Category Archives: 2000’s

Ali Farka Touré & Toumani Diabaté – In the Heart of the Moon – Classic Music Review

I’ve mentioned previously that Sunday mornings are my precious alone time when I reflect and rejuvenate to give me the strength I need to face the grunge of the workweek. The soundtrack for my Sunday morning ritual is designed to be soothing, consisting largely of classical guitar pieces by Segovia, Sharon Isbin and Christopher Parkening, and Celtic harp performed by a variety of artists but heavy on works composed by Turlough O’Carolan. When I lived in the States, the crossword in the New York Times Sunday Magazine was part of that ritual; when I moved to France, I switched to mots croisés and mots fléchés. The problem I faced with French crosswords is that I am relatively uneducated (and uninterested) in French history, making them more of a chore than a challenge. The solution to wasting Sunday mornings with Talleyrand, Léon Blum and obscure figures from the Second Republic was to reassign mots croisés to air travel and use that quiet time for French newspapers and the sounds of plucked, struck and strummed strings.

A couple of years ago, I integrated In the Heart of the Moon into the rotation, with wondrous results. About thirty seconds into the first song I lose all interest in the latest strikes, parliamentary debates or whatever else the French are bitching about, toss the paper on the floor, close my eyes and immerse myself in the magical music. In the Heart of the Moon is simply one of the most beautiful recordings I’ve ever heard.

Many Westerners know the late guitarist Ali Farka Touré from his marvelous blues-roots albums and the collaboration with Ry Cooder, Talking Timbuktu. Toumani Diabaté is somewhat less familiar, but is recognized as one of the greatest living players of the kora, an instrument that defies many Western paradigms related to string instruments.

The Kora

I am fascinated by the ingenuity human beings have applied to the creation of musical instruments, but if you’re not, feel free to skip this section to get to the review.

From a distance, the kora resembles a sitar, but the kora’s twenty-one strings (usually nylon) are divided into two opposing sets (eleven on the left side and ten on the right) that gradually rise above the neck the further down they go, like delicate twin cable suspension bridges. The distance between string and neck is significant enough to make it impractical to change notes by pressing the strings onto the neck as you do with a guitar, and like the violin family, the neck is fretless. The notes, percussive sounds and chords result from the player using the thumb and index finger on both hands while the other three fingers on each hand rest on supporting posts. The kora does have tuning pegs, an innovation of the early 60’s that caused a great deal of controversy in the kora-playing universe. Even with the tuning pegs, the nature of the instrument is such that the player is restricted to four scales that come close to syncing with our major and minor scales as well as the Lydian scale that often pops up in modern jazz. That’s assuming you can tune the instrument—word has it that the tuning of a kora is as close to the Sisyphus myth as a musician can get, and many a wannabe kora player has responded to the effort by just saying, “Fuck it.” The base of the kora consists of a large calabash sliced in half and wrapped in cow skin, through which those resting posts travel to provide stable footing. There is a soundhole, but unlike a guitar, the soundhole is located on the side instead of the front. The sound is somewhere between a lute and a harp, but brighter. Modern kora players have access to electric versions of the instrument, which allows for the possibility of pedals and other gizmos to further shape the sound.

I don’t know why anyone would do that, because the kora is perfectly beautiful in its natural state. As I researched the kora for this piece, I watched videos of Diabaté a hundred times and couldn’t for the life of me figure out how he created such wonderful sounds. This is because playing the kora is a three-dimensional experience, and the standard front-and-center camera angle prevented me from seeing what his fingers were doing behind the scenes. Fortunately, I found an unusually engaging scholarly article on the kora authored by one William Ridenour who helped shed some light on kora technique:

There are two main ways to play pieces on the kora, and these are described as kumbengo and birimitingo. Kumbengo is best described as a basic pattern or an accompaniment pattern. Kumbengo is the foundation of a piece, and one cycle of kumbengo is repeated over and over, usually with variation. Sometimes a kumbengo is developed from the vocal melody of the piece (Knight).

“Accompaniment-type playing involves an ensemble relationship between the fingers or hands of one or more musicians in which African aesthetics of polyrhythm find full expression” (Charry 167). Kumbengo patterns are often disrupted by another way of playing, involving fast descending melodic flourishes which are often highly ornamented. This type of playing is called birimitingo, a word possibly of onomatopoeic origins. When pieces are performed, the player alternates between the two styles at his or her will, depending on the demands of the particular situation.

Occasionally the kumbengo is punctuated by a knock on the hand support by the right index finger in a technique called bulukondingo podi. Another type of knock, konkong (Charry calls it “konkondiro”), is more common; it is a timekeeping pattern tapped on the round side of the kora by an apprentice or a male singer (Knight).

Techniques and Roles of the Playing Fingers

Generally, the left thumb plays strings 1-8 on the left side, and the left index finger plays strings 6-11. On the right side, the thumb plays strings 1-5, and the right index finger plays strings 2-10. There is quite a bit of crossover between thumbs and fingers on the same side, especially with the technique of birimitingo. In addition, there are two predominant ways to pluck a string: open and muted. To create a kumbengo, the thumbs play a bass line, while the fingers play a treble melody; the instrument is intrinsically polyphonic. The pitches ascend in 3rds on both sides of the bridge, facilitating the playing of two- to four-note chords, rapid scalar passages (fingers or thumbs in alternation) and octave doubling (Knight and Charry 158).

Translation: If you want to become a great kora player, prepare to devote your entire life to practice. As it turns out, that’s pretty much how kora players have been developed for centuries due to the caste systems common in many locales on the African continent (the Mandé caste, in this instance). According to Wikipedia, Diabaté comes from a long line of “70 generations of musicians preceding him in a patrilineal line.” Even if you only credit a generation with thirty years of existence, that translates into 2100 years of male-only kora playing. The generational sexism was broken recently by one of his cousins, Sona Jobarteh, whose album Fasiya integrated the kora with pop sensibilities.

The Review

The twelve songs on In the Heart of the Moon are marked by incredibly simple chord patterns consisting of one, two or three common chords. Over half the songs are in the key of F major, a key frequently used in kora music; only one song is in a minor key, D minor, which happens to be the complement to F major. Touré generally provides the baseline accompaniment through a simple, repetitive arpeggio, graciously giving his younger friend plenty of room to maneuver (though he does insert some sweet licks from time to time). The variety in the music comes largely from the kora, especially during those birimitingo passages where the flurry of notes sound like the aural equivalent of shooting stars on a clear summer night.

The songs and playing styles come from a period in Malian musical history called Jamana Kura, or “New Age/Era.” Jamana Kura emerged in Mali’s pre-independence period, a style marked by “a lighter more popular feel than the old Mandé griot classics” (according to the liner notes). To my ears, the song structures are reminiscent of the folk music of Britain and France, simple but highly melodic compositions that support folk dance. Jamana Kura also introduced a new, highly-rhythmic finger-picking guitar style that arose from a merger of other stylistic traditions; Touré takes this a step further with his grounding in the blues, further intensifying the rhythmic patterns. The result is true world music, a style simpatico with Western and African sensibilities.

Translation: you won’t hear anything on In the Heart of the Moon that feels too “foreign” to you.

The album was recorded in a hotel conference room in Bamako without rehearsals in three days, and given the fact that these two giants of African music had only played together briefly prior to what Touré called “A very important meeting in the realm at the heart of the moon,” it’s only natural that the festivities begin with a warm-up song in the key of F major, “Debe.” The song’s origins are ancient, dating back to the 17th Century, and the music is almost childlike in its simplicity and ability to delight the listener. Touré begins the piece with a nimble run echoing the melodic structure before dropping into a simple arpeggio that forms the dominant theme. You hear Diabaté enter about twenty seconds into the song, and soon he teases us with a short sample of birimitingo that makes you tingle with delight.

Don’t worry, folks, the kid is just warming up.

About halfway through the song, Diabaté gives us a longer sample of the birimitingo technique, and what I find simply amazing is how tightly he controls the length of each note to ensure that it doesn’t get in the way of the next one—hundreds of notes, each clean, clear and absolutely beautiful. You hear Touré say something to Diabaté after this stunning rush, and though I’m not sure which of the seven Malian languages Touré had mastered is in play here, the liner notes tell us “Ali praised Toumani as the rightful heir to the Mandé tradition.” The genuine respect and affection shared by these two brilliant musicians is on full display in the live version of “Debe,” where you can also see the kora in action:

“Kala” opens up with another Touré blitz that sounds very reminiscent to the intro to “Debe” until he forces the rhythm into a detour and winds up playing a rather jaunty, joyful pattern based on an F-C major chord structure. Diabaté’s approach is more varied here, introducing bright, complementary chording in addition to the bursts of birimitingo. Towards the end of the song, Diabaté repeats a chord that is slightly out of scale but marvelously harmonic, adding a slight bit of tension to the mix. This is another song guaranteed to bring a smile to your face—a playful, hummable, childlike delight.

Ry Cooder joins the party on “Mamadou Boutiquier,” an ode to Mandé traders who helped spread the Mandé language and Islamic traditions across West Africa. Toure’s introduction here is somewhat clipped, leading to a more integrated duet. Cooder is listed as playing “Kawai piano,” but the sounds you hear are distant hints of breathy organ, indicating the presence of an electronic keyboard. Once again, the song is built around an F-C major combination with a bit more flair in the rhythm due to the 6/8 time signature. The waltz-like beat adds a certain formality to the music, reminding you more of Vienna than Timbuktu.

Next up is “Monsieur le Maire de Niafunké,” a song celebrating Ali Farka Touré’s ascension to Mayor of the town of Niafunké, a small village on the Niger where he lived during his infancy. Unlike a certain U. S. President who shall remain nameless, Touré did not use his brief time in power to enrich himself but to improve the roads, build a sewer system and install an electric generator—all on his own dime. Imagine that! Diabaté opens this song with a light, nimble arpeggio to set a celebratory mood; Touré steps in to fill the humble supporting role and free Diabaté to do his thing. This is Diabaté’s most diverse performance on the record, combining varied phrasing on the rhythmic pattern with joyful injections of melodic birimitingo and the occasional chord. The fade to the song can only be described as sweet, a gradual diminuendo that communicates tender respect before Diabaté graciously hands off the lead role to Touré for the short closing pattern.

We finally see a key change (to D-A major) with “Kaira” (peace), a song popularized in the 40’s and 50’s by Diabaté’s father (also a kora player, as dictated by tradition). Touré handles the rhythm, adding a syncopated kick to liven things up a bit, and although percussion was present on the two previous tracks, the shaker is much more noticeable here, giving the piece a touch of samba. The jaw-dropping moment comes at the halfway point when Diabaté goes on an extended birimitingo at breakneck speed, then returns a few seconds later as if nothing particularly remarkable had happened. One feature of In the Heart of the Moon I hope people appreciate is the utter humility of the musicians—this isn’t the “ego-based music” George Harrison identified as the major irritant in modern music (a view to which I fully subscribe), but two men putting their egos aside in the service of creation.

“Simbo” returns to the F-C pattern, enhanced with breaks where two and three-note chords are played in a varied, syncopated pattern. Another strong duet with amazing kora-guitar harmonies, Diabaté varies his solos with unexpected pauses, sequential triplets and even long periods of silence to allow Touré to reaffirm the beat. The note patterns have a slightly Mexican feel to my ears, but I’d have to compare scores to understand why—and kora music is notoriously difficult to score. For the most part, I’m quite content to let music theory go to hell for a while and just let this exquisite music course through my soul.

The greatest departure from the baseline comes with “Ai Ga Bani,’ (I Love You), the only vocal piece on the album. Here we shift to a three chord pattern in D minor that marks a surprising but welcome shift in the mood from inspirational to erotic. Touré opens with high-note runs similar to the first two songs on the album, then descends at the point where the minor key is established. He punctuates that change with a strong WHACK on the strings, communicating sexual tension near the boiling point. I’ll state the obvious and tell you this is by far the sexiest piece on the album, with the erotic feel intensified by the passionate sincerity Touré brings to his vocal. Ry Cooder again adds the breathy sounds while Diabaté and Touré provide contrasting fills—Diabaté’s full of mystery, Touré’s loaded with blues-inspired earthiness.

You may have figured out that the Jamana Kura had little to do with colonial resistance or the politics of the independence movement. Many of the songs from the period were devoted to expressions of love, and though the performances here are wordless, you can feel the tenderness and joy in the music. “Soumbo Ya Ya” is one such song, featuring a melodic line that rises and falls with the peaks and valleys of human emotion. Touré provides the dominant line while Diabaté dazzles us with intensely beautiful flurries that sound positively magical. It’s followed by the more reflective but sweetly passionate arrangement of “Naweye Toro,” a song that differentiates itself from the others with the brief appearance of a C7 chord in the middle of the F-C major pattern to add a spot of tension before arriving at the affirming resolution. I love Touré’s guitar on this piece—calming and earthy, reminiscent of gentle bluegrass music.

The last three songs are all traditional songs arranged by Touré, beginning with the sprightly “Kadi Kadi,” a cascade of intense, active runs that fill the soundscape like exploding blossoms. Diabaté is on fire here, responding to the quick tempo with confidence and remarkable dexterity. You definitely hear the country blues influence in Toure’s picking on “Gomni,” a song that feels more Texas than Mali. Touré’s playing is fluid, insistent and powerfully rhythmic, an open invitation to musicians and listeners to let the world go to hell and just fall in love with the music (the brief applause at the end of the song is pleasingly affirming). In the Heart of the Moon ends with “Hawa Dolo,” a meditation using an F-Bb-C pattern that employs the kind of slow arpeggios you hear on pop songs of the early 60’s like “Angel Baby” and “The End of the World.” Ry Cooder makes an appearance with a Ripley stereo guitar, producing sounds that form a deep background, making the acoustic guitar and kora sound even brighter. The feel of the song is rather sad, but tenderly so, expressing the ever-present regret of “all good things must end.”

The music on In the Heart of the Moon is intensely captivating, an alluring invitation to the listener to explore and learn more about Malian music and culture. Bamako is definitely on my list of future vacation itineraries, but right now the country is going through yet another period of instability and it simply isn’t safe for a white French woman to visit. Despite the capability of music to transcend cultural differences and build bridges between people, political considerations always seem to get in the way.


My urge to visit Mali coincides with a parallel wish—the wish that I had been there when they made In the Heart of the Moon. I’ll let producer Nick Gold explain why (from the liner notes):

. . . at two o’clock the next day Ali and Toumani were sitting opposite each other, close together, instruments were tuned, microphones were placed, sound levels were set and off they went.

Each of them would suggest or remind the other of a song by playing the first few notes of the melody and that was basically it. Beyond the basic song structures, it was completely improvised. If one of them wanted to take a solo, he’d nod to the other. At times it seemed like they were just sitting on a groove (albeit a wonderful groove). Then one of them would start damping a string, the other would follow suit, and you had this very detailed interaction that I didn’t fully appreciate until we got to the mixing stage. Every single note that both of them played was absolutely meant. For three days every afternoon they played for an hour or two. This sessions were very relaxed, but the concentration between the two of them was intense . . . There were no second takes. Nothing was edited . . . They hardly spoke during the sessions. They didn’t need to. Sometimes I had the thrilling experience of eavesdropping on a moment of very special and intimate communication. Listening to this record, you’d think they’d played together all their lives, yet they’d played for a total three hours before this—spread over fifteen years.

I’d be so completely absorbed by the music. We needed absolute quiet in the room while they were recording since the kora is such a very quiet instrument. A song would end and you’d realize you’d been holding your breath, hypnotized. It was terrible when those sessions ended. I wish I could have afternoons like that every day of my life, with the most sublime music just going on—forever. 

PJ Harvey – Stories from the City Stories from the Sea – Classic Music Review

In an interview with Mojo magazine some years after Stories from the City, Stories from the Sea was released, PJ Harvey said, “I felt like I got lost around that record. I wanted to try writing lots of perfect pop songs. It’s great to set oneself projects, but they also have to ring true to your heart and soul. Pop music isn’t where my heart is at.”

Polly—may I call you Polly? Great. Polly, let me give you some friendly advice.

Shut up.

Artists are terribly neurotic people, always second-guessing themselves, forever offering alternative explanations and unnecessary excuses for past works that don’t fit the new self-narrative they’re trying to spin to the media. Ray Davies disowned his theatrical works, Ian Anderson called A Passion Play “one-dimensional,” and John Lennon tried to rewrite history dozens of times when he wanted to discount past offerings that failed to serve his desire to project himself as an artiste. Sometimes the change of heart is in reaction to criticism (Davies and Anderson), but more often it’s an artist on a personal growth trajectory who can’t bear to think about the earlier, allegedly inferior version of themselves that bears no resemblance to the image they wish to promulgate in the present.

And hey, Polly, when promoting Stories from the City, Stories from the Sea, you told Q Magazine, “I wanted everything to sound as beautiful as possible. Having experimented with some dreadful sounds on Is This Desire and To Bring You My Love—where I was really looking for dark, unsettling, nauseous-making sounds—Stories From The City . . . was the reaction. I thought, No, I want absolute beauty. I want this album to sing and fly and be full of reverb and lush layers of melody. I want it to be my beautiful, sumptuous, lovely piece of work.”

Mission accomplished. So—you went through a phase that was a natural, balancing response to a previous phase. The result of that balancing act was a beautiful album. Shut up.

And as you also noted in that interview, the album is “pop according to PJ Harvey, which is probably as un-pop as you can get according to most people’s standards.” Ahem. Art is not limited to those genres given the seal of approval by the cognoscenti, and as I have noted many times before, simply because a work is popular doesn’t mean it isn’t art. Willie Shakespeare was pretty popular in his day, as were Dickens, Liszt, Louis Armstrong, Frank Sinatra and the aforementioned Mr. Lennon. As for the label, “pop music,” the term is quite elastic and has morphed considerably over time. For the past twenty years, “pop” has meant “shitty repetitive music produced by entertainers who couldn’t survive without autotune.” Stories from the City, Stories from the Sea does not come close to fitting the definition of pop in vogue at the time of the album’s release, so . . .


Stories from the City, Stories from the Sea does indeed feature many moments of beauty, and vocally, PJ never sounded better. There’s also plenty of power in many of the tracks, but instead of the raw power highlighted on her first three albums, we hear a more disciplined and intentional use of power that makes for some terribly exciting moments. Consisting of songs she wrote during the period she lived in New York and others she wrote back home in Dorset, the material on the album ranges from edgy to ethereal, from spacious to claustrophobic, from fearful to loving. It seems that PJ was far more worried about the “pop” label than anyone else, as contemporary buyers of pop paid little attention to the three singles released from the album, none of which came close to cracking the top 30. No, Stories from the City, Stories from the Sea is still 100% certifiable PJ Harvey: curious, complex and endlessly compelling. The darkness that characterized her music prior to Stories isn’t replaced by sunshine and lollipops but presented in a more nuanced and detached manner, as if Polly Jean had embraced the universal truth of yin and yang instead of spending all her time yinning.

Yay! I made a new verb!

While inventing language on the fly is about as creative as I ever get (outside of the bedroom, of course), for PJ Harvey, talent is both a gift and an obsession. The obsessive aspect of her creative side makes it natural for her to portray obsessive characters, whether it’s the broad trying to guilt Billy into accepting his paternal responsibilities or the paranoid nutcase in “Big Exit” who convinces herself that she could be safe from the bad, bad world if only she had access to a gun. This is a woman seriously trapped in the fight-flight loop, driven by her irrational response to fears both real and imagined:

Look out ahead
I see danger come
I want a pistol
I want a gun
I’m scared baby
I wanna run
This world’s crazy
Give me the gun

Baby, baby
Ain’t it true
I’m immortal
When I’m with you
But I want a pistol
In my hand
I wanna go to
A different land

As the narrator later complains about “too many cops/too many guns,” we can safely assume that this is one of the songs where PJ reflected on her experience in the USA, a place where irrational fear combines with illogic to create a country where guns are cherished more than children. PJ’s vocal is sufficiently over-the-top to capture the woman’s deep-seeded anxiety and the short-circuited left side of her brain, but what I find most impressive about this characterization is that the woman uses a seductive tone to try to get her lover to hand over the .38. Sex and violence have always been integrated in American culture and celebrated simultaneously in American art—think Bonnie and Clyde, Fatal Attraction—the list is endless. PJ didn’t stay all that long in the States (less than a year as a resident), but she still managed to perceive some of the bizarre aspects of the American psyche that befuddle most of the other inhabitants of the planet.

The music is equally fascinating, opening with a simple G-F-G-F guitar riff in stereo soon backed by a hard-strummed guitar open-tuned to G with no third (resulting in a G5-G7 pattern, NOT the Gm incorrectly cited on several chord sites). Getting rid of the third (here the B note) creates a stronger drone effect, an insistent sound that mirrors the character’s equally insistent fixation on pistol as problem solver. The sense of alarm in the first verse is intensified because the only sounds are that guitar ensemble, a relatively faint snare and PJ’s voice. When the bass comes in on the first-go-round of the chorus—which also involves a key change to Dm—I get the chills I often get from those little moments of simple brilliance that make music such a delightful experience. As the song proceeds, the band throws in other sounds (including a harpsichord, believe it or not) until the stop-time bridge gives us another key change (Gm) and the superficial reflections of a woman completely incapacitated by life’s contradictions, by the simultaneous existence of yin and yang:

Sometimes it rains so hard
And I feel the hurt
In my heart
Feels like the end of the world
I see the children
Sharp as knives
I see the children
Dead and alive
Beautiful people
Beautiful girls
I just feel like
It’s the end of the world

PJ leaves the woman in psychic paralysis, permanently trapped in the inability to accept reality as multi-dimensional. The “big exit” of the title is also multi-dimensional: it has echoes of the “big sleep” from film noir, the woman’s desire to escape the world’s contradictions and her latent urge to kill. “Big Exit” is a rich musical and lyrical experience, a phrase you rarely hear applied to “pop songs.”

The practice of withholding resolution to the root chord is repeated in the exuberant “Good Fortune,” where PJ begins the verses on the noncommittal combination of Am9/G6 before settling on C major to wrap up the sequence (don’t bother with the chords cited on Wikipedia, because they’re wrong, too). These extended suspensions are remarkably effective in raising the anticipation of resolution, so when PJ reluctantly lands on the root, the experience is infinitely more satisfying than say the classic trope of seventh-chord-to-root that you’ll find in a billion blues and rock songs. PJ has more comfort with ambiguity than most musicians, and the reluctance to find resolution is both an acceptance of life’s unpredictability and a deep desire to milk every experience for all that it’s worth.

This chosen restlessness also manifests itself in “Good Fortune” through references to the gypsy experience, a longing for a life on the move where routines and garden-variety expectations are replaced by improvising in the here and now. The image of the gypsy was not chosen at random; it was chosen because gypsies are a stigmatized group treated like outlaws in part for refusing to abandon their peripatetic ways for metro-boulot-dodo. Unlike the paralyzed narrator in “Bad Exit,” PJ comes down hard on the side of the flight response and its illicit connotations:

So I take my
Good fortune
And I fantasize
Of our leaving
Like some modern-day
Gypsy landslide
Like some modern-day
Bonnie and Clyde
On the run again (On the run again)

Hopefully the modern-day Bonnie and Clyde left the guns on the rack.

The desire to leave it all behind also defies our expectations of what “good fortune” looks like. For most people in the western world, good fortune is something that brings fame or enough money to do whatever the fuck we want. PJ diminishes the value of both fame and fortune earlier in the song by reducing those aspects of good fortune to “been there, done that.”

Things I once thought
In my life
Have all taken place

Fortunately for the rest of us, PJ hasn’t yet formed her own band of gypsies, and I doubt that she’ll do that until she’s completely exhausted the artistic need for self-expression. Given her stated desire to produce albums that sound completely different from preceding efforts, I think she’s found a way to manifest her gypsy spirit through her music, and I am so good with that.

The truth is you can escape social norms without going anywhere, if you’re fortunate enough to find and nurture a genuine, loving relationship where all parties dedicate themselves to the full realization of self and other. This is the subject matter of “A Place Called Home,” a song that supports the notion of mitigating the dehumanizing effects of society through the open arms of a supportive relationship. As a person who has adopted what society terms an alternative lifestyle, I relate deeply to this song, and it’s the only PJ Harvey song I’ve thoroughly learned and performed during the annual family get-togethers, with my mother or partner joining me on the layered call-and-response vocals in the chorus.

It’s not a difficult song to learn, as the guitar chords are pretty standard fare designed to give the singer lots of room to maneuver. That maneuverability is most obvious in the chorus where PJ delivers the lead vocals within normal range while raising her voice an octave to deliver the tender, encouraging responses (my love, come on). Where the flexibility of a steady baseline really pays off is in the second verse, where PJ varies her phrasing so that the lines “I stumble, I stumble” defy the rhythm, amplifying the emotional impact of separation:

I walk, I wade
Through full lands and lonely
I stumble, I stumble
With you I wait
To be born again
With love comes the day
Just hold on to me

Equally impactful is the chord change on the last verse, where the Am-F pattern is abandoned for the richer complementary pattern of C-G-D2-Am that transforms the static melody into a stirring call for action:

Now is the time
To follow through
To read the signs
Now the message sent
Let’s bring it to its final end

I’ll borrow a phrase from PJ’s statement of intent and declare that “A Place Called Home” is an absolute beauty of a song.

The darker side of the relationship-as-refuge theme is explored in “One Line.” Here love is seen as a survival mechanism, a need more than a desire, a sanctuary from the human propensity for violence, whether on the streets or on the battlefield. While I love the guitar riff and appreciate the message, the structure follows the soft-LOUD Pixieseque style PJ embraced more frequently in her early days, resulting in an arrangement that’s a bit too predictable. Kindred spirit Thom Yorke makes his first appearance on the album, serving up wordless background vocals that enhance the troubled mood.

Thom appears more prominently on “Beautiful Feeling,” an eerie, spare song with mystic overtones that sounds like it belongs on Is This Desire? Each verse describes a life experience that evokes a beautiful feeling: the experience of life itself; the enrichment of culture through immigration in the form of a smiling Mexican boy; and last but never least, the experience of spontaneous attraction to another human being:

And when I watch you move
And I can’t think straight
And I am silenced
And I can’t think straight
And it’s the best thing
It’s the best thing
The best thing
Such a beautiful feeling

Though the song celebrates beautiful experiences, the mood is long-past-midnight: the fingers forming the notes on the fretboard remain firmly planted on the lower strings; Thom Yorke’s dreamy, moaning vocal enhances the general eeriness; and PJ’s sounds like a woman calling up memories as she fades into sleep from a state of sheer exhaustion.

The sleep is delightfully interrupted by an oscillating note that gathers volume and explodes into the full guitar chords that herald the arrival of “The Whores Hustle and the Hustlers Whore.” Although in the current world environment there is a strong urge to interpret the song as one that calls out the thoroughly corrupt and greedy politicians who control the governments in both the U.K. and the United States, the only verse that I can comfortably attribute to the spread of political decay is the second verse:

Speak to me of your inner charm
Of how you’ll keep me safe from harm
I don’t think so, I don’t see
Speak to me of your inner peace

That last line is killer, for if there’s one quality that defines too many career politicians it is the complete lack of conscience and integrity, without which it is impossible to even grasp the concept of “inner peace.” But while most politicians embody the hustler-whore duality, PJ sees the problem as both individual and universal, an affliction that impacts the poor and powerless as thoroughly as the rich and powerful. Whoring and hustling are the norms in The City and on Wall Street, in our search for work and the way we work, and in the way most people manifest sexual interest in another person. In this maddeningly toxic state of affairs, we’re all searching for a “fix” in one form or another:

Speak to me of heroin and speed
Of genocide and suicide, of syphilis and greed
Speak to me the language of love
The language of violence, the language of the heart
This isn’t the first time I’ve asked for money or love
Heaven and earth don’t ever mean enough
Speak to me of heroin and speed
Just give me something I can believe

PJ’s soaring soprano on the fade feels to me like an expression of passionate grieving for a world spinning off its axis, where, in Yeats’ insightful words, “The best lack all conviction, while the worst/Are full of passionate intensity.”

Thom Yorke’s earlier background vocals were just a warmup for the full meal deal, the vocal “duet” with PJ on “The Mess We’re In.” I place “duet” in quotation marks because the word implies a joining of voices in harmony, and the two characters in “The Mess We’re In” rarely harmonize, “talk” over each other and sometimes even talk to themselves. As the city sun sets on their affair, we learn that he’s into lovemaking as portrayed in movies and she experiences a tingle in her twat when she feels his sweat on her skin (eliciting a gorgeous moan that is the highlight of the song for me). Their voices do contrast nicely with each other, with Thom taking the high notes while PJ staying low in a subtle dig at gender stereotypes . . . but the pairing is a bit jarring, as noted by Lauren O’Neal on Rumpus

Yorke’s favored approach to sex has been to never mention it because he’s too busy singing about the frantic, inexorable alienation inherent in postmodern society. (I mean, the mongrel cat in “Myxomatosis” manages to fit a brief fling in before getting “edited, fucked up, strangled, beaten up,” “buried in a burning black hole,” “skinned alive,” and so on and so forth. Good for him, I guess.) Meanwhile, Harvey has sung a lot about sex, but usually in the most aggressive, non-erotic ways possible. A brief highlight reel: “You leave me dry,” “You bend over, Casanova,” “I’ve lain with the devil,” “You snake, you crawled between my legs”—plus that whole “statues of women exposing their labia” thing. And that’s just off the top of my head.

I’m also more than slightly creeped out when I hear Thom refer to his partner in the affair as “baby.” The use of that term in a Radiohead song is unthinkable. Despite all my quibbles, I like the song—or more accurately, I’m fascinated by it.

Now that Thom’s gone off to tie up loose ends on Kid A, PJ returns to center stage with “You Said Something,” a piece with a folk-rock flavor presented in waltz time. The song is arranged well, and the combo of multi-instrumentalists (PJ, Mick Harvey and Rob Ellis) provide their typically professional, understated support. Sadly, the song is rather like a joke without a punchline, as PJ tells her unseen friend on two different occasions “Then you said something/I’ve never forgotten,” and then forgets to let us in on the secret. In the last line she describes her friend’s comment as “really important,” but if it was so fucking important, why not share it with your listeners? I find the experience of “You Said Something” intensely aggravating, in large part because it’s a fundamentally solid song that ends with a pfffft.

At this point, PJ deviates from the script and gives us back-to-back rough-and-nasty. “Kamikaze” is allegedly another love-gone-bad song, but the metaphors are both hyperbolic and tenuous, making it quite a challenge to finally figure out PJ is desperately attempting to rid herself of a self-destructive asshole who wants to take her down with him. The music increases in intensity through the first and second verses, reaching a peak in the chorus, where PJ goes high soprano and Rob Ellis launches an extended assault on the drum kit that never lets up until the finish. It’s a nice burst of energy after a relatively low-key album, and a solid warm-up for the far more direct and to-the-point “This Is Love.”

If you’ve read my bio on the home page, you’ll know that life priority #1 is sex. I utterly reject the label of nymphomaniac, defined by Merriam-Webster as “one affected by nymphomania : a female who has an excessive desire for sexual activity.” Q: Who decides what is “excessive?” A: Men! The word is primarily used in the context of slut-shaming, and the implication of the term is that a woman must learn to control her sexual urges while men can fuck with reckless abandon. Women who “sleep around” are whores; men who sleep around are guys just being guys. The male fear of “excessive” female desire has been present in nearly all human cultures from time immemorial, manifesting itself in customs as ludicrous as the expectation that women remain virgins until they marry and as horrific as female genital mutilation, a still-active ritual that has resulted in the disfiguration of more than 200 million girls living today.
When I say I’m proud to be a slut, it doesn’t mean I’ll fuck anyone for any reason. It means I’m not afraid to express my sexual desire and see no earthly reason to hide that desire. The word “nymphomaniac” implies a woman who is out of control, and I am always conscious and intentional about sex, from the earliest communication of desire to the expression of eroticism in the heat of the moment. To me, sexual honesty on the part of a woman is a blessed act of liberation. So, when I hear PJ Harvey sing the opening lines of “This Is Love” without the slightest hint of shame or embarrassment, I feel a lot more than satisfaction—I feel validation.

I can’t believe that life’s so complex
When I just want to sit here and watch you undress
I can’t believe that life’s so complex
When I just want to sit here and watch you undress
This is love, this is love
That I’m feeling (3)

As far as I’m concerned, the “it’s not love, it’s lust” crowd can all go fuck themselves! That said, we live in a rather judgmental, narrow-minded world, so some temperance is called for:

Even in the summer
Even in the spring
You can never get too much of
A wonderful thing
You’re the only story that I never told
You’re my dirty little secret, wanna keep you so

PJ is using the phrase “dirty little secret” in the way we LGBTQ people have transformed the epithet “queer” into a positive expression of identity. We have to protect our love from the cruel judgment of various religious types and other judgmental assholes, but we don’t think anything we do is dirty—it’s just love, love, love.

PJ’s vocal reflects this rejection of convention in a tone combining more than a hint of sacred lust and a stance of “what the fuck, people?” that you hear in many early rock songs that incorporate social criticism, from “Summertime Blues” to “Get Off My Cloud.” This style of rock is a particular sweet spot for PJ, having grown up (like me!) with parents who played 60’s rock and classic blues all day and all of the night. My kind of woman and my kind of song!

“Horses in My Dreams” is literally a poetic translation of one of PJ’s dreams. With due apologies to the Jungians in the crowd, not all dream symbols arise from the collective unconscious, and common dream symbols do not necessarily share a universal meaning. In this case, though, the characteristics assigned to the horses in PJ’s dream are pretty close to standard dream interpretations of horses as “symbolic of passion, drive and desire for personal freedom,” as noted on Dreamstop (Freud believed horses represented the sexual drive and power of the dreamer, but then again, Freud would). This pretty much tracks the imagery in the song, where PJ describes horses as “Like waves, like the sea/They pull out of here/They pull, they are free.” Later she claims she has “set myself free again” and that “I have pulled myself clear.” Never having had any contact with horses (they were pretty rare in San Francisco, I guess), I can’t relate to the symbol, but I certainly can relate to the power of dreams to facilitate personal growth and clarity. While PJ’s horses evoke nothing in me, her quest for freedom (artistic, sexual, expressive) definitely moves me. I like the relative quiet of the song, its curious melody and her rather rough, just-got-out-of-bed vocal quality.

We end our experience of PJ Harvey’s definition of beauty with “We Float,” a study in contrasts where the verses provide the yin and the chorus supplies the yang. The dark verses, built around a morose D-E-F pattern on piano, describe a relationship that turned sour when the pursuit of success became a sick addiction to accumulating more, more, more—an itch that can never be scratched.

We wanted to find love
We wanted success
Until nothing was enough
Until my middle name was excess

While her partner vanishes into the bustling anonymity of the city, the narrator is left without the false anchors she used in a vain attempt to ground herself:

I was in need of help
Heading to blackout
‘Till someone told me “run on in honey
Before somebody blows your goddamn brains out”

Trying to make sense of things, all the narrator can come up with is “something broke inside,” and while that may sound vague and weak, she is quite certain that it was the drive for success that ruined the relationship. She now clings to the hope that a solution can be found in the Taoist mantra to “do nothing and nothing will be left undone”:

But now
We float
Take life as it comes

The music here changes to a gentle, flowing rhythm and a chord pattern containing a softening minor seventh as PJ’s voice rises in a moment of delectable beauty. The final verse is the post-mortem, where it becomes clear that their great mistake was to believe freedom comes from having lots of money and refusing to see wealth as the quicksand trap it is:

So will we die of shock?
Die without a trial?
Die on Good Friday?
While holding each other tight
This is kind of about you
This is kind of about me
We just kinda lost our way
We were looking to be free

The song and album end on the extended repetition of the “we float” theme, a triumph of beauty and intimacy over ugliness and greed.

Stories from the City, Stories from the Sea received oodles of accolades and a spot on several all-time best album lists, guaranteeing that PJ would follow it up by going in the opposite direction and “get back to the earthy, rootsy, more dirty side of things” with Uh Uh Her . . . which led her to slam the brakes and turn the car around with White Chalk . . . then carve out a completely different path with  Let England Shake . . . which opened the door to socio-political songs and The Hope Six Demolition Project. The directional changes that followed have done nothing to diminish the value of Stories, whether PJ Harvey likes it or not. The experience allowed her to expand her songwriting range and explore the possibilities inherent in melody without damaging her artistic cred one iota.

Polly, it’s a damned good album, so SHUT THE FUCK UP!

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