Review:

Sean Lennon: “Friendly Fire”

by Chris “Eli Cash” Krekling

Sept. 27th - John Lennon's two sons have both struggled to step out of their father's massive shadow with their own musical ventures.  After a short-lived success in the ‘80s, Julian Lennon quickly fell into the “One-Hit Wonder” category.  John's son with Yoko, Sean, also released an album of his own to lukewarm response (“Into The Sun”of 1998).  However with his new album “Friendly Fire,” Sean Lennon has proven that maybe there were some musical-mastermind genes passed on after all.

The album is much less experimental than his ‘98 debut, but that's not to imply that it is boring or un-original in any way.  “Friendly Fire” is very comparable to the DreamWorks albums of Elliott Smith, “XO” and “Figure 8.”  That, by the way, is a huge compliment.  Much of the album deals with Lennon's break-up with his long-time girlfriend, which ended when she cheated on him with his best friend.  The songs are personal and heartfelt, yet easy to identify with.  Lennon has grown to be a very talented songwriter without ripping off his father's group, seemingly crafting impeccable melodies with ease.  Acoustic guitars are the backbone of the tracks, but they are surrounded with beautiful orchestration (including strings, pianos and organs to name a few).  Lennon has plenty of bittersweet lyrics on the album, however they don't become depressing thanks to the sweet melodies throughout. 

“Friendly Fire” finds Sean Lennon becoming a respectable songwriter, in his own right.  These songs are pretty undeniable, a definite must for fans of Elliott Smith who are still mourning the loss of their favorite loner-musician.  Anyone who has ever been through a break-up will relate to the album, and everyone else will still find themselves humming along.  His Dad would be proud.

//Related Links

Sean Ono Lennon.com (Official)

An Evening with the Original Super Group

By Kieran J. Grogan
Category: Concert Review

September 9th - For the common citizen, it may be rare to witness the trueness of pure spectacle, but when the gods of rock and roll call you to stand tall, the result may turn out in your favor.  It was such a call that brought me to Marcus Amphitheater on September 6, to experience the living history, the brilliant artistry, and the living spectacle of Crosby, Stills, Nash, and Young.

The trip was made by my father and me, the former being a fan of 36 years, the latter exposed to the super group at the earliest of age.  In all honesty, my first memory that I can recall is listening to the song “Ohio” while driving in my father's car, him explaining it to me at a tender age.

To walk in several songs into the set is a tragedy, but entering a facility to the sound, and sight, of Neil Young singing was a thrill to be unparalleled.  Their 2006 “Freedom of Speech” tour consisted of two sets, each consisting of time tested “oldies,” infused with material from Neil Young's newest album Living with War , as well as assorted material from the pantheon of the careers of all members. 

“Let's Impeach the President” made the crowd roar, as it was the only song with its often humorous lyrics represented on the monitors above.  Instead of a Stills or Young solo during the bridge, the monitors above flashed montage clips of President Bush, contradicting himself over and over.  Songs like “Shock and Awe” prove that Neil Young remains relevant even today, and also that he is an artist of oddity as he transcends the generations.

Crosby's “Carry On,” Nash's “Our House,” Stills' rendition of an Otis Redding song, and Young's “Only Love Can Break Your Heart” all displayed the band's intricate diversity and abundant talent, which in itself is quite the understatement. 

Placed in front of changing backdrops that displayed everything from peace signs to Mexican, Canadian, and American flags, the political charge of much of the music is nothing new to these Vietnam-era leaders of protest.  “Find the Cost of Freedom,” along with “Ohio,” were chilling reminders of an unchecked machine that can be the United States' government.  Perhaps a highlight for many of the middle-aged crowd, as well as protest conscious youngsters, was the full band rendition of Buffalo Springfield's “For What Its Worth.”  Penned by Stills, and expanded by the wonder of Young's wondrous guitar skill, its message called of immense importance in both reflection of the past and connection to the present.  Consciousness rarely has such an exceptional treat.

The great finale echoed in their tradition of socially conscious material, as the full band tackled Neil Young's “Keep on Rockin' in the Free World.”  This anthem of the times directly preceding the fall of the Berlin Wall rang true to the crowd, who universally stood up, both literally, and metaphorically as the lighters in the crowd flared.  Fists pumped in the air, and as the people were brought together in a great feeling of unity, my father and I joined the masses in singing along to the inspirational chorus.  To be sure, I held my lighter high.

//Related links:

CSNY Official Website

Neil Young - Rockin' in the Free World lyrics

Music and Cognition

" The history of music in relation to human beings predates the written word and is tied to the development and unique expression of various human cultures." - Wikipedia

By Justin Kral

Category: Music, News

September, 9th - At its most basic level, music is just sound. Sound produced by vibration. However, music also affects all of us in complex ways-- as anybody that has experienced a memory triggered by hearing a once-meaningful tune can attest to. It should be of no surprise to readers that recent studies in cognitive neuroscience have suggested that memories are encoded differently for music-based memories than they are for other semantic memories.