MUSIC IN MY MIND (continuation)

7. The Rhythm of the Saints (Paul Simon) - coming off the heels of his successful experimentation with the haunting sound of South Africa in Graceland, Simon ventured further and deeper into similarly hallowed musical grounds in this 1990 cd and in the process made him beyond the reach of other great singers/songwriters of our time (Prince, Cat Stevens, Bruce Springsteen) in terms of innovation. Simon could have written The Rhythm and nothing else all his life and will still be justified to knock at the doors of Rock N' Roll Hall of Fame - in about the same way The Metamorphosis alone would assure Kafka a place in world literature.

Simon's voice, though lacking the quality and timbre of Art Garfunkel's, is winsome and manifests a unique aspect of likeability - something that sounds amorous and seemingly fragrant. But on this cd the real star is the concept, which somehow made it branded as anthropological (sad, really, because this cd is art, not science): it basically speaks of the life of Native Americans and of the elements surrounding them - the skies, stars, rivers and moon, and the daily philosophy they go by - of trying, flying, dealing and moving. Further to Fly provides a classic verse:

A broken laugh a broken fever
Take it up with the great deceiver
Who looks you in the eye
And says baby don't cry
Further to fly

The Rhythm of the Saints has strong Brazilian (Amazonian) influences, too, and the combination is adroitly magical: lots of percussion and what I suspect as indigenous Brazilian and Carribean instruments playing huge part in the recording. But if you were to ask for the cd's defining moments, I will offer three: the opening sound which is a distinct beating of drums that symbolizes the great American Indian experience, and the twin songs Born at the Right Time and Spirit Voices - probably the two most beautiful songs the world has not heard of.

8. Supposed Former Infatuation Junkie (Alanis Morisette) - This is the choice that may deliver me to the most impetuous contempt of even the staunchiest Morisette fan. Jagged Little Pill, after all, is The Alanis Morisette CD and the sole reason why female angst is within the level of pop. Very well then, bite me, and for good measure sing, You from New York, you are so relevant.

The truth of the matter is (and this is my truth, not pop music's, which is false) Supposed Former is way above Jagged Little Pill in all aspects that extol their contents: song as expression, song as intention, song as medium of emotion, song as opener, song as encloser, song as conqueror, song as liberator. In Supposed Former, Alanis is angrier, and since anger is what she is and what supports her, the cd becomes more fully expressed and justifyingly true.

I like Alanis Morisette and I further beg to disagree with claims that she is an acquired taste. She has a beautiful voice; even her speaking voice is awesome, without intonation you can still detect her sense of urgency and transparency. "Use me", she said calmly in one interview, urging new songwriters to follow their pain, like money in a bag, and you see the apotheosis of her advise in those plain words, use me. Which is what Supposed Former is all about. Pain as element of counsel, personal demon as element of song.

Final word: in the exremely haunting song That I Would Be Good, Alanis has shown - subconsciously - that she has another ace up her sleeve (or throat). She emits the beautiful sound of hyperventilation.