Review: Dylanesque Live: The London Sessions by Bryan Ferry

Bryan Ferry
Dylanesque Live: The London Sessions (Eagle Rock Entertainment)

Reviewed by Pedro Blas Gonzalez


Dylanesque Live is a video performance of Bryan Ferry’s recording sessions of his latest album Dylanesque (Virgin Records). The DVD includes four bonus tracks, including a 1973 video of Ferry’s take on Bob Dylan’s “A Hard Rain’s A-Gonna Fall.” Also of interest are several interviews where Ferry gets an opportunity to explain the rationale -- and justification, for some -- for his choice in recording Dylan songs. Perhaps this DVD and album of the same name will be received differently by the two rather dissimilar camps: Bob Dylan and Bryan Ferry/Roxy Music fans.


However, Dylan fans should take comfort in the fact that other able musicians would want to cover his music. This has been the case with even greater songwriters and lyricists of Tin Pan Alley’s Golden Age like Jerome Kern, Cole Porter, Richard Rogers and Irving Berlin. Their compositions have passed on to become the standards, as these pieces have now been immortalized as being an essential part of the American soundtrack.

Somehow, I get the impression Dylanesque Live will sound more soothing to those familiar with the Bryan Ferry/Roxy Music sound. There are several reasons for this. Dylan fans have had ample time to get used to his twangy voice and inflection. I suppose that, for Dylan purists, that along with his acoustic guitar, harmonica and abrasive lyrics serves as the foundation to embrace his music. For these fans, Bryan Ferry’s arrangements will sound strange, at best.

The Bryan Ferry fan, on the other hand, knows him to be an urbane sophisticate. His music is vitally sensual. As he says in several of the interviews in the DVD, “you try to bring a little character to the songs.” Yet let us not lose sight of the fact that Ferry’s Dylanesque Live is a tribute to Dylan’s music. Thus, part of Ferry’s justification in recording this album is that there is no sound logic and purpose in repeating the Dylan sound.

There’s no doubt that this recording is an interesting mix of folk music and the svelte, midnight sound for which Ferry is best known. “Just Like Tom Thumb’s Blues” is a fine upbeat example of this musical synchronism. This is perhaps the best song in the album. With harmonica in hand, a truly competent band backing him and four background singers in tow, Ferry truly shines in this piece. “The Times They Are A-Changin” also enjoys a re-vitalization that ought to incite excitement in the Dylan crowd. The beauty of Ferry’s music is the patience that his songs exhibit. When listening to this track one does not get the impression that there is an end in sight, for his songs do not have formulaic beginning, middle and end parts.

Another example of this is the piano-driven “Positively 4th Street.” Chris Spedding, formerly of Roxy Music, delivers a beautiful acoustic guitar solo that, along with the piano makes this song a much more polished and sophisticated sound than the original composition. Of course, Ferry also gets it right on songs like “All Along the Watchtower” with his use of a rather tastefully restrained and not over the top guitar solo. Also surprisingly enjoyable in this latest embodiment is “Knockin’ On Heaven’s Door.” Dare I say that this Bryan Ferry recording and DVD actually adds some much needed cosmopolitan lure and spontaneity to these Dylan songs?


Pedro Blas Gonzalez is Associate Professor of Philosophy at Barry University in Miami, Florida. Amongst his intellectual pursuits is his interest in the relationship that exists between subjectivity, self-autonomy and philosophy.

Review: Memory Almost Full by Paul McCartney

Paul McCartney
Memory Almost Full (MPL Communications Ltd, 2007)

Reviewed by Pedro Blas Gonzalez

In an industry that is shamelessly producer driven, people who are responsible for assembling half-competent groups overnight, and who make dress, spectacle and outrage take center stage -- not music -- Paul McCartney proves the value of being an island of talent in a sea of momentary and fashionable refuse.

In Memory Almost Full, his latest inspiration, all tracks are written and composed by McCartney, in addition to playing all instruments except strings. This album closely resembles the musical and creative energy that he displayed in his two other distinctive solo productions, McCartney, immediately before the formation of Wings and McCartney II, coming on the heels of the breakup of that memorable group.

The 13 tracks that make up this album revolve around the theme of the passage of time and ageing. These themes find sublime, poetic expression especially on songs like: “Ever Present Past,” “You Tell Me,” “That Was Me,” “Feet in the Clouds,” “House of Wax” and “The End of the End.” These songs are evocative of the meaning of the album’s title, Memory Almost Full, or what is essentially a reflection on the end of life.

“Dance Tonight” along with “Ever Present Past,” the two signature releases of the album, are both uptempo songs. Characteristic of McCartney’s music, none of these recordings telegraph the punches. Surprise and unpredictability continue to be a staple of his music. The melodies in this album are piano-driven. Even this is interesting, because none of these studio recordings come across as being emblematic of mere rock music. All of the songs accomplish much more than the limitations set by standard rock songs.

For instance, “Dance Tonight” employs a playful mandolin as the dominant instrument and McCartney whistling portions of the catchy melody. “Ever Present Past” is perhaps the best example of his use of guitar riffs. However, refusing to write songs that are moved along by overly aggressive drumming and a frantic tempo, this album is another example of McCartney’s individualistic disregard for the taste of his critics. For the decade that Wings existed, the music press hurled unqualified criticism at the group for not sounding like every other rock group. For his part, McCartney did not tow the line and ended up by creating music that has stood the test of time.

“See Your Sunshine” is a melodic song that displays great interplay of piano and his well respected booming bass, which never exists as mere backdrop rhythm. “Only Mama Knows” begins and ends with beautifully melodic strings. For those looking for a genuinely dyed-in-the-wool rock song, this song will not disappoint.
The acoustic ballad “You Tell Me” is reminiscent of old McCartney downtempo songs. Actually, this song conveys a rather sad quality that bespeaks of the nostalgia of days gone by. “The End of the End” contains some of McCartney’s most pressing lyrics. The song is about how he would like to be remembered. Here, we once again encounter him whistling the melody, as if gentling walking away into some post-mortal realm.

“That Was Me” displays an autobiographical flair, where McCartney is awed by the passing years, from childhood to fame and stardom, and culminating in old age. His bass line in this song is some of his most poignant yet. Jazzy fingering techniques carry this song. “House of Wax,” a quasi-lament, finds him giving his all emotionally.

If forced to choose the most endearing and memorable quality of Memory Almost Full, one would have to say that the lyrics of these songs are some of the most profound and poignant that he has ever composed. This is a moving record that is replete with melodies that will easily become classic McCartney songs. It is also a glaring indictment of just how much talent actually still matters.


Pedro Blas Gonzalez is Associate Professor of Philosophy at Barry University in Miami, Florida. Amongst his intellectual pursuits is his interest in the relationship that exists between subjectivity, self-autonomy and philosophy.

Joe Zawinul and Brown Street

Brown Street

Joe Zawinul

BirdJAM/WDR. 2007

reviewed by Pedro Blas Gonzalez

Recently, as I was about to step out of my car at the university, a woman who had just parked next to me asked, “what is that beautiful music that you were just playing?” The piece was a live recording of Weather Report’s now classic melody, “A Remark you Made” in Joe Zawinul’s new recording, Brown Street.

Weather Report is considered one of the most sophisticated and musically proficient fusion-jazz groups of the 1970s and 80s. It is certainly the most prolific, having recorded over 16 albums. The group was together from 1970 to 1986. In that time span it counted with the participation of over 26 musicians, most whom have gone on to enjoy stellar solo careers.

Weather Report was the brainchild of pianist Joe Zawinul and saxophonist Wayne Shorter. Zawinul had recently departed Cannonball Adderley’s outfit and Shorter The Miles Davis Group. Throughout the many embodiments of Weather Report, perhaps the most memorable core of the group was that of Zawinul, Shorter, Alex Acuña and Jaco Pastorius.

Zawinul’s Brown Street was recorded live at Birdland, Zawinul’s own jazz club in Vienna. Zawinul is re-united with one-time Weather Report percussionist, Alex Acuña and the WDR Big Band. “Brown Street,” the title piece, is a 10:58 jam that makes use of ethnic layering and the rhythmic, full, horn sound of the WDR Big Band.

Distinctive in this piece is the growling bass playing of reknowned bassist Victor Bailey, also a member of Weather Report from 1983 to 1986. Bailey does great justice in delivering the same virtuoso bass lines that seasoned Weather Report enthusiasts associate with Jaco Pastorius. This piece begins with Zawinul’s synthesizer rendition of an accordion and builds to the up-tempo jazz fusion for which Zawinul’s music is known.

“In a Silent Way,” one of Zawinul’s composition’s that has been recorded by Miles Davis, employs solo trumpet, in what is an impressionistic rendition of Zawinul’s memories of his youth in Austria.

“Badia/Boogie Woogie Waltz” is yet another fine example of Zawinul’s ability to integrate the synthesizer in orchestrations that include percussion in addition to drums and a large horn section. Yet Zawinul’s musicianship keeps him from drowning out the rest of the musicians in what is often a very busy sound.

“Badia” is a classic appropriation of Zawinul’s fusion-jazz –- a moniker that he does not approve of, and which he credits to the music writers -- upbeat drumming, flowing and melodic synthesizer and the ever-present probing and growling sound of fretless bass.

“Black Market” makes use of a more restrained and rhythm-oriented bass line that sustains the energy of the horn section and solo saxophone. “Night Passage” is a traditional swing score that opens with trumpet solo and progresses into big band orchestration and time sequences, and which utilizes a minimal touch of synthesizer throughout.

“Carnavalito” begins with Acuña’s Cuban Guaguancό percussion that launches the piece into a funky-jazz jam that also makes use of Samba rhythms. This often synchronistic integration of diverse rhythms and tempos is a staple of Zawinul’s music. But also essential to his compositions is his weaving of surface melodies that serve as counterpoint to the heavier elements of his fusion driven pieces.


Pedro Blas Gonzalez is Associate Professor of Philosophy at Barry University in Miami, Florida. Amongst his intellectual pursuits is his interest in the relationship that exists between subjectivity, self-autonomy and philosophy.

McCartney and Ecce Cor Meum

Ecce Cor Meum

Paul McCartney

EMI Classics

reviewed by Pedro Blas Gonzalez


Taking over eight years to complete, Ecce Cor Meum (Behold My Heart) is Paul McCartney’s fourth classical composition. The others are Liverpool Oratorio (1991), Standing Stone (1997) and Working Classical (1999).

This is a work that, according to McCartney, served him as a great learning experience. The piece totals just under one hour and was commissioned by Anthony Smith, president (1998-2005) of Magdalen College at Oxford. The piece was to coincide with the dedication of a new concert hall at Magdalen College.

McCartney admits that he was at first somewhat shocked to receive the invitation. Only later did it dawn on him that, “they wanted something different, otherwise they wouldn’t be asking me. And I thought: That’s good, it allows me some latitude, it means I don’t have to fit myself into any sort of box.”

He began to compose the work on a synthesizer. This offered him flexibility. But it also served as a source of frustration, as far as the vocal parts are concerned. While the synthesizer can reach certain high notes effortlessly, the same was not to be the case with the singers. Ecce Cor Meum is a work that is written for adult and children’s choir. He explains: “I was composing at a synthesizer, where you find yourself using what you like. It may be that on a synthesizer a solo violin is a terrible sound, so you avoid using it, whereas a real solo violin is a beautiful sound, but you can’t stand the scratchiness in the meanwhile. The oboe had a beautiful sound on the synthesizer, so I found myself using the oboe a lot more than I might have done otherwise.” These are wonderful revelations that are highly inspirational and informative to music fans and musicians alike.

What seems so impressive about this work, in addition to its beautiful, vital sentiment is the sincerity which informs it. In the liner notes written by Peter Quantrill, McCartney talks about the many obstacles and dead ends that he encountered in the process of composing.
The most devastating of these transcends music. McCartney’s wife, Linda, died of cancer in April 1998. It seems impossible to imagine that this work is not a direct consequence of McCartney’s emotional strain during this trying time. The final result is a complex, serious piece that serves as a testament to his ability to compose moving, beautiful music.

Ecce Cor Meum is divided into four movements and an interlude. “Spiritus,” “Gratia,” “Interlude,” “Musica” and “Ecco Cor Meum” each displaying a pathos of its own. The title of the work, McCartney tells us, comes from an inscription that he saw at the base of a crucifix statue in St. Ignatius Loyola church in New York.

The first movement, “Spiritus,” begins slowly, with sopranos and chorus. The words, “Spiritus, Spiritus, lead us to love/Spirit, show us the way” beckon the spirit of holiness for the necessary strength to love.

The coupling of children’s voices and the melodious strings of “Gratia,” the second movement, serves as an ode to wonderment where, “This guiding light will burn so bright/So much wonder surrounds us.” Words like angelic and free-flowing beauty have often been used to describe the impact of children’s voices on adult ears; as if recognition of purity manifested. Yet these monikers remain more truism than cliché, regardless of how often such phrases are made use of. The truth of this is verified in the joy offered by the listening experience.

The “Interlude” (Lament) acts as a meditative stopping point that allows us to reflect on the meaning and essence of the prior two movements. The melancholic oboe ebbs and flows like a person who sobs in solitude.

From this reflective sojourn the piece moves into its fourth movement, “Musica.” Appropriately, the words summon the order of all things divine to “Notice how gently we spin/Here on the skin of a sphere/Of a sphere/Now music to lull us to sleep/Now lull us to sleep/Music to wake us from a dream.”

The final movement, “Ecce Cor Meum,” may mean Behold my Heart, but McCartney interprets it as “Let me tell you what I think.” This movement begins with the words, “Behold my heart/There in the future we may be apart/Here in my music I show you my heart.” This may signal the further suggestion, “In the future, after I have departed.” In due time, this piece will undoubtedly come to round off McCartney’s musical legacy. A composition like this helps to connect two distinct musical poles, if not tastes.
The final movement seems more autobiographical than any of the previous ones. It acts as a link to the composers’ past, but also as an arrow that points to the future; as to how “I and my music may come to be regarded.” The movement offers several subtle clues: The staple McCartney harmony and his distinctive driving bass line. While Ecce Cor Meum may not be Paul McCartney’s final musical output, it is nonetheless his most challenging and ambitious.


Pedro Blas Gonzalez is Associate Professor of Philosophy at Barry University in Miami, Florida. Amongst his intellectual pursuits is his interest in the relationship that exists between subjectivity, self-autonomy and philosophy.