“Afternoons And Coffeespoons”
by Crash Test Dummies
“Tempis Fugit”
by Yes
3 thoughts on “VOLUME 23.5.1”
CTD – After the MMMMMMMMMmmmmm song, I went out and bought this CD. I believe the only other decent song on the album was this one. (in my opinion) Never really followed them after this.
YES – again a band where I knew the hits. Always enjoyed. Eventually with streaming services, I dug a little deeper. I feel a lot of the music is too long and some is very similar. When they rock, they rock.
Crash Test Dummies – Afternoons and Coffeespoons
I remember liking the album on which this originally appeared. The unique voice gives a sweeping, majestic lift to their songs. This one has a good jangle and drops Sartre & T.S. Elliott. Yearning for the days of simply drinking coffee and reading in the afternoon – a simple life.
I also love Superman’s Song – which is off their debut.
Note: They are the only band I can think of that have covered two XTC songs, Peter Pumpkinhead & All You Pretty Girls – both are quality versions. (Maybe Joe Jackson did as well).
Yes – Tempus Fugit
Had to turn the volume up for this one. Off the BugglYes album, Drama. What could be a practice bass scale is elevated by the master to an engaging riff that, along with his vocals, shows how important he is to their sound. For a band that is only nominally “Yes”, they made a pretty great record. (I wrongly thought Steve Howe didn’t play on the album – it was 3/5s Yes).
“Afternoons and Coffeespoons”/Crash Test Dummies. Jaunty rumination on a more relaxing future, complete with rustic harmonica. Interesting twist on Eliot’s own “Prufrock,” in which the measuring out of life in coffee spoons symbolizes the banality of time passing; CTD, instead, looks forward to the afternoon off, and the chance to read some verse.
“Tempus Fugit”/Yaas. Propelled by remarkably fleet riffage — a fairly memorable song, and indeed I remembered it though I hadn’t heard it in years. The harmonized lead vocal stands out too, as do the synthy bg vox. I see this album was 1980, which was toward the end of the high-prog era this track harks to (or maybe even past it). A display of chops as much as anything, but a good time (so to speak).
CTD – After the MMMMMMMMMmmmmm song, I went out and bought this CD. I believe the only other decent song on the album was this one. (in my opinion) Never really followed them after this.
YES – again a band where I knew the hits. Always enjoyed. Eventually with streaming services, I dug a little deeper. I feel a lot of the music is too long and some is very similar. When they rock, they rock.
Crash Test Dummies – Afternoons and Coffeespoons
I remember liking the album on which this originally appeared. The unique voice gives a sweeping, majestic lift to their songs. This one has a good jangle and drops Sartre & T.S. Elliott. Yearning for the days of simply drinking coffee and reading in the afternoon – a simple life.
I also love Superman’s Song – which is off their debut.
Note: They are the only band I can think of that have covered two XTC songs, Peter Pumpkinhead & All You Pretty Girls – both are quality versions. (Maybe Joe Jackson did as well).
Yes – Tempus Fugit
Had to turn the volume up for this one. Off the BugglYes album, Drama. What could be a practice bass scale is elevated by the master to an engaging riff that, along with his vocals, shows how important he is to their sound. For a band that is only nominally “Yes”, they made a pretty great record. (I wrongly thought Steve Howe didn’t play on the album – it was 3/5s Yes).
“Afternoons and Coffeespoons”/Crash Test Dummies. Jaunty rumination on a more relaxing future, complete with rustic harmonica. Interesting twist on Eliot’s own “Prufrock,” in which the measuring out of life in coffee spoons symbolizes the banality of time passing; CTD, instead, looks forward to the afternoon off, and the chance to read some verse.
“Tempus Fugit”/Yaas. Propelled by remarkably fleet riffage — a fairly memorable song, and indeed I remembered it though I hadn’t heard it in years. The harmonized lead vocal stands out too, as do the synthy bg vox. I see this album was 1980, which was toward the end of the high-prog era this track harks to (or maybe even past it). A display of chops as much as anything, but a good time (so to speak).