Among other lessons I learned was that it is not in any way okay to assume an apathetic or been-there-done-that attitude toward what I often perceive to be "straight-ahead jazz." Second, I was fortunate enough to catch the Ari Hoenig Trio (or try MySpace) live at Smalls the other night. That's a brilliant song, one of many the album contains. YES! And btw, he's not exaggerating at all-about the vampire talk.
But only on that one line! The rest of it will just be sung like a non-dead human.'" So why is this the one we finally hear? What finally made him decide, 'You know, I've weighed all my options and all their potential consequences, and I'm going with the Mexican vampire accent. Somewhere in Los Angles, there's gotta be 400 hours of DAT tape with nothing on it except multiple versions of the 'Sorry' vocal. I mean, one has to assume Axl thought about all of these individual choices a minimum of a thousand times over the past 15 years. "On the aforementioned 'Sorry,' Rose suddenly sings an otherwise innocuous line ('But I don't want to do it') in some bizarre, quasi-Transylvanian accent, and I cannot begin to speculate as to why. My favorite bit on the album that I've read so far comes from the Klosterman piece (say what you will: the guy is an outstandingly entertaining writer): I've had like five or six people stop by my desk over the past couple days to express either disbelief at the opinion I chose to publish or a kind of somber solidarity, as though I had elected to undertake a suicide mission of some sort. As you'll read above, no one is really lukewarm on the record at all. I have found it fascinating to observe and participate in the superheated dialogue this thing has wrought. Hint: I was more Fricke and Klosterman than Pareles. Wanted to comment on just a few items, as I prepare to head back to my ancestral homeland for the holiday.įirst, you've no doubt heard the racket over Chinese Democracy? Read my take here.
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