music here:
http://www.myspace.com/thelearningloversproject
"Aiming to rid the world of negativity!"

Stumbled upon an utterly charming old gem, "Born Yesterday," filmed in beautiful black and white. This comedy from 1950 was directed by George Cukor and features Judy Holliday as the ditzy blonde with a brain just waiting to be discovered and William Holden as the dishy, bespectacled journalist, who is thrown for a loop by the bold and brash Billie (Holliday). Billie is engaged to a loathesome abusive, narcissitic self-made millionaire, Harry Brock (Broderick Crawford). While Harry is busy pursuing a nefarious business deal in Washington, D.C., he hires Paul Verral (Holden) to tutor Billie, so that she might fit in better in Washington circles. A "My Fair Lady"ish transformation of Billie's mind starts to take place, as Billie first reluctantly, then later greedily, devours books as her synapses start to take flight. But it's Judy Holliday's comedic timing and phrasing that steals the show; her performance is laugh-out-loud funny and earned her an Oscar, beating out Bette Davis and Gloria Swanson that same year. If Hollliday hadn't died young of cancer, she'd rightfully be a household name. And Holden is sigh-enducing as the handsome, thoughtful, seeker-of-truth. Be forewarned; you'll cringe at the abuse Harry hurls on Billie, both verbally and physically. But a most spectacular scene is one in which Harry and Billie are engaged in a routine game of gin rummy. They've been together for 7 years and it shows in their silent playing. But the expressions on their faces and the timing is absolutely impeccable. You'll be riveted!
One of the best films I've seen in a long time. A bit corny, to be sure, but the performances are so great that the occasional hackneyed line can be forgiven. A film I'm sure to return to again and again!!

PS: Looks like somebody has posted the entire film to YouTube in sequential chunks. Here's a sample clip:
http://www.youtube.com/watch?v=P6gQVXyVQLQ

How to Make Seattle Flambe

1 cup of San Francisco
A dash of Philly
A sprinkling of New Orleans
A wafting of salty, sea breeze
A pinch of mildew
A hint of incense (for flavor)

Stir thoroughly and let gestate in a large vat for a hundred years. Throw in an earthquake or 2 for good measure. Once ripened, season with jaw-droppingly great record stores and music venues and perplexingly erudite citizens. Voila!

Serves 3.4 million

I had long ago ceased to pay much attention to the large oak tree in my front yard. Day after day, week after week, year after year, I passed it, rarely giving it a 2nd thought. Some days though, I would notice it when the leaves were ablaze with color. On another occasion, I was forced to pay attention to it when a violent storm felled a large limb. Otherwise, this tree stood silent sentry as I passed through the phases of life. That is, until yesterday, when the large oak tree was dealt a fatal blow, a single bolt of lightning, that cracked it in half and sent all its leafy goodness crashing to the ground. And I wept. I realized how much this tree meant to me, the shade it had brought, its pleasant presence a constant; a source of consistency. When first I'd moved into this house in 1982, my family and I had delighted in the tree, celebrating it, extolling its beauty. But gradually, as I matured into adulthood, I ceased to think of the large oak tree and stopped appreciating all it had to offer. Today, I remember the tree and those days when it looked particularly lovely, healthy and sturdy. A tree amongst trees.

I’ve noticed that my recording of “Right or Wrong,” has gotten a lot of plays here as of late, most likely since I mentioned in my blog how I performed it an open mic recently. This is one of those examples of a recording that I’m not thrilled with and just might redo one of these days. I knocked this song off in about 10 minutes early one morning in 1997 and if I remember correctly, my dear old friend Mark Vlach and I recorded this that very same day in his San Clemente studio. These days, I sing it in a higher key and I’ve modified the lyrics some. The best thing about this recording is Mark shredding away on his guitar, as he’s wont to do.

This past week I was fortunate enough to see some great live shows, starting with Robyn Hitchcock & the Venus 3 last Sunday & culminating in David Byrne at the Charlottesville Pavillion on Wednesday. That got me thinking about some of my all-time favorite shows that I've attended. Since I'm feeling listy, here we go!

Some of my all-time favorite shows, in no particular order, are;
Brian Wilson at the Hollywood Bowl – Performed "Pet Sounds" in its entirety. And, as if that wasn't enough, I got to hang out with Capt. Beefheart Magic Band member Richard "Midnight Hatsize" Snyder and his wife at the intermission. Simply bliss. (2000)

The Soft Boys at the Knitting Factory in Hollywood – Performed "Underwater Moonlight" in its entirety. I was having a hard time seeing anything so I climbed atop a large monitor and enjoyed the show from my perch. A stunning performance that the world isn’t likely to see happen again. (2001)

Beck at the Greek Theater in Hollywood, during his “Midnight Vultures” tour - Beck writhing on a heart-shaped, red satin bed, doing his best Prince imitation was a sight not too be missed! (2000)

Primus at the Wiltern Theater in Hollywood - Was right up against the stage, 6 feet from Les. (I’ve lost count of the number of times people have said to me over the years, “YOU like Primus?? “ Yes. Yes, I like Primus. Very much. They’re fun!!) (2002?)

Peter Gabriel, Sinead O’Connor & Ziggy Marley at Womad in No. L.A.- Got my nose pierced at a booth in honor of this day. That lasted all of about a week before I lost patience with it! (1992)

Arlo Guthrie/ Pete Seeger at the Greek Theater in Hollywood. One of the 1st concerts I ever attended. I have since seen them both since numerous times. Always a treat to watch the two gentlemen stalwarts of folk. (1985)

Bob Dylan with PJ Harvey at the Hollywood Palladium. It’s Dylan! Need I say more? (1994)

Lee Scratch Perry at the Knitting Factory in Hollywood. Proof that good things come in small packages. Wonderful to see the original Upsetter, an eccentric character who once, in a fit of pique, burned down his own Black Ark Studio. (2000)

Paul McCartney at the Great Western Forum in L.A. Love the Mac! (1989)

David Byrne at the Charlottesville Pavillion. I expected a good show, but he exceeded my expectations. He's just that good! (2009)

Thought some explanation might be in order regarding my latest song, "Lucky Clover." I lived in Cork City, Ireland for a spell during the mid-90s and during that time went through an Irish music phase. I especially enjoyed the Irish pub drinking songs. If you're unfamiliar with the tradition of the Irish pub drinking song, they are simple folk songs, based around the format of an English sea chanty, but with bawdy lyrics, typically about death, adultery and getting very drunk. I've written a few I.P.D.'s over the years, for example, there's "The Bedtime Jig" off my album "Sleepy Monster Goals." I've actually had the lyrics for this one laying around for awhile and thought it was worth finishing it up. It's short, sweet and silly. Hope you enjoy!

Angel’s Theory of Songwriting: If you write enough songs, one of them is bound to be good!

I think Robyn Hitchcock adheres to this tactic when it comes to his songwriting. He is ceaseless, almost manically, prolific. Me, I work in spurts, depending on whatever is occurring in my life at the time. There have been eras in my life, where there’s so much activity that I don’t have the quiet time needed to digest and distill all that’s been happening to and around me. But the last 6 months have given me ample time for quiet reflection, so that I might gnaw on then regurgitate my thoughts in song-form.

It’s interesting when I look at my body of work thus far, at just how many melancholic tunes there are. People who know me well know that I’m an optimist and a silly (some might say "immature") kind of person. But I think I use songwriting as my therapy; it’s a way to work out all of life’s crap, pain and difficulties, so that I might, in the end, exist lighter and freer. On the other far end of the spectrum, are the batches of lighter, comedic songs I’ve written, such as “DC Drivers,” or “The Bead Necklace.” There aren’t too many in-between songs, which can probably be chalked up to the fact that I’m a passionate person and if something doesn’t move me to feel, it’s not worth writing a song about. I’m not going to write about how I boiled some water for tea this evening, know what I mean?

Songwriting is a funny pursuit. I recently had a member of the band Dire Straits tell me that as a songwriter, I’m really no better than a struggling actress and just a cut above a prostitute! (Yeah, yikes! Think he woke up on the wrong side of the bed that day.) I can recall a day when I was 16 years old at a music lesson with my musical mentor and still MySpace friend, Paul Seaforth. I had already been writing songs for several years but was feeling broody, as teens do, on this particular day. I said to him, “why should I write songs when so many thousands of great ones are out there already?” And he replied, “Because it’s you.” And whenever I start wondering why the heck it is I do what I do, I just remember Paul’s wise words and let the tunes tumble forth.

Today I completed my latest mosaic, "April Showers." Have a gander in the Photos section of this here site.

In the reviews section of this site, I posted a review from 2006 of my solo cd "A.S.K." Check it out...

Hot off the presses, comes "Martyr." Find it in the Songs section of this site. I thought that recording it would take 10 minutes to knock out a live demo, but instead it wound up one of those hours' long projects! But I had fun...

I'm gonna get all "High Fidelity" on you and present a list of my personal Top 10 Favorite Break-Up Songs. So here we go, in no particular order:

Positively 4th Street- Bob Dylan (maybe not necessarily a true "break-up" song, but it can be seen as such, if one is inclined. And I am. Today.)

Idiot Wind - Bob Dylan ("Blood on the Tracks" consists pretty much only of break-up songs, but this is my favorite. "We are idiots babe, it's a wonder we can even feed ourselves." Brilliant, freakin' brilliant.)

Graceland - Paul Simon ("she comes back to tell me she's gone, as if I didn't know that!" Graceland is graceful!)

I Heard it Through the Grapevine- made famous by Marvin Gaye (or "I Hoyd it Through tha Grapevine" when John Fogerty sings it)

Black & White - the dB's ("I think I just don't enjoy you anymore." Uh, could you be a bit more straightforward, guys? My absolute favorite song lately. I must listen to it daily.)

The Executioner - Robyn Hitchcock (so powerful, I can hardly listen to it sometimes. "He crawls towards you bleeding, begging for a kiss...")

All Things Must Pass/Isnt it a Pity - George Harrison (I'm going to make these two tied since (A) they're on the same album and (B) I don't know that they were written with the intention of being break-up songs, but the lyrics certainly fit!)

I'm Looking Through You - the Beatles (Oh, yeah. I wish Paul could've been edgier like this more often. I say that like he's dead. But Paul is dead. You can tell by the way he's walking on the cover of Abbey Road.)

You've Got to Hide Your Love Away - Beatles ("Gather 'round, all you clowns...." Though John usually had the corner on the market on edginess in the band, he's quite poignant in this tune. Ever my favorite Beatle.)

The One I Love - R.E.M. ("a simple prop to occupy my time." Ouch!)

This morning I lined up another exhibition of my mosaic artwork. My art will be featured at Cafe Cubano on the Downtown Mall in Charlottesville, VA. I'll be taking over the front room for the month of July. So come on down if you're around!

"Kind of Shy" is undoubtedly the most personal song I've yet written. I was going for a Lennon/Plastic Ono Band/Robyn Hithcock's Eye meets Wilco kind of feel. You can find it in the music section of this here site.

Recently, a lot of good things have been happening, mosaicly speaking. 1st, I was invited to participate in a mosaic coffee table book project. Proceeds from the sale of said project are to go towards the establishment of a trust fund for struggling mosaic artists. Organizers are hoping to have the book in print by the year's end. 2nd, I am going to have my first exhibition, at an upscale eatery/gallery space here in Charlottesville, called the Local. That is to take place in August.
It's all very exciting & thrilling. And for me, the truly amazing part, is that creating mosaics just comes so naturally to me. Recently I was thinking about that, about why it is I find making mosaics so enthralling. When I was a kid, I was hooked on jigsaw puzzles. Hard ones. I would sit there for hours, while playing LPs or the radio, and pore over them. I'm certain there's a connection there, for making mosaics is a lot like piecing together a puzzle. Except that you have to shape the pieces.

Yesterday, I was rummaging through a box of old stuff & found this poem I dashed off years ago. Since I like it, here it is;

Untitled
I have always been disappointed
with the books
that teach you languages
from foreign lands.
They never give you phrases you really need.
They teach you;

"The pen is on the table,"
or
"I do not know where the goats could be."

Right now as I sit across from you,
we try to reconcile the situation,
to reach some resolve.
I realize I have never been in this place before.
That I do not know what to say.

So I say to you,
"The pen is on the table,"
and you say,
"I do not know where the goats could be."

And we move on.

2002

Tonight at 8:30pm is Earth Hour here on the east coast. I urge musicians & bands performing at that time to turn off your amps. Better yet, just unplug the whole damn rig. Pretend you're Dylan at the Newport Folk Festival in '65 & do the exact opposite of what he did! Go acoustic!

Join me in celebrating environmental awareness & dim your lights. And if you're not out at a gig or whatever, then use your imagination to find ways to entertain yourself in the dark! Wink, wink, nudge, nudge...

Done this afternoon in my studio, a version of the Church's "Under the Milky Way." For those astute observers, yes, I recorded this song once before. But that was about 10 years ago & technology has changed & I play it differently. Enjoy!

I've now got an online store where I'm selling some of my mosaics. Check it out here:
Etsy.

My latest mosaic, Druid37,is an abstract made of smalti tiles (that's Italian glass), & can now be seen throughout this site. View it in its entirety in the Photos section of this site. The original design is from a digitally manipulated picture by photographer Stephen Barling (see his original picture here:
http://www.flickr.com/photos/cripsyduck/2986281834/in/set-72157606341280300/

Mine is the period from 1965 to 1967. You had the Beatles, the Beach Boys, Dylan & the Byrds all at their musical peak. And this was the era of the birth of folk-rock, that jingly-jangly Rickenbacker guitar with Hammond organs and acoustic guitars a'strummin' sound, which I adore. It's pretty amazing how many outstanding albums were released during this time. "Revolver," "Rubber Soul," "Pet Sounds," "Hiway 61," "Blonde on Blonde," "Safe as Milk," & on & on... God what I wouldn't give to be able to go back in time to be alive during this era!
Think about your musical tastes & what would be your favorite musical period?
Discuss.

I can't remember the last time that a record actually made me drop everything I was doing to stop and concentrate on it. This evening I loaded "Goodnight, Oslo" into the cd player and then sat down to work on my mosaic. But by the third song, I had to stop and move to the couch and just listen. That's the kind of album this is...

"Goodnight, Oslo" rings out bright and confident from the start. There's a drive to this record, an energy, an honesty, that's been lacking on some of his more recent efforts. The 1st track, "What You Is," will remind Dylan afficionados of Mr.Zimmerman's "Shot of Love" phase, resplendent with gospely background vocals. "You might have been a villain with a capital V," Robyn scolds, in his best Dylanesque finger-wag. "Your Head Here," has a similar blues/country drive you might find on Dylan's "Modern Times." But the chorus is pure Robyn, accompanied beautifully as ever by Venus 3'r and R.E.M. guitarist, Peter Buck. Robyn's love of the Kinks is in evidence with the charming "Saturday Groovers," which opens with a chorus of harmonies the Beach Boys would've been proud of.

It's funny, because Robyn started his music career in the late 1970s proffering some of the most wicked observations of human nature. Reference songs of his such as "Sandra's Having Her Brain Out," "Old Pervert," or "I Wanna Destroy You!" His acerbic wit, his edge, his anger, was unmistakable astride his catchy pop melodies. But the story of how Robyn Hitchcock then transformed from one of the angry songwriter's of rock into someone who has written some of the most heartbraking, jaw-droppingly gorgeous love songs is one that is sure to keep future generations of grad students busy with their thesis. I'm writing this while listening to his song "I'm Falling," yet another one of his devastatingly beautiful ballads. One that'll stop you cold, that will penetrate you straight to your heart. If it doesn't then you don't have a soul.
"Hurry for the Sky" and "Sixteen Years" turns us back to Robyn via Dylan. "Sixteen" may be the darkest song here, melodically and lyrically speaking. Interesting, since the liner notes for the album show that Buck actually penned the melody, proving he's got Robyn's number!

Continuing on, the song "Up to Our Nex," was featured in the latest Jonathan Demme film "Rachel Getting Married." "Intricate Thing" is sweet and simple, a gentle break from the darkness. But that doesn't last long. We're right back there with "TLC," which references the logey, druggy psychedelia of Syd Barrett, with lovely, woozy cello breaks. Maybe this song should've been called "THC!"

The album ends on a high note. All the urgency of the opening songs is back with "Goodnight, Oslo," a haunting number, with beautiful strings that would've been at home on "Moss Elixir." Peter's guitar chimes strident and eerie over Bill Rieflin's driving drums.
"Goodnight, Oslo," seems to me, Robyn's homage to his influences, and what an homage it is. This is his most striking album in over a decade. The lyrics are sharp as ever, the melodies strong, the performances wonderfully rendered, the production crisp. I don't know that I've ever heard Robyn do quite so much roots rock/country/blues as he demonstrates on this album. And that's not a complaint. Au contraire, give me more! This album is stunning and wholly original. Robyn Hitchcock may be one of the most prolific songwriters in the history of music. As someone who has followed his career closely, loyally, since "Fegmania," I am standing up applauding loudly, calling out "thank you Robyn and your Venutians, for this masterpiece!" I couldn't ask for a better record!