Tag Archives: Joni Mitchell

The Logic of Balance

Moreau Business

Understanding Business: The Logic of Balance by Gary Moreau (CreateSpace, 188 pages, $9.95)

Understanding Business: The Logic of Balance by Gary Moreau is an engaging work.  Moreau focuses on the point that business leaders tend to be guided either by their heard or their hearts (guts).  Most see it as a choice between, say, the colors blue (head) or red (heart).  But leadership may be purple; that is, it must rely on a balance between logical thoughts and instincts.

In Moreau’s words, “this book is all about context.”  The business environment, its context, is rarely solely about reason or logic.  It’s a blend of the two.

Moreau spends equal time illustrating the benefits as well as the weaknesses of relying on data-driven decision making and instinct-driven decisions.  Both will work at some points, but will fail if relied upon to the exclusion of all else.

One of the fascinating points made by Moreau is that many of the visionary individuals that our society holds up as models of business and societal leadership – Steve Jobs, Bill Gates, Martin Luther King, Jr. – had significant ideas (the “what”).  However, they had no specific plans (the “how”) for implementing their ideas.  That’s because sky-viewing visionaries must rely upon ground-based planners.

A great leader, as Moreau notes, follows his or her conscience.  This “sits at the crossroads of deduction and reduction.”  Yes, true leadership, in implementation of great ideas, requires balance.

Another key point made by Moreau, a valuable one for business managers, is that the world is a very big and tough place.  We tend to give too much credit to individuals for business successes and too much blame for failures.  The truth is that business leaders – CEOs or managers, cannot control the world.  A business failure may rest upon poor timing, poor global conditions, or many other factors.

There are a couple of issues with this work.  Firstly, Moreau engages in political discussions that are out of place and simply do not belong in the book.  In this, he fails to subscribe to his rule that context is key.  (Since he mentions Trump and Clinton, it’s surprising that he does not use them as examples of contrasting leadership styles.)

Secondly, like Joshua Wolf Shenk, the author of Powers of Two: Finding the Essence of Innovation in Creative Pairs (2014), Moreau tends to go too far in separating matters into one camp or the other.  In Shenk’s book, every artist was separated between being either a John Lennon (an instinctive artist) or a Paul McCartney (a hardworking artist).  But the world is more complicated than that.

In Understanding Business, Moreau is like the proverbial hammer that sees everything as a nail.  Everything is either mind or gut.  I suspect that at some point a writer will produce a book about successful business leaders and artists who fall into the in-between category.  (Joni Mitchell comes to mind as a musician who is equally instinctive and highly rational/logical/detail-oriented.)

Still, Moreau’s book provides valuable points for business executives.  For example, at one point he notes that a business leader should make a deductive decision using logic, but then test this decision using instinct.  That executive should ask, “Does it feel right?”  Excellent.

Finally, Understanding Business drives home one major point in these stressful times.  This is that business leaders must value and respect their staff members.  Executives cannot just talk the talk, they must walk the walk,  It does not take long for workers to realize that they are simply cogs in the machinery of their company.  When this realization hits, the company they work for can and will suffer.

Moreau Business 2

If you own or operate a business, large or small, you may wish to read Understanding Business.  It will serve you well.

Well recommended.

Joseph Arellano

 

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White Flag

Did Dido include too much or not enough of her music on a greatest hits collection?

Dido Greatest Hits 2

I’ll admit to being a big fan of Dido. A few years back, I took time off from work in order to purchase her then-latest CD at the very hour of its release. That was Don’t Leave Home, which had some good songs. However, the album was overly compressed so that it sounded both loud and lifeless. Fortunately, bad sound is not a problem with Greatest Hits. (Most of the songs sound glorious in this edition, but no one is credited with the mastering.) As we will see, another issue comes to the fore with this 18-track, over 76-minute long compilation.

Dido singles

To her credit, Dido provides background information on most of the songs in this collection and confirms that she selected them and placed them in chronological order. One thing that’s clear on a first listen is that her best songs were created between 1999 and 2008. Later compositions are unimpressive. Although not mentioned in Dido’s notes, four songs in this collection (“Thank You,” “Sand In My Shoes,” “Don’t Believe In Love,” and “Everything To Lose”) are based on unique ’80s rhythms that appear to borrow from the work of Sade.

Greatest Hits kicks off with “Here With Me.” It’s now obvious how much this sounds like “White Flag,” her mega-hit that followed four years later. As with all of the songs on Greatest Hits, the stereo separation is excellent and the sound is full. “Hunter” is a stunning, dramatic song about a woman who feels like she’s nothing more than prey to a man. “White Flag,” which was the “Every Breath You Take” of 2003, sounds rich and bold, so much so that it’s as if one has never heard it before. (The programmed percussion is now audible.) Impressive.

“Life For Rent” follows, with drums played by Andy Treacey. “I still don’t live by the sea but I wish I did,” adds Dido in the notes. “Don’t Leave Home” now sounds fine. This is not a song about travel. It is actually a song about addiction, in which a young woman offers her love to a man as a replacement for his drugs. The lyrics are casually and coolly brilliant, in the style of Joni Mitchell: “I arrived when you were weak/I’ll make you weaker, like a child/Now all your love you give to me/When your heart is all I need.”

“Quiet Times” is a throwaway lullaby, but worth listening to as Dido plays the drum kit. One of the highlights of the collection is “Grafton Street,” a touching song (never released as a single) about a woman mourning the death of her father. Dido refers to it as “the most emotional” of her compositions. The ever-excellent Mick Fleetwood provides the drumming.

Dido 1

“No Freedom,” from 2013, sounds pretty weak and unimaginative. “End Of Night” comes off as a poor man’s version of Abba. Sigh. It may be that Dido has become too eclectic, or adopted eclecticism for its own sake in order to ward off attacks that her songs are too similar. And it gets worse with three songs on which she pairs with others: “Let Us Move On,” which includes a rap from Kendrick Lamar, “One Step Too Far” with Faithless, and the painful-to-listen-to “Stan” with Eminem. These three selections take up about 14 minutes. They all should have been dumped.

The compilation recovers to some extent with the penultimate song, “If I Rise,” with A. R. Rahman. It sounds like a Sting outtake, but grows on the listener. “Rise” was nominated for an Academy Award (used in the film 127 Hours). And then there’s “NYC,” the Euro disco closing track that sounds like the Bee Gees circa 1977. One can almost visualize Tony Manero dancing to this in his white disco suit!

Greatest Hits again proves the dictum that sometimes less is more. As a collection of 14 singles with a bonus track (“Grafton Street”), it would have been a perfect sampling of Dido’s music career. This 18-track compilation may give her fans and new listeners more than they bargained for. Still, if you’re willing to skip past three less-than-artistic recordings, it’s a worthwhile addition to your music library.

Recommended, with reservations.

Joseph Arellano

A review copy was provided by RCA Records.

This article originally appeared on the Blogcritics site:

http://blogcritics.org/music-review-dido-greatest-hits/

This review also appeared on the Seattle Post-Intelligencer site:

http://www.seattlepi.com/lifestyle/blogcritics/article/Music-Review-Dido-Greatest-Hits-5176380.php

You can hear a sample of each of the 18 songs here:

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Waitin’ On A Sunny Day

Bruce by Peter Ames Carlin (Touchstone, $28.00, 494 pages)

I was living in Los Angeles in the winter of 1975 when a live concert by a then-unknown East Coast band was stereo-cast late one evening by a Metromedia FM radio station.   The group, Bruce Springsteen and the E Street Band, was playing at the Roxy Theatre and for all of Southern California.   The performance began with a song called “Thunder Road,” and the band proceeded to play all of the songs that we would soon come to know as the Born to Run album.   (I saw Springsteen and the E Street Band when they hit San Francisco the following year.)

Fans of Springsteen know that despite all of their digging, not much is known about his personal life.   Peter Ames Carlin, author of the well recommended Paul McCartney: A Life, and of Catch a Wave: The Rise, Fall and Redemption of the Beach Boy’s Brian Wilson, attempts to remedy this in Bruce.   Carlin draws upon numerous interviews to flesh out a picture of a real human being behind the rock legend.

Some will be surprised to see how vulnerable Springsteen is.   He’s a man who often worries about what others think of him, one who has been unsuccessful in numerous personal relationships, one who has experienced a high level of depression and relied upon years of professional counseling, and one who has often sought a geographical solution to his problems (moving from East Coast to West Coast and back, to the South and back to the West before settling back down in New Jersey).   The mature Springsteen is now a family man, with a wife, son and daughter, who has repeatedly stuck his neck out for social causes and for political candidates – notably supporting Barack Obama in the 2008 and 2012 presidential races.

Carlin has an insider’s ear for music and provides a quite satisfying amount of information about Springsteen’s recording sessions over several decades; some of the insights may cause readers to purchase albums or revisit the ones they already own.   Carlin’s best, detailed work comes in reviewing how The Rising album – a work of healing and redemption if there ever was one – was recorded after 9/11.   His analysis is excellent except for the fact that it fails to mention the very best song on the album, “Waitin’ On A Sunny Day.”   (How did that happen?)

“(Springsteen is) an artist fixated on the intimate stories of ordinary folks whose labors make wealthier mens’ dreams come true…”

Bruce provides the insight that Springsteen has crafted his albums in the same manner in which a movie producer crafts a film.   Each album is intended to represent a story, generally about the people left behind in an otherwise prosperous society.   It’s no wonder that Springsteen’s most recent release pleaded for us to take care of our own.

This story of a performer and his unique band of brothers is more satisfying than most musician bios and it makes for a fast read despite its length.   It is, however, likely to have a short shelf life as the “definitive” biography – to quote Publishers Weekly – of The Boss.   As with bios of Paul McCartney, Brian Wilson, Bob Dylan, Joni Mitchell, Mick Jagger and other rock notables, there’s certainly more to come

Well recommended.

Joseph Arellano

A review copy was provided by the publisher.  

“There are many things I could and should be doing right now, but I am not…  I am reading and rereading this book.   Why did you do this to me?”   Jon Stewart to Peter Ames Carlin  

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A Woman of Heart and Mind

Joni: The Creative Odyssey of Joni Mitchell by Katherine Novak (Greystone, $21.00, 298 pages)

Joni Mitchell, a self-described woman of heart and mind, never shows up within the pages of Joni.   There are a couple of reasons for this.   First, Katherine Monk never had the opportunity to interact with Ms. Mitchell, leaving her unable to shed light on the human being.   Second, Monk sought to create a quasi-academic treatise on the subject of Philosophy and Religion and the Music of Joni Mitchell.   Frankly, it’s simply not that interesting even if one was (like this reader) a Philosophy and Religion major in college.

No, this is not another fan’s tribute to Joni; instead, it’s a somewhat overwrought collection of essays that seeks to find the meaning of Mitchell’s music via the words of Nietzsche and other philosophers.   This is painful enough, but just when one hopes that she won’t throw religious figures into the analytical mix, she proceeds to discuss St. Augustine and revisit the biblical Story of Job.   In the end – in the words of Bob Dylan, nothing is revealed.

Mitchell herself once said that writing about music is like trying to dance to architecture.   Picking up a copy of Joni’s Blue or For the Roses album is much preferable to attempting this strange dance.   Very much preferable.

Joseph Arellano

A review copy was provided by the publisher.  

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Coming Up Next…

A review of Joni: The Creative Odyssey of Joni Mitchell by Katherine Novak.

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Instant Karma

Corn Flakes with John Lennon and Other Tales From a Rock ‘n Roll Life by Robert Hilburn (Rodale, $14.99, 280 pages)

“…the best music doesn’t just fill a void in the listener…  it can also fill a need in the artist.”   Robert Hilburn

“I look at people as ideas.   I don’t see people as people.”   Bob Dylan

“And we all shine on, like the moon and the stars and the sun.”   John Lennon

The fine long-time music critic for The Los Angeles Times, Bob Hilburn, takes us along on his trips with “the best rock stars” in this engaging account of his years in the music business.   It is mostly a study of personalities, big ones, such as John Lennon, Bob Dylan (“The most important figure in rock…  rock’s most celebrated living figure…  the greatest songwriter.”), Bruce Springsteen, Elvis Presley, Neil Young, Bono of U2, Johnny Cash and Janis Joplin.   There are also quick, brief encounters with Sir Elton John, Sir Paul McCartney, Michael Jackson, Mick Jagger, Joni Mitchell, John Prine, Waylon Jennings, and Jack White.

You’re probably thinking that you’ll enjoy this memoir if you happen to like these artists, most of whom were blessed with the approval of both Hilburn and Rolling Stone magazine.   You’ll be right in that thought, and also will likely find that it has less charm if these artists are not your cup of tea or Java.   Hilburn makes quite clear that he dislikes “superficial artists” (a term coined by Dylan), among whom he includes Rod Stewart, the “cold” Steely Dan, and Madonna.   He writes of the latter that she’s a “sharp cookie” who always provides good quotes for an interviewer, but “I’m not generally a fan of her music.”

So, yes, this is an account of hanging out on the road with the stars of boomer rock and country music.   The true tales from the 1970s are the most interesting ones – when rock was seemingly full of excitement and energy (and played on vinyl) – and the telling seems to get tired and grumpy as we approach current times.   Hilburn, in fact, closes the book with a tremendous sense of pessimism about the music trade’s prospects for survival.

If Hilburn has a fault, it’s an obvious one in that he often gets close to being over the top about those artists, those geniuses – such as Dylan and Mitchell, that he favors.   Not only does he realize it, but so do some of the performers he’s supported.   For example, at one point he asks Bono if the musician fears that the public will become tired of him.   Bono replies, “Look, I’m tired of Bono and I am Bono.”

“Paul’s like a brother.   We’ve gone way past all that.”   John Lennon

If there’s a reason to buy this book, now available in trade paperback form, it’s for the touching overview of Hilburn’s days spent with Lennon in New York City just two weeks before the former Beatle’s tragic death.   This Lennon is a man at peace with himself, in love with his life, and ready to forgive and forget.   One very revealing note is when John tells Hilburn that all of the stories about the deep rift between him and Paul McCartney were just that, stories.   John noted he and Paul were, deep down, brothers still.

Hilburn’s book is a brief for the magical power of rock ‘n roll.   It may now be an endangered art form, but Hilburn reminds us that, at it’s best – as when it’s performed by The Boss (Springsteen), “rock ‘n roll can still be majestic.”

Well recommended.

Joseph Arellano

Take Away:  This is a very entertaining journal of life within the rock ‘n roll circus tent.   However, Hilburn sacrifices a bit of credibility when he refers to Kurt Cobain as one of rock’s greatest figures and as “the great talent” of the 1990s.   As he admits, “I often had a hard time convincing…  people when it came to Kurt.”   In the words of The Band, take what you need and leave the rest.

This book was purchased by the reviewer.

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Driven to Tears

i-knew-youd-be-lovely

I Knew You’d Be Lovely: Stories by Alethea Black (Broadway, $14.00, 240 pages)

“I Knew You’d Be Lovely is an impressive offering, from a strong new voice, of stories about life’s desperation.”

Consider a formula for producing a promising new writer: the courage of Jane Mendelsohn and Emily St. John Mandel; the calm and precise voice of Maile Meloy; the microscopic focus of Joan Didion; and the world-weary irony of Roald Dahl.   This just about sums up what you get with Alethea Black, the author of this new collection of short stories; a collection that stands up well alongside Meloy’s Both Ways is The Only Way I Want It.

Meloy wrote about people who wanted more than they were offered in their life’s current circumstances.   Black writes about people who are at the end of the dock, ready to jump into the water.   They’re not sure that a change is going to improve their life – they only know that life cannot continue the way it is.   Her stories take us to the point where each character is about to experience a major change.   We’re never quite sure as to whether the change is for the better, as her characters have disdained the need to look before they leap.   In a sense, she writes about people who have been driven to tears and near madness, either by their past imperfect actions or sheer inertia.   Now, they’re going to improve their lives even if its kills them.

Black writes on a very human scale, without exaggeration; however, as with Dahl, her stories are sometimes symbolic of both larger and smaller things.   And, as with Dahl’s short stories, there’s often a sense of unreality just off-stage – as if we’re going to be surprised by something unexpected any second now.

The weaknesses in this compilation might best be explained by analogy.   If it were a record album, this reviewer would state that the songs were placed in imperfect order.   And the weakest song (story) was selected for the title.   Instead of, I Knew You’d Be Lovely – a tale about a young woman who attempts to select the perfect birthday present for her boyfriend, and comes up with something extremely unexpected – a better selection would have been the second of the thirteen tracks (stories) which was earlier published in Narrative magazine, The Only Way Out is Through.   (On a bookshelf, The Only Way Out is Through would sit well next to Both Ways Is the Only Way I Want It.   Case closed.)

“Law school had been the classic intellectual sanctuary from certain practical considerations.   Then it had ended, and he’d needed to make a living.   So here he was.”

Despite a few minor issues, I Knew You’d Be Lovely is an impressive offering, from a strong new voice, of stories about life’s desperation.   If Ms. Black has a fault it is that her coiled strength is never fully let loose…  There’s a sense of structure that’s a bit too quiet and organized (and intellectually proper) from this Harvard-educated writer who quite likely has the ability to “roar like forest fire” when she’s ready.   Perhaps she’ll roar when she releases her debut novel.

Well recommended.

Joseph Arellano

A review copy was provided by the publisher.  

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