by Sam Juliano
And now it is Thanksgiving Day that approaches as weather in the northeast is now conforming with time of year. The Caldecott Medal series continues as part 2 of the Greatest Television Series Countdown inches closer. The movie season has now reached what is usually the richest span of the year, and awards groups and critics are beginning to prepare their annual ‘Best of’ lists.
Songwriting icon Jimmy Webb performed a concert/review of his greatest hits at Manhattan’s The Cutting Room, and later signed copies of his new memoir “The Cake in the Rain.” Webb gloriously sang and played the piano with the able assistance of musicians. His greatest masterpiece “MacArthur Park” (my favorite pop song of the rock era), “By the Time I Get to Phoenix,” “Galveston”, “The Worst That Could Happen,” “Up, Up and Away,” “Witchita Lineman,” “All I Know,” “Didn’t I?” and a few non-Webb songs comprised the venue. This is the second time Lucille and I saw Webb over the past year.
The entire brood attended the annual ToyCom event in the PAL building in Parsippany, N.J. Melanie, Sammy, Danny, Jillian and Jeremy are seen in photo below outside by one of the classic cars previously used in movies on Sunday afternoon. Great day out for the entire family.
As a lifelong Agatha Christie buff and a passionate adherent of the BBC series “Poirot”, I went in to the new Kenneth Branagh version of “Murder on the Orient Express” more than skeptical. David Suchet after all is far and away the definitive Poirot, the one Dame Agatha envisioned and the one her family immediately recognized as the living embodiment of Poirot as written. The new film is well mounted, acted and filmed, and is intermittently riveting, but all in all somewhat uneven. Branagh, with the most extravagant mustache ever negotiated makes a decent Poirot, but this re-make is not the best version of this seminal mystery novel. Still, I’ll go with 3.5 of 5 and offer a modest recommendation. Saw the film with the entire brood last night in Ridgefield Park.
It is one of the bleakest and most disturbing films you’re likely to see but the psychological horror film “The Killing of a Sacred Deer,” a British/Irish/American co-production by acclaimed Greek art director Yorgos Lanthimos is brilliantly filmed, written, acted and scored. Especially chilling is the young Irish actor Barry Keoghan. This is the first Lanthimos film I love unreservedly. 4.5/5.0. Lucille and I caught the 9:30 P.M. showing in Edgewater last night.
Murder on the Orient Express *** 1/2 (Thursday Night) Ridgefield Park multiplex
The Killing of a Sacred Deer **** 1/2 (Sunday night) Edgewater multiplex
Glad to hear you’ve been having a good time; Sacred Deer is on my horizon, so it’s reassuring to know you enjoyed it so much.
Webb sang and played the piano with the able assistance of musicians.
Y’know, if Webb reads this he just might punch you on the nose! 🙂
Hahaha John! I have re-read it a few times, and have concluded it could well be taken the wrong way, especially when my known propensity for hyperbole is figured in. I should have said “Webb sang and played gloriously with the able assistance of musicians.” In fact I think I’ll change it now to reflect that. Sacred Deer is not an easy film to sit through for obvious reasons but is much too brilliant to deny. Right now it is in my Top 10 of the year. Thank you my friend!
You must have had an awesome night with Lucille seeing Jimmy Webb. I would have attended myself if I knew about it. “The Killing of a Sacred Deer” is on my must-see list.
Thanks Ricky! Quite an evening indeed! Look forward to comparing notes on KILLING OF A SACRED DEER.
Big reading season. No movies right now but my kiddos all went to Orient Express and enjoyed. We have no power now with wind storm. Hope you have a wonderful thanksgiving. We’re headed to CA to visit family again taking the train and listening to Born A Crime by Trevor Noah on Audible. Enjoy
Patricia, good to hear your brood enjoyed MURDER ON THE ORIENT EXPRESS. I hope by the time you read this powere will have been restored. Whenever that happens we always feel helpless. Definitely not much fun. I wish you and the family a wonderful Thanksgiving. Alwasy a worthwhile idea to take advantage of audio books when embarking on a long drive. The best always my friend. Thanks so much for the review shares!!
From what I’ve read The Killing of a Sacred Deer is indeed a gripping, chilling work that’ll I’ll see at my earliest convenience, but after reading this post, the most terrifying thing I can see is anyone saying that ‘MacArthur Park’ is their “favorite pop song of the rock era”. Y I K E S, I’m shaken to my very core.
Jamie, to be sure it is a polarizing song to this day. Those unwilling to submit to Webb’s metaphors (“Someone left the cake out in the rain; all the sweet green icing flowing down” etc.) will not only reject the song as hokey but will lampoon it. Once on a radio station years ago it was voted the worst song ever written. However I stand firmly with those who consider it one of the greatest songs ever written. This is an operatic work with complex orchestrations, surrealist lyrics (all the rage in the late 60’s) and a middle elegiac coda that remains wrenchingly moving. Obviously it was enormously popular stateside, but in Europe it was a sustained chart topper, with Harris’ original version particularly beloved. Harris delivers the goods with an anguished dramatic reading that does supreme justice to the rich harmonies and bringing a measure of soaring lyricism to this extremely unusual song for its era, one with a classical music structure. Webb has written some other very good songs (“From the Time I Get to Phoenix” would be my runner up choice) but I’ve always felt “MacArthur Park” was a work of genius. Of course so many over the years have covered it -Sinatra, Presley, Summer, Bennet, Diana Ross, Waylon Jennings, etc., but Harris’ reading is the most impassioned and emotional.
Still, I will say your comment here about my love of the song as particularly terrifying and you being shaken to your core immediately takes it place among the most classic ever recorded at this site. I laughed so hard I was aching. Touche!!!!
My lifelong friend and rock music specialist Tony Lucibello agrees with you on the song. What can I say? Different strokes for different folks.
Noodling around and found a Four Tops version of MacArthur Park. Nothing overwrought, just very soulful.
Yep, the Four Tops is the best version I know of, but when put next to their, say, ‘Standing in the Shadows of Love’ you realize how flaccid of a song it is. ‘Standing in the Shadows of Love’ is both moving AND it gallops. The rarest of the rare in Pop.
The moving middle stanzas are the song’s most beautifully written especially:
There will be another song for me
For I will sing it
There will be another dream for me
Someone will bring it
I will drink the wine while it is warm
And never let you catch me looking at the sun
And after all the loves of my life
After all the loves of my life
You’ll still be the one
I will take my life into my hands and I will use it
I will win the worship in their eyes and I will lose it
I will have the things that I desire
And my passion flow like rivers through the sky
And after all the loves of my life
Oh, after all the loves of my life
I’ll be thinking of you
And wondering why…
Yeah, I’m familiar with the lyrics, hence my Horror. I’ve recently been reading this great rock book by Piero Scaruffi; a guy with incredibly discerning taste (sometimes at the point of frustration), that mostly goes towards the real out-there, odd ball stuff. I recall this point he makes about how he never cared much for certain strains of dull pop, with the idea that “no wonder people sometimes run from rock, if _____ is seen as a zenith, why would anyone who hates that look any further?”
Well, knowing that you left rock n’ roll for opera and classical music in the 1970’s, I sorta know why now. Because you heard ‘MacArthur Park’ at the top of the pyramid? If I heard that song, with an attachment as the best the form had to offer, I’d never go deeper into rock either!
It all makes sense now. To cleanse my pallet I did Killdozer’s ‘Ballad of My Old Man’, now there’s some freakin’ verses.
It goes against the grain, but I kinda agree with Jamie here. Every time I hear
And I don’t think that I can take it
Cos it took so long to bake it
the urge comes over me to paraphrase Oscar Wilde on the death of Little Nell.
But, hey, be thankful for small mercies: it could have been “Windmills of Your Mind.”
Me, if I want operatic rock, I go for Jim Steinman. At least there the grins are deliberate.
Of course, all of these things are subjective. I’m sure you’d regard as ultimate drek some of the stuff that I like, Sammy!
Operatic rock has so many charming lps though. Hell, for pop tunes, do Dusty Springfield’s take on ‘I Think It’s Going to Rain Today’.
I just sorta think that the chief appeal of rock/pop is the speed, the velocity. It’s a form of F-1 racers and Sam went ahead and picked the Model T that is pulling a semi-trailer full of gravel. And it’s trite to boot!
LOL Jamie!!!! Well, to be perfectly honest I did not remotely abandon rock in April/May 1968 when MacArthur Park released. I was only 13 years old, and just started my serious and quite obssessive rock phase. So many great albums were still to come- in fact the prime period with the Beatles, Simon & Garfunkle, CCR; The Who; Marvin Gaye, Stevie Wonder, The Stones, The Kinks, Don McLean, etc, etc. I was NOT into opera and classical music at 13 years old, and would not be converting (as I mentioned on a site thread a few months ago) until around 1984. What MacArthur Park and 1969’s Love Theme from Romeo & Juliet (Mancini/Rota) did confirm was that I had a taste for music with operatic/classical harmonies/orchestration. If anything my love for Webb’s song fed and expanded my love for music during that remarkable period. As to your position that the song is “trite” I of course militantly disagree. As so many well know a love affair gone awry can be the most devastating time in anyone’s life and a time for reflection, intospection, and the exceeding difficulty in mending a broken heart at age when emotions and passions are as acute as they could be. Whether or not you buy into the far out lyrics (Webb himself admits they are far out, but honest) of the song (you do not) they represented the deepest passions, and no doubt inspired Webb to pour out his heart and sould into an incredible musical arrangement/orchestration for a young man only 21 years old at the time. The song on the contrary is deep and profound. It would be 16 more years after MacArthur Park released before I would move over to classical/opera (not exclusively of course but with a measure of priority) yet I still consider the song a masterpiece and a remarkable musical achievement for such a young writer.
John, I fully understand and know well the song’s lyrics have been incredibly polarizing, especially the ‘cake in the rain.’ Heck Webb named his new memoir “The Cake in the Rain” realizing that his strange song was also the one that eleicited the most wildly passionate responses from his fans and music buffs in general. I know others who feel precisely as you and Jamie do, and I never try to convert them – just as they would never be able to alter my feelings for the song – it is just a matter of how one connects with the song. It has always worked for me and in a very big way -passionate and transcendent. But again I do fully get the situation with those who are either flabberghasted or unimpressed. 🙂
Steinman is great stuff too!!!
You took my point quite literally (I clearly state ‘in the 70’s’ not when ‘MacArthur Park’ came and reared its ugly head), but the gist stands. If you’re going through the 60’s and Don McLean is anywhere near the first half dozen names you mention, it’s only a matter of time before you leave rock for good.
Geez, now you reveal you are not a McLean fan.
Well, THIS song in my estimation is one of the greatest by way of lyrics and melody as any pop song ever written. The unfurling swirls of color in the painting are mirrored by the movements of a wistful melody that appears to pose a question in each line, and the notes of McLean’s acoustic guitar capture the rippling texture of Van Gogh’s brushstrokes. In its ability to evoke searing descriptions and extreme passions the song is unparalleled. Obviously he’s done much more – the masterpiece “American Pie” and my sublime wedding song (which few realize he wrote, as it has been covered by just about everyone) “And I Love You So.” (“Crying” and “Castles in the Air” are wonderful songs.) McLean is one of the very best American songwriters. (Yes I took your original comment literally).
Though I have had to argue for MacArthur Park a good number of times over the years, this is the very first time in my life I’ve ever had to defend VINCENT with anyone. The other single performer I adored during that era was Leonard Cohen. I wonder if I will be called to duty with him too now. 🙂
I don’t dislike McLean at all, he’s perfectly fine. I’m just prepared to list like 200 artists from the 60’s alone that would be a lot more worthy of representation from that particular era if one were inclined to celebrate the riches of the form.
The difference between a Leonard Cohen, a Scott Walker, a Tim Buckley, a Tim Harden, an Anne Briggs, or a Laura Nyro ….. and Don McLean should be more than obvious I think. Don McLean is closer to John Denver then you probably realize. I’m not being a snob.
Hell, just last night I did Kevin Coyne’s 1973 masterwork, MAJORY RAZORBLADE. Few care to know it nowadays, but I’d take that single double lp over everything McLean did.
Oh and Sam, I just reread your previous comment. ‘American Pie’ was your wedding song?! Jesus! Lucille, poor gal, who doesn’t want to profess enduring, everlasting love to ‘I drove my Chevy to the levy’? I assume when you renew your vows you have Stray Dog’s 1973 proto-metal classic ‘Chevrolet’ already at the ready?
Your enthusiasm for pure schmaltz is nevertheless commendable in its undying, unwavering spirit. LOL, seriously, I laughed several times while typing this.
Hahahahahaha!!
You read it wong.
My wedding song was “And I Love You So.” Hence I did not drive the chevy to the levy on my wedding night. But again you have me laughing my ass off and then some!!!!!! 🙂
The comparison of Don McLean to John Denver (no I don’t say you are a snob to assert it, just way off the mark) makes little sense to me, as does the position that McLean’s music is “schmaltz.” “American Pie” was an impressionist ballad about the deaths of Buddy Holly, the Big Bopper and Richie Valens “The Day the Music Died”, replete with homages to musical forms, Biblical allusions, the murders of civil rights workers and various cultural references. This great and complex song masterpiece, which is often included in lists as one of the greatest of the century is the last piece of music I would use to establish a John Denver/Don McLean connection or to regale as schmaltzy. It would be like saying James Joyce’s writing was pulpy or that Ingmar Bergman specialized in movies about teeny boppers. It is frankly preposterous and insulting, but I know your tactics a long time :). Shall we now say that Leonard Cohen and Barry Manilow are closely alligned or that the Archies and The Who are musical kin? Mind you I do think it is sad that Denver is being presented here in a frivilous light as well. He wrote some fine songs and was a consummate performer. McLean wrote one of the most profound songs ever written about the artist Vincent Van Gogh, and other sublime and superlative compositions like “And I Love You So” (covers by endless appreciate artists and a love song for the ages), “Cryin,”(written by Roy Orbison) “Castles in the Air,” “Crossroads”, “Tapestry” et al. McLean is one of the finest songwriters of the rock era. The ‘200 better’ argument was one ‘God rest his soul’ that Allan was fond of when he wanted to tell you how “overrated” a movie was. The 1968 to 1978 period was MY musical era. I followed it fanatically. You’d be lucky to offer up six or seven to match McLean during that period, let alone 200. And again there are NO FACTS here, especially when it comes to music which is pure taste. Based on my own I count McLean one of the music visionaries of that period. Few songwriters reached the heights he did, though of course like most others he reached that peak and then receded never to scale it again. Which is fair enough.
In a survey of the greatest 100 Songs Of The Century, “American Pie” came in at number five. The end-of-the-millennium list was jointly sponsored by the National Endowment For The Arts and the RIAA in 2001. “Pie” was beat out in the list of 20th century classics only by “Over The Rainbow,” “White Christmas,” “This Land Is Your Land,” and “Respect.”
My list would be significantly different (“All the Things You Are” (Kern) and “Somewhere” (Bernstein/Sondheim) would be my 1 and 2, but the reputation of McLean’s opus is obviously lofty and secure.
I’ll listen to Denver’s ‘Some Days Are Diamonds (Some Days Are Stones)’ a thousand times before I’ll do ‘American Pie’ again. Denver is pure corn generally, but he was a true depressive and that song is light as air and packs a wallop. McLean’s forced ‘epic’ could learn a thing or three.
200 sounds outlandish and if I wasn’t at work still (god), I’d show you how accurate it is. Hell, you have like 35 from Detroit ALONE.
I have gathered together my notes and offer up my own personal choices as the 21 greatest songwriters who worked mightily from 1967 to 1977.
John Lennon
Paul McCartney
Bob Dylan
Peter Townshend
Paul Simon
Brian Wilson
Mick Jagger/Keith Richards
Stevie Wonder
Don McLean
Marvin Gaye
Jimmy Webb
Donovan Leitch
David Bowie
John Fogarty
Carole King
Leonard Cohen
Ray Davies
Joni Mitchell
Ian Anderson
Eddie Holland, Lamont Dozier, Brian Holland
I seriously don’t know what to do with a list of the greatest 20 songwriters that overlaps 2 of rocks most fertile periods 1967-1977 that includes Michael Jackson. Wow. Like I can’t think of a serious work that he wrote (music or lyrics) pre-Off the Wall, which came out in 1979.
I’m sorta speechless. Besides, this conversation started with merely ‘MacArthur Park’, then moved to ’60’s’, now it’s 1967-1977. It’s shifting at every turn. But the idea that Don McLean is above like Pee Wee Ellis and/or James Brown is insane on really any conceivable level. Same for Smokey Robinson, James Jamerson, and really, like I said about 200 others (well maybe a smidgen under as you’ve included a few already here).
But the idea that Don McLean is above like Pee Wee Ellis.
For me Don McLean DOES rate above Pee Wee Ellis.
C’mon now. Am I allowed an opinion or is it the same here as it is with many of the film discussions? You have an opinion and a particular taste in music. I have an opinion and a particular taste in music. You can rail all you want against Don McLean as a legitimate contender for a great songwriter list. For my taste and perception of musical greatness he is near the top for that period. You can throw out hundreds of names and McLean will still be near the top for me. You ask “you don’t know what to do.” There is nothing to do. I voiced an opinion culled from many hours of intense musical immersion over those crucial years in my musical appreciating life. No need to hit me over the head with James Brown either, I am well aware of his greatness. Well aware. Remember, I am a Marvin Gaye, Stevie Wonder, Al Green, Temptations, Motown guy so Brown will always be right there.
I did NOT change the parameters on anything. I simply felt comfortable focusing on that particular ten year period which I feel is my most intense span for rock music involvement hands on, day to day. It was an innocuous decision. But I can just as easily do 1955-1965, or 1960-1970, or 1965-1975, or 1970-1980, or even 1955-1984. I thought it would be easier to deal with a shorter window, but I can quite easily expand or divert.
Yes the discussion did start with MacArthur Park, but it then segued off to consider great songwriters from that period, and I thought it would be fun to share some views on great music and songwriters and music from that period.
Alas, however, you are correct in that the King of Pop’s greatest contributions were beyond my cut off date, but I wanted to honor what he did previously. The problem is that he didn’t write those songs as he did in his most fertile period. Obviously, if and when I expand to the mid 80’s or beyond, it constitutes a different story. Hence I will now remove Jackson, which will take my list down to a more proper 20 now.
Incidentally, Jamerson was one of the greatest bass players of all-time, but I am not myself including him as among the very best songwriters of the period. I mean Jack Bruce was a tremendous bassist and he wrote several masterpieces, but I would not include him in a Top 20 or 25. As to Smokey Robinson he is great great great indeed, but I only went with 20 here. If I expand it five more he’s there, much as Jim Morrison and Jimmy Page would probably be.
James Brown never recorded for Motown, and had a Southern style more in line with Stax, which he also didn’t record on. I mean if I threw out Charlie Pride, would you cite Motown artists? You probably don’t give the Godfather is due, because relegated to a race more than a genre, or level, but you’re just in line with most remembrances of the man. Shame really, he’s second to none in the entire 70+ years of the form.
Oh and yes, Jack Bruce is a much better songwriter than Don McLean (his first eclectic solo lp speaks on this). But I’ve already spent to much time talking about a one-hit wonder. I’m not a boomer, so I’m nostalgic for him.
I LOVE James Brown. A lot! When I mentioned the others (Gaye, Wonder, Motown, etc.) I was saying I love African-American creativity at that time. I well understand Brown’s music is not Motown and is far different than the others.
As to the “one hit wonder” These are his masterpiece songs:
Vincent
American Pie
And I Love You So
Castles in the Air
Crossroads
Winterwood
Tapestry
I count seven (7) that are first-rate, with the first THREE among the greatest songs ever written. He produced and wrote TWO (2) Albums that I count among the greatest of that period: AMERICAN PIE and TAPESTRY.
“I love African American creativity” is such a weird catch all statement. It’s misguided, but how a good many recall the form. I disagree…My thoughts are clear, lets move on to an actual master lyricist: the new Moz out today. It’s not being reviewed as political like last one… but first three songs are all very overt, just a little more hidden in the language. “Everyone is running for the Exit!!!” repeated at the end of ‘Jacky’s’ is a clear Brexit nod for example.
Probably his most overt political work, but he still weaves enough classic Moz-isms: “Wrap your legs around my face just to greet me!”
swoon.
OK, I’ll state it differently. The African American artists who plied their musical craft during the time period in focus moved mountains.
I reckon we will move on indeed, as we will never come to any manner of agreement on McLean, as brilliant a lyricist as we’ve ever been blessed with. 🙂
We agree a lot, but there are some stickling points of which this is one.
Sam,
Wow! on the Jimmy Webb concert, that sounds like a great evening!
My movie plans for the coming week are to see Wonderstruck, The Square and Murder on the Orient Express. I’ve never see the earlier version of Murder…, nor the David Suchet portrayal of Poirot on the PBS series, so I am going in without expectations and expect to be pleasantly entertained.
As for KILLING OF A SACRED DEER… it seems to be moving off our local movie screens fast. The suburban theater where I had thought I might see it has inexplicably removed a 6:35 pm showing on weeknights which might have made a good after–work stop for me. Truth be told, I have a very difficult time with Lanthimos’ films. Although I ultimately admire them, their intensity and cruelty is overwhelming for me, especially when seen on the big screen. I think I am going to wait for this one to come to home streaming – where it’s currently expected to hit in January.
Thanks so much Pat! We had a fabulous night indeed. I hope to comparing notes with you soon on THE SQUARE (which I still need to see) and MURDER ON THE ORIENT EXPRESS which I recently did watch. I believe you will indeed be entertained by Branagh’s film. I completely understand why Lanthimos’ films contain unplesantness, and I’d be lying if I tried to downplay that aspect in SACRED DEER, though it is so riveting and brilliantly crafted. Waiting till January sounds like a good plan. I am planning on attending a screen of BILLBOARDS this week. Have a great week my friend!
Awesome for you and Lucille to have met Jimmy Webb. Please sign me up for membership to the MacArthur Park fan club. Yes, Harris’ version is tops.
Ha, thanks Tim! I have entered your membership and will get the card out to you ASAP. Thank you my friend. 🙂
Regarding ‘Murder on the Orient Express,’ the overarching question is why. Why was this film made? Why after Lumet? After Finney, Bacall, Bergman, Gielgud, Hiller, Connery, Redgrave? This new cast reads like the who’s who of a gutted, moribund Hollywood glamour factory. Who the fuck is Josh Gad? I think I’ll take a pass on this one.
Mark, the very best version of this particular novel is the 1974 Lumet with Albert Finney you mention, but I found this new take as harmless fun, though certainly nothing to prioritize. The cast was fine enough, but Branagh is a far cry from David Suchet. Thank you my friend!
LOL Mark S. I saw the trailer on the boob tube and thought, “what Hollywood stooge thought that bad James Mason flick needed remade?” In time I realized I was thinking about 1973’s trash THE LAST SHEILA, which I sorta took as an omen about my entire opinion of this new enterprise. Johnny Depp looks ghastly, and not on purpose, I hope he made enough on this to afford guzzling 50,000 dollar bottles of swill.
THE LAST SHEILA
That would be the Australian release, would it?
How about a remake of A Woman Under the Influence with Lindsay Lohan?
Wow!!!!!!!!!!!!!!!!