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it's ok
last year when I discovered that new MMOH song (during my customary bi-monthly search to watch the 'Night Music' youtube clip linked upthread) I woke up the other MMOH thread to note it, and it sank right to the bottom while this stupid Norah Jones thread kept bouncing around the top. So I checked the Norah Jones thread and it was filled with about 20 people talking about how bland it was and how depressing it was that there weren't any good singers currently releasing music.
― Milton Parker, Thursday, 4 October 2007 17:20 (sixteen years ago) link
A mutual friend brought her to a show that I played in Toronto a few years ago and we went out for a bit afterwards, and that's probably my favorite brush-with-fame-through-playing-music moment.
― Eazy, Thursday, 4 October 2007 17:24 (sixteen years ago) link
one month passes...
eight years pass...
from an article where several current writers talk about their favourite songwriters in the wake of the Dylan Nobel prize
https://www.theguardian.com/books/2016/nov/05/bob-dylan-nobel-favourite-songwriter
Mary Margaret O’Hara by Lavinia Greenlaw
An impression of distillation and deep thought … Mary Margaret O’Hara Photograph: Antonio Olmos for the Observer
When I was 19 and newly in the grip of writing, I joined a band. Asked to produce lyrics, I intensified my poems. Perhaps I thought that they could be freeze-dried and then rehydrated with a tune. The results were ungainly. Good singer-songwriters must have an extra layer of judgment that enables them to see what most of us need to be shown. Mary Margaret O’Hara is best known for Miss America (1988), and has released just one album since.
O'Hara builds songs out of spare phrases that light each other as the parts of a poem should
She builds songs out of spare phrases that light each other as the parts of a poem should. She sings this way too, as if making a series of gestures which have taken their time to become clear. You get the impression of distillation and deep thought in the making of songs that resist their own weight: “You just want to push somebody / And a body won’t let you. Just want to move somebody / And a body won’t let you.” O’Hara resists stabilisation, something I understood when I saw her perform live. She has a decisive but off-kilter way of moving – a lurch, a flick of the hand, a foot stamp that are impossible to relate to what you’re hearing. It’s as if she has a sense of detail so latent that no one else can detect it. Her lyrics are published in brief lines full of quiet swerves: “So sorry if I can’t stop pretending / So sorry if I don’t let you go / Like this but not like this is ending / I think you know. / I think you know. / Help me lift you up.” They can be heartbreaking in their generosity.
• A Double Sorrow: Troilus and Criseyde by Lavinia Greenlaw is published by Faber.
― Stevolende, Sunday, 6 November 2016 15:10 (seven years ago) link
one year passes...
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