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Re: murmers after murder.

the befuddled balladmonger
<indigoebony at yahoo_com> writes:

>  track seventeen of Till We Have Faces:
>  "the piano and vocal bits at the very end."  that's
>  how the liner notes refer them.  I personally think if
>  we inquired of Mr. Linford some interpretive
>  discourse, he'd only give us that peculiar little
>  smile of his.  I think if we were paying attention,
>  we'd realise it'd be explained.

until now i've been cautious to share what those bits are.

seeing that i might have gained the trust of a few, i shall
now spill it:

it is, in fact, Linford encouraging myself to round up all
the people i dislike, then to burn them alive.

>  when Mr. Detweiler nearly declined to personally
>  perform Jack's Valentine, despite our cajoling...it
>  made me wonder why he does not perform his own words,
>  his reluctance to even do that little speaking.  
>     I've wondered before at the trust Mr. Detweiler
>  puts in his dear Berquist.  we writers are
>  tempermental buggers...our words and ballads as
>  closely watched as children, oft times.  musicians are
>  not much better.  the fact that he lays his words in
>  her hands, and seems to be swooning inwardly as she
>  carries them other places...it says something about
>  the both of them.  probably explains a lot of why I
>  love them.

not sure if it was on or off-line, but i've talked this with
one of you ~
i believe he has such a strong admiration, respect, and love
for his Karin that maybe he doesn't even cringe at the thought
of turning it all over, although he doesn't know what the
outcome or interpretation will be...
or does he cringe? does he "give direction"? does he intuitively
know what the outcome will be already?

>  so, what brings you about here? 
>  what made you love them, or even fall out of it a 
>  little? 
>    hmm.  Mr. Gardner appreciates them, mostly due to
>  the wordings of Mr. Detwieler.  we faggoty arm-chair
>  poetics like the fluid melancholy ditties.  we know
>  jg's only in it for terry.  the Goth tribe secretly
>  hopes OtR will create a set of "Murder Ballads" and
>  they breathlessly await the day...(hey, they're
>  half-there...with "Murder," "Daddy,"  "Thank you, my
>  angel"...just darken the shadows on the eyes a bit, me
>  loves...)

passion. there is great big burning passion in those songs.

i fall away occasionally because of the narrow
musical content relative to the rest of my library. notice
the word 'relative' - it's *all* relative.
         (that was my flameproof mechanism)
sometimes i wish they'd throw in some big fat drum 'n bass,
or scratching, or something more experimental. just the other
day i was speaking to a fellow listie pal regarding this...
with the exception of <deep inhale through the teeth>
Murder, there's not really much variety of styles. this
is not necessarily a bad thing, as they are perfect at what
they do, but i enjoy medium to large-sized explosions at
times. mean toothy explosions, bliss-lined rich feedback,
or flourishes of electronics.
examples: Portishead, Ruby, Golden Palominos...

even something of an occasional worldbeat reference
would be so warmly received, ala-Loreena or Dead Can Dance.
it would work. it would be appropriate, IMO.
i also believe it would boost record sales skyward.
(think doumbek, pipes, tin whistle, djembe, sitar...)

addressing the 'Goth Tribe' note ~
yes, i do sometimes hope they'll write and perform
a set of Murder Ballads. or, not necessarily 'Murder' Ballads,
but something a morsel from time to time of the places our
minds go. i hope for them to address this honestly, and
to unbridle that when it spills forth.


>  what are nice folks doing in a place like this?

love. lots o' love.
i'm here because this is a charming and wonderful forum to be
a part of. many unique and lovely folk spring up with their
thoughts frequently.

my, if my posts aren't all luuv-buggied out today...


straight from the house of Jay's guud luuvin'...


"the love and the suffering are one."  
-Frederick Buechner
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