Another weekend in Pennsylvania

A software training class for work sent me back up to Pennsylvania this past weekend, this time to King of Prussia, home to the East Coast's Premier Shopping Destination. From what I could see, there's almost no town to speak of in K of P, just a bunch of industrial/office parks and that frighteningly humongous mall. But... The location of the training class was less than half a mile from the entrance to Valley Forge National Historical Park. Wow. I didn't know what to expect, and ended up just blown away by this park.

I drove up Sunday morning, arriving about noon, checked into the hotel, then immediately drove over to the park. As with July's Philly weekend, I had considered bringing my bike. The park map showed a handful of miles of paved multi-use trail, and the Schuyllkill River Trail was smack-dab across the river from the park (back in July, the waylaid plan was to ride from Philly to Valley Forge on the Schuyllkill). Again, though, the weather forecast was iffy and I didn't feel like worrying about wet bike components so far from home (and from proper cleaning/lubing supplies). So, the bike stayed home and I ended up regretting that decision. The park and its trails were fantastic.

Like the US Civil War battlefield parks closer to home, the landscape is absolutely beautiful.

Rolling hills rise up south of the river, and in the center of them lies the valley of Washington's encampment interspersed by woods and open meadows. At the last minute, I did decide to bring my camera in place of the bike. Unfortunately, though, I didn't think to bring the battery charger. Went through both batteries Sunday afternoon, and kept finding spots that I was dying to photograph but couldn't. Knowing that the training sessions on Monday and Tuesday let out at 4:30pm, I was severely tempted to pop into the freaking humongous mall and buy a new camera just so I could shoot those two afternoons, but managed to restrain myself (found out that Sony's discontinued both my camera and the batteries it uses, dammit). So, I didn't get all the photos I wanted, but did spend a lot of time driving and wandering around the park. Of note:

- There were deer everywhere. Now, I'm used to seeing a lot of whitetails. I've had deer right outside my suburban front door on several occasions. So when I say there were a lot of deer in this park, I mean there were a lot of deer. They wandered in pairs and groups across the road and stood grazing just along the edge as cars and pedestrians cruised right by them. The most blasé, nonchalant deer I've ever seen:

- Drove through the park at 6:30am Monday morning, heading to a breakfast spot recommended by an old-timer working in the visitor's center. The valley was filled by a thick, cottony-white blanket of fog that had totally dispersed by the time I drove back an hour later. The breakfast spot was very cool: A place called the 'G' Lodge, that's temporarily going by the name of "Filbert's". Apparently, M. Night Shyamalan recently filmed scenes at the restaurant for the upcoming film The Happening, and the owner hasn't yet taken down the signs used for the movie. The food is unfortunately only mediocre, but the atmosphere was very M. Night. Very rustic and lodge-like inside, the place has obviously been there for a long time. It looks cozy from the exterior, but inside is vaguely creepy. Adding to that sensation were the four regulars at the counter, gentlemen who appeared as old and rustic as the 'G' Lodge itself, and who sat and ate their breakfasts in stone-cold silence. I've never eaten in a quieter place. Wanted to get a photo to show that I ate in the restaurant that's going to be in The Happening, but because the camera batteries died you'll just have to take my word for it.

- Another spot that had me fuming over the camera batteries was the Washington Memorial Chapel. Wandering over from Varnum's Quarters on Sunday afternoon, I found a very pretty cemetery tucked into the woods behind Route 23:

Turns out, it's part of the chapel. And, of course, there were deer:

Wandering back toward the car, I stopped for some photos of the old rectory:

Continuing down the road, I almost gave myself whiplash when the chapel itself came into view. It was already closed by that time, but the architecture and grounds are the real draw:

It was at this point that I really began cussing. I managed one single freaking photo of this beautifully haunting statue before the camera died on me:

Reason number 1 that I need to go back for another long weekend: to do a full photo study of that statue. Reason number 2 is the gorgeous Kennedy Supplee mansion across from the visitor's center. Apparently once a restaurant, the building now sits shamefully empty and abandoned. I'd really love to know why. And, reason number 3 is to ride my bike!!!

Also of note on this trip was having dinner with a new on-line pal (one of the folks I met at the Philly Chris Cornell show in July). I've been on quite the friend-making spree this year, between my cycling/kayaking buddies and the people at the Cornell forum. So far it's been fun getting to know these people and spending time with them, but I still can't get used to the scheduling issues. My calendar for the next couple of months is getting pretty crowded and I need to make sure I leave some days to be on my own. All this socializing leaves little time for introspection, which means less self-absorbed blogs. And that'd be a pity

More and larger photos here.

Philly weekend: Sunday (with Chris Cornell)

Sunday in Philly was much less busy and more focused. Started out with eggs and scrapple (a Philly favorite!) at the Midtown IV 24-hour cocktail lounge/restaurant. Let me repeat: a 24-hour cocktail lounge/restaurant. In the middle of Center City. There's character for you. By the time I was done it had begun to rain, which created the perfect atmosphere for wandering around a cemetery. Laurel Hill Cemetery, to be precise, a huge, gorgeous hillside spot overlooking the Schuylkill River and Fairmount Park.

With the cemetery wander out of the way, the rest of the day centered around that night's Chris Cornell gig. Not only was I seeing the man perform, I was going to attempt to meet up with folks from the fan forum and try to get a spot up front at the general admission show. I've mentioned before that GA is pretty much the only way I want to see shows anymore, but that there are disadvantages for someone of my height (or lack thereof). So, my plan was to get to the venue and be in line early enough to get up to the rail. Meeting the forum folks there was definitely advantageous, as they took over the front of the line. After over three hours of standing and waiting (under broiling sun, as the rain had totally cleared out), we all managed to get up front and center and were fairly giddy with anticipation.

A bit of digression: I recently made a comment at a Cornell forum about how Chris now writes "happy music", as compared to what came out of Soundgarden and his first solo album. It seems that my comment might have struck a chord with one of my forum mates, as she soon after posted a very thoughtful discussion of the tone of Cornell's recent lyrics and music which, of course, got me thinking about my own off-the-cuff comment. In retrospect, it's not so much Chris' lyrical content that's happy these days (though any fan would have to admit that the love songs to his wife are decidedly cheerful), it's his whole outlook on life and how it permeates the music he's writing now. His lyrics often do still have a dark quality to them, seeing as how he's recently addressed tragic killings along the lines of the Virginia Tech murders ("No Such Thing") and the chaos of war ("Silence the Voices"). Then there are the more obscure, yet eerie and somewhat intimidating, pieces such as "Poison Eye" and "Killing Birds". Even his "bubblegum pop" song, "Arms Around Your Love" isn't a happy chirpy love song, it's a painful depiction of what men often go through when they don't show appreciation for the woman they supposedly love. But the music is so perky in many of these songs, and that's where I think his more optimistic and cheerful attitude is creeping in and coloring his songs. Gone are the swirling, Oriental-influenced tones of pieces like "Pretty Noose" and the pounding assault of "Outshined". They've been replaced in many instances by very upbeat, tap-your-toe rhythms that are sometimes at odds with the lyrical content with which they're paired. In other places, the resigned hopefulness of classic SG lyrics like "The Day I Tried to Live" has been replaced by a more optimistic, rosy-eyed hope such as in "Safe and Sound". Chris is happier, and his music unconsciously reflects that. He can still reach into the dark side of the human soul for lyrical content, but he no longer dwells there and, to my ears, neither does the music he's creating.

I can't recall where I saw it, but I read an interview not too long ago in which Chris mentioned that one of his regrets is that he and the guys in SG didn't get more joy out of what they were doing at the time. That's definitely not the case now. From the moment he hit the stage, the show in Philly was a joyous event. Whether Chris was performing old tunes like "Let Me Drown" and "Spoonman" or new stuff from Carry On, he put his soul into it. He was so obviously enjoying every moment of what he was doing, and carried the audience along with him. Whenever he began that signature move of swinging his head and upper body from side to side like an autistic in self-stim mode, you could tell he was totally absorbed in the music. Being right up front made it a bit hard to hear things clearly, but the man could have been gargling hot razor blades and he still would have been mesmerizing. But he definitely wasn't having any problems with his voice-- even with a less than clear mix and what seemed to me to be sometimes off-key backing vocals, it was apparent that he was hitting every note with that slightly road-wearied, husky voice.

Instead of starting out with a rocking number, as he did in Baltimore with "Cochise", Chris shifted gears and began this show with the dramatic anthem "Silence the Voices". Now, this is one of the songs that I normally skip when listening to Carry On. The lyrics are actually very meaningful and moving, but the music and vocals are so dirge-like and there's some bizarre keyboards (apparently played by Chris himself) that I just can't listen to. Live, though, the song lives up to its lyrics. Without the keyboards and with a slightly quicker tempo, the new band brings more energy to the song, giving it more of an edge to go along with Chris' emotional delivery. From there, he launched into a head-banging performance of "Original Fire", followed by a tune I was ecstatic to hear, the SG classic "Let Me Drown".

One of the highlights of the evening for me was during his short acoustic set. He began to introduce one song by saying that he'd never performed it anywhere for anyone, except for his wife. My first thought was that he was referring to "Finally Forever", but I was delighted when instead he launched into "Roads We Choose" (lyrics n/a), a quirky tune that seems like a love song but that has some slightly strange lyrics. There's been debate on the fan forum as to whether he sings the word "bed" or "debt" at the end of the second verse, so I was intent on watching him sing the song so I could tell once and for all what the word is. As he got to that particular line, I was staring at his lips and… he flubbed it, singing the first line of the verse again as a lead-in to the part about "…all you ever do is treat me with respect." Chris, dude, yer killin' me. In spite of that, though, I loved hearing the acoustic version of the song.

Another touching moment was when he sang "Out of Exile", after explaining that it was about his wife and the baby girl they had together. At one point during the song, he walked to the side of the stage and held out his hand towards someone apparently sitting in the wings. I have to assume that he was trying to lure baby Toni out onto the stage with him, as he's recently done at other shows. He gave up after a few attempts, but it was funny and cute to watch him keep reaching out to someone who clearly was feeling stage-shy.

The rest of the set held few surprises, but every song was performed with energy and dead-on vocals from Chris. The crowd ate it up, even surprising him by launching into an a capella rendition of "Be Yourself" when he faked us out by holding out the mic instead of beginning to sing himself. At the very end, after a three-song encore, many of us refused to disperse even as roadies came out to break down the equipment. We wanted more, and Chris had better come back soon to give it to us.

Philly weekend: Saturday

I headed to Philly this weekend for a much-anticipated three-day trip, the main focus of which was to see Chris Cornell perform at the Electric Factory on Sunday evening. I had also figured on taking my bike and getting in a ride along the Schuylkill River Trail on Saturday, but the weather forecast was iffy and my bike was filthy, so that plan was scratched at the last minute. I threw a bag of clothes, my camera, and myself in the car Saturday morning and headed off into traffic that felt like a weekday rush hour. An accident on the bridge over the Susquehanna River and a whole freaking lot of cars on the road ended up stretching the 2.5 hour drive to 4 and putting my mood on edge.

Driving into Philly, though, things began to turn around. Once on the city streets, I began seeing bicycles everywhere. The streets of downtown Philly have a dedicated bicycle/bus (what a safe combo!) lane during rush hour, and the narrowness of the streets seems to keep auto traffic at reasonable speeds. I could easily see myself cruising those streets, and immediately wished I had taken the time to clean my bike and braved the weather report.

Ah well. Instead, after checking into the excellent Club Quarters hotel, I set out to explore.

I ended up wandering around for as many hours as I had driven, from Center City over to the Old City and back, stopping to chill out in a few great parks here and there. The parks in Philly really are refuges, with tall, very old, amazingly healthy trees. It was surprising to see such majestic sycamores in the middle of a crowded city. Of the parks, my favorite was Rittenhouse Square, which is a wonderful place to sit and soak up some atmosphere. The square is obviously a popular hangout for the local hippie/yuppie crowd. People were painting, playing guitar, having Saturday evening picnic dinners, even getting married over in a corner of the park. I sat for a long while watching an older gentleman wade around in one of the fountains creating huge iridescent bubbles. He was so intent on what he was doing, and it was cool to watch people approach and break into smiles as they saw the bubbles floating and bursting over the pool of the fountain.

A group who sat down near me and pulled out great looking carry-out dinners directed me what turned out to be the perfect spot for dinner: A teeny little hole in the wall @ 21st and Walnut called Tampopo. On the way there, I was able to catch up on the Tour de France individual time trial stage that had taken place that day when I overheard a guy explaining it to his girlfriend and joined their conversation as we walked down the street. After ordering the Tuna Bi-Bim-Bop (sashimi tuna over brown rice, cucumber, jicama and avocado, with a sweet/spicy sauce- very tasty) I settled down at a table next to three guys who were deep in discussion of the intricacies of Dungeons and Dragons. It was a bit easier to refrain from jumping into that conversation, though it was a kick to listen to. After dinner, on the way back to the hotel, I found a great little used book shop called Whodunit? and picked up a few irresistible finds. It wasn't at all the day that I had originally planned, but turned out to be a string of nice little individual moments that left me a very happy camper.

Philly really has what I consider to be true diversity. There's the typical inner-city, hip-hoppie, African-American contingency, there are business types, yuppies, hippies and punks, and sprinkled over them all are tourists from every culture imaginable. There are high-tone, very chi-chi restaurants just a block over from dollar stores and human-hair wig shops. There's a strong artistic bent, as well, considering the place is chock-full of art schools and museums.

And there's the tremendous history of the place, which really is amazing when you look below the veneer of tourist schlock. I found that I feel much more at home in Philly than I do in DC. DC's all business, from tourism to banking to politics, and the false polish allows scant space for anything edgy or gritty. Philly's more like Baltimore in that it's found a way to comfortably blend polish with a rougher edge. It's got history, character, beauty and flavor in spades. Just gotta find a good tea shop there...

Sunday's tale to follow--

What's new: Music and Friendship

Strange summer so far. I seem to be entering into one of my periodic extroverted phases. After a winter of self-aggravated discontent, self-imposed isolation, and self-indulgent introspection, the hermit seems to have wandered out of her cave for a bit.

This foray into sociability comes on two fronts (possibly three): the internet and the outdoors (the third hasn't yet gotten off the ground, so we'll just have to wait and see how it develops). Regarding the outdoors, I've always gravitated towards activities that lend themselves to solitary enjoyment-- hiking, kayaking, cycling. Many, if not most, people seem to do these things with others, but if one is sufficiently self-sufficient, then these activities are an excellent escape from the annoyances of society. Being alone by myself in the woods, on the water, or cranking the pedals, allows me to think about whatever I choose. I can mull and brood over issues at work, contemplate deep philosophical ideas, or just plain let my mind go blank. Last year, though, I began to experiment with kayaking and cycling with people I met on 'net forums geared towards those sports. One in particular, the Team Estrogen Women's Cycling forum (I absolutely hate the idea of posting at a site named for a female hormone, but it's really a great forum), has led to becoming part of a group of DC-area women who've begun to ride together on a fairly frequent basis. And now it's branching out-- a few weeks ago, three of us got together for kayaking, and one of them invited me to a get-together at her home. This has made it difficult to find time to paddle with Lee, my occasional paddling buddy of the last two summers and a fellow introvert. Even more disconcerting, I'm finding that it's been a few weeks since I've had a weekend entirely to myself. Obviously, this is not something to cry about, but it's requiring some adjusting to. These people want to spend time with me, and I have a good time with them. What might be considered strange is that I can't decide when it's time to begin referring to these people as friends. For two years, Lee has been "the guy I paddle with". The Team Estrogen ladies are just that, or "the women I cycle (and now kayak) with". At what point do they cross over from being people I enjoy certain activities with, to being friends? (Ugh. I just realized that question sounded like something Sarah Jessica Parker would say in a voice-over on Sex & the City.)

In addition to the TE cycling forum, I've also been posting at a couple of sites dedicated to Chris Cornell. I've ventured into music forums/chat rooms in the past, and actually began forming some virtual friendships that were pretty close. Throughout it all, I waffled between enjoying the anonymity that allowed me to comfortably open up and the dis-connect of not being able to see people's facial expressions and hear their tone of voice, of having interaction that is entirely intellectual as opposed to physical. I always felt strange reacting emotionally to the words of someone I couldn't see or hear and questioned whether these people I interacted with could really be called "friends". I mean, they couldn't come over and help me move furniture if I needed, or give me more than words when I needed comfort. Nor could I offer the same things to them. So were they really friends? This thought is what led me to cut ties with everyone I considered a "friend" a couple of years ago. After that I descended into full-on hermit mode, enjoying my books, my bike, my kayak and the great outdoors all on my own and finding great contentment (and occasional discontent, of course).

So now I find myself out in the world, beginning to form attachments again. Do I want this? Do I want to have a busy schedule of "dates" to do this or that with other people? Do I want to care about how people at some music forum react to my words and about what they think of me? I don't know.

On another note, I'm beginning to explore new musical territories. As mentioned in my My(WasteOf)Space profile, it takes a lot for music to really move me. I'll listen casually to all sorts of different things, but for me to want to go out and buy an album and listen to it repeatedly I've got to be touched emotionally, provoked to thought, or sucked in by a beautiful voice. For several years, I've listened to anything by Maynard James Keenan. For a while there, MJK's involvement with A Perfect Circle meant there was plenty new to listen to in the years between T00l albums. Lately, though, between his vineyard and T00l's latest epic tour, it looks like it may be a while before there's anything new from him (I'm looking forward to his Puscifer release, but I have a feeling there won't be much in the way of moving lyrical content to that. I could be wrong, though.).

And, of course, there's been Chris Cornell. It took a handful of years of casual listening to break through the density of his lyrics, but once through, the addiction developed with frightening intensity. In recent posts, though, I've written about my concerns over the direction his music's taken. The things I related to so much in Cornell's music over the years were the sense of isolation, the confusion over human interactions, the combination of melancholy in relationships and strength in solitude. At least, that's what I took from it. With Chris now a happy family man writing songs about love and his wishes for a better world for his children to live in, there's much less for me to relate to. And, as I've stated before, it seems that his incredible talent for imagery has been tempered by sobriety. I don't know how long it will be before his next album, but I'm both eager and tentative in my anticipation of it. The handful of songs from Carry On that I enjoy make me feel it's very much a transitional album, and that he'll find a way to combine those elements I've always loved with his new attitude and pespective. It'll be sad, though, if the next album reveals that it's time for me to move on.

To that end, I've begun listening to Incubus. Similarly to the way I got into Soundgarden, I've been familiar with Incubus since 2001 but only on a casual level. A friend sent me files of a few songs from their album, Morning View, back when it was released. I've listened to these songs periodically over the last several years and enjoyed them, but never really paid full attention to them. I recently had a project at work that required more focus than the distractions of the office allowed, so my boss gave me permission to plug in my earphones and crank some tunes. Hearing those Incubus songs through earphones gave me a chance to really hear both Brandon Boyd's voice and his terrific lyrics. So, I went out and bought Morning View and it quickly supplanted Cornell's Carry On in my cd player. One song, in particular, has been set on 'repeat' on several occasions:

Wish You Were Here

I dig my toes into the sand
The ocean looks like a thousand diamonds strewn across a blue blanket
I lean against the wind
Pretend that I am weightless
And in this moment I am happy...happy

I wish you were here (x4)

I lay my head on to the sand
The sky resembles a backlit canopy with holes punched in it
I'm counting UFO's
I signal them with my lighter
And in this moment I am happy...happy

I wish you were here (x4)

The world's a roller coaster and I am not strapped in
Maybe I should hold with care but my hands are busy in the air

I wish you were here

When I really listened to these words, the sentiment of them struck me like a punch to the solar plexus (a punch softened by Boyd's lovely, mellow vocals). I've felt that way so many times. I've written here in my blog about it, that feeling of freedom and contentment that is so delicious on one's own, but that you can't help wishing you could share. But with whom? A friend or loved one is the first thought, but really, sharing it with anyone who needs that feeling in their life would be fulfilling. Which kind of brings me back full circle. Do I want to make the effort to try and turn these recent real & virtual internet acquaintances into friends and risk the frustrations that will be part of that? Or do I maintain my disattachment and keep them at arm's length, enjoying sharing words &/or activities with them and leaving it at that? Do I "wish [they] were here" in those special moments of euphoric contentment? I just don't know.

Better late than never: 2007 CSC Invitational bike race

Wow, so much going on lately between work, Chris Cornell's new album, and various home-related stuff, that I briefly attended a bike race two weeks ago and never got around to blogging about it. The race was the 10th annual CSC Invitational, in Arlington, VA. It's a criterium race of 100 laps around an apparently brutal 1km course through the Clarendon business district. Very convenient, as the local subway stop comes up right next to the start/finish line of the course.

As luck would have it, the race takes place the weekend before we do inventory at work, so I always have to work that Saturday. Fortunately I have an indulgent boss, so last year and this I took an extended lunch break that day and managed to catch an hour or two of the race. It's pretty exciting stuff, though I was so busy taking photos this year that I didn't get fully into it. My pics didn't turn out as well as I would have liked, so I've also borrowed a few from one of my riding buddies, 7rider (Regina Spallone).







This was the only crash I saw this year. The poor dude was near the front of the peloton, so several of the riders behind him clipped him or his bike as they came around the curve. I saw him later walking over to the paramedics and he was just dripping blood down his left side. He got a round of applause from the crowd, though, when he picked himself up and limped off the course carrying his bike:

The one thing that really disappointed me is that I didn't get any good photos of riders from my new team to root for, Team Slipstream (Powered by Chipotle, woo-hoo!). There are some very talented riders on this team, including Brad Huff, who tore up the field for almost all 100 laps of last year's race. And Slipstream's going out of their way to race clean, with a drug-testing program that empasizes maintaining the rider's health along with catching the illegal stuff. Plus, they've got all that cool argyle kit.

Slipstream's gorgeous Felt bikes:


Michael Creed:

(Credit: Regina Spallone)

Regina managed to get a couple of very cool shots of our reigning US Crit champ, Huffy-boy, who wore special red/white/blue argyle to celebrate his recent win:

(Credit: Regina Spallone)


(Credit: Regina Spallone)

Gotta love that mullet!! Next year, I'm going to see if I can finagle that Saturday off and catch the entire race. It's just too freakin' much fun.

Carry On: Chris Cornell's latest album

I need to begin this with a disclaimer: This is not a review. Nothing I’m writing here is a fact or a truth of any kind. I don’t know much about music, and I certainly can’t make any sweeping statements of how the rest of Chris Cornell’s fans feel about this album. These are my impressions, emotional responses, and personal critiques of Carry On, nothing more. I’m going to try to be constructive, but I ain’t holdin’ nothin’ back. That said…

"No Such Thing"- I’ve discussed the subject matter of this song at the Chris Cornell Forum and here in my blog. Apparently it’s written from the perspective of a sociopathic suicidal murderer. Very timely, in light of Columbine a few years ago and Virginia Tech recently. The metaphor of how the "rain got in and ruined it all" is nicely effective in describing the mental deterioration of the sociopath. The lyrics are very thoughtful, questioning "What gives me the right/to think that I could throw away a life/even mine?" Unfortunately, they’re also riddled with sloppy rhyming such as "invisible/impossible" and "meaningless/a mess". And one of the lines that could have been the most thought-provoking ("Maybe to lose or to save your soul, is a choice of how you fill the hole") falls flat for me. I get that he’s referring to an emotional hole, but there’s got to be some other way the line could have been worded. The song has lots of potential, but it doesn’t quite achieve it.

"Poison Eye"- It’s The Who!! Seriously, he sounds just like Daltrey on this one, and the music and lyrics have Townsend’s stamp all over them. Listening to this, I have flashbacks to the first time I saw the movie Tommy. The guitar hook and keyboards especially sound like something straight from that soundtrack. The subject matter is basically a re-tread of "#1 Zero" from Audioslave’s Out of Exile. And like "#1 Zero", this song unfortunately does nothing for me.

"Arms Around Your Love"- Top 40 Pop song. A fairly well-written Pop song, but a Pop song nonetheless. This is the first song on the album, too, in which it becomes obvious that Chris’ vocals are a bit thin. I’ve been singing along with it just because it’s so damned catchy, not because it moves me in any way.

"Safe and Sound"- And here we begin with the steel guitar obsession (or is that slide guitar? I don’t know, but it ends up being over-used on the album). Another song with great potential. Chris’ faith in a "promised land" is touching, but the question "why can’t we pull this together?" sounds a bit disingenuous coming from the man who wrote "Blow Up The Outside World". This song is like "Heaven’s Dead" from Out of Exile: I really like the verses, but I can’t relate to the sentiment of the chorus.

And this is the perfect time for me to respond to posts I’ve read at the CC Forum in which people have gushed about how Chris’ voice on Carry On has just as much range and power as it’s always had. I have to disagree. On this song and others to come, the vocals are effective emotionally, but I think he still shows some of the strain he was subject to on Out of Exile and Revelations. As a result, the soaring chorus has a constricted sound to it, as opposed to the more full-throated tone of something like "Steel Rain" from Euphoria Morning. He’s sounded so much better on tour since the album was completed that I think it’s a shame he didn’t delay the release again in order to go back and re-record some of the vocals. This song has a pretty melody, though, despite being bit on the slow side. This is another one I’ve begun singing just because it’s fun to do so.

"She’ll Never Be Your Man"- I’m really surprised by it, but this is my favorite song on the album. There’s a more organic flow between the lyrics and the melody, his voice is a bit richer, it’s catchy… and the subject matter is quirky. Not being a lesbian or a man dumped for a lesbian, I can’t really identify with it, but I still get a kick out of singing along with it. More steel (or slide?) guitar, but it works well on this one.

"Ghosts"- I can do without the falsetto. There’s a definite strain to the vocals on this one, with Chris slipping into the nasal, slightly whiny, tone that he used on the first ‘Slave album, and that made me first begin wondering what was going on with his voice. I’ve seen comments from some folks who are impressed with the long high note he holds at the end of this song, but to me it’s just too thin and reedy. I’d love to hear it live now, since his throat’s in so much better shape. Lyrically, though, the song is beginning to appeal to me. It seems to be very autobiographical and, if so, is a great statement to people who would expect him to remain musically static. The chorus is a little bouncy for me, but I’ve still begun singing along with it.

"Killing Birds"- This is another tune folks have been raving about, but it just plain disturbs me. Hearing it discussed, I was anticipating something dark and thought-provoking. Instead, the lyrics are just a sloppy mess. On first listen, there seems to be an apparent connection between the metaphor of "killing birds" and the death of the bird in "Like Suicide". Unlike "…Suicide", though, the metaphors in this one are not only incomprehensible, they’re mixed to the point of being ridiculous. The final verse in particular creates some disturbing imagery:

"If I had a web
I could sit and wait for you
Wouldn’t need a stone
I’d just poison you
And tie you up
And you would be a bird
A beautiful crested one
And your eyes would beg
But I’m just doing my job"

Chris, dude... yer killin’ me. Ok, you’re trading in your stone to become a spider, but you’re tying up a big ol’ crested bird, so you must be one of those gigantic South American tarantula-type spiders. But since when do tarantulas have jobs? I’m sure what he’s saying is that the bird’s begging is to no avail because the spider/murderer is compelled by his instincts, but this just doesn’t work. On top of the painful lyrics, the phrasing of the vocals is choppy and clumsy. This is the second song out of Chris’ entire catalog that I just can’t listen to ("Man or Animal" from Out of Exile was the first).

"Billie Jean"- The first version of this song that I heard was from an acoustic set in Amsterdam. It was so slow and dreary I couldn’t listen to the whole thing. Then I heard Chris perform it live in Baltimore and was blown away by the more dramatic, electric version. I was very curious to find out which version would end up on Carry On. It seems to be somewhere in the middle. The tempo’s picked up a bit from the Amsterdam one, but the vocals on the verses are a bit too soft and become a bit constricted in the more emotional choruses. The current live version (check out the video from my 5/17/07 blog) is so much more effective, but I still sing along with this one because it’s almost as good.

"Hover/Scar On The Sky"- I have to be harsh again. There’s a child-like quality to this song that makes it hard for me to listen to. What I mean by that is: it sounds as if it was written by a 7-yr old for an audience of 7-yr olds. The lyrics are trite and the phrasing is again very clumsy. And his voice sounds so tight and constricted that I wish he’d gargle some saltwater and sing it again. I can almost hear this song on Euphoria Morning, but it’s just not as well-written or well-performed as any of those tunes.

"Your Soul Today"- I’m having trouble getting past the line, "Can I visit your legs?". "Can I visit your arms?" evokes an image of melting into a comforting embrace, but "…visit your legs" is just clumsy (I need a new synonym for that word). I assume it’s meant to be sexy, but it just makes me think of someone hugging a pair of disembodied legs. As a result, I’ve barely even listened to the rest of the song.

"Finally Forever"- Because of the admiration and respect I have for Chris, I am really, truly happy that he’s so very much in love with his wife. Unfortunately, I do not think that love songs like this one are Chris’ forte. Ironically, he’s written some incredible songs about love gone wrong. "Finally Forever", though, comes off as a weak Rod Stewart impression. And at this point on the album, the steel (slide?) guitar is just plain annoying.

"Silence the Voices"- I can’t even comment on this song. It’s entry #3 in my list of "Chris Cornell Songs I Just Can’t Listen To" (three tunes out of 20 years worth of song-writing really ain’t bad, though).

"Disappearing Act"- This one causes more flashbacks for me, this time to having to listen to my mom’s old Gordon Lightfoot albums. Or was it Jim Croce…? I dunno, but I’m starting to get beyond the flashbacks and into the lyrics. The more I listen, the more the imagery strikes me as classic Cornell. The rest of the song is so different that the words didn’t come across at first but, like "Ghosts", it’s beginning to have an impact on me. And again like "Ghosts", I’d love to hear him re-record it now. I have a feeling the improvement in his singing would make this song as beautiful as it should be.

"You Know My Name"- The version I ripped off the ‘net before Casino Royale was released is better, but I still really like this song. Musically, it was a surprise at first to hear Chris create music like this (with David Arnold’s collaboration, of course), but if you take it in context it’s great. It’s not a Chris Cornell song, it’s a Chris Cornell James Bond song. The lyrics fit the movie perfectly, but still have the kind of wonderful imagery that Chris is so good at. And the vocal performance is husky and less constrained. Unfortunately, though, it clashes with the rest of Carry On. I fully understand Chris’ wanting to release it as his own song instead of on the movie soundtrack, but there’s not enough hard-rocking stuff on the album for it to blend in. Oh well.

"Today" (Bonus track)- This one’s full of falsetto vocals and "do-do-do-do-do"’s that have made it hard for me to listen to. I really want to, though, because the snatches of lyric I’ve picked up so far are intriguing. If I can find the lyrics on-line (they’re not in the liner notes), this may be one that I end up really enjoying, in spite of the falsetto.

"Roads We Choose" (Bonus track)- Like "Today", I’m dying to find official lyrics for this tune. As I’ve mentioned in threads on the CC Forum, my first impression of this song is that it’s Chris’ version of the Beatles "When I’m 64", with a little of A Perfect Circle’s "The Nurse Who Loved Me" cover thrown in. It’s quirky, it’s sweet, and I’m starting to really enjoy it.

For the most part, Carry On is troublesome for me. In some cases, the songs head in a direction I just can’t follow. That's not a problem on Chris' part, though, it's my problem. In other cases, I truly believe that he didn’t think the songs through well enough. There are sloppy lyrics, clumsy phrasing, and over-used musical motifs. And I find it frustrating that his voice improved so much after the album was completed. So many of the songs on Carry On would be improved by the more full-throated delivery that he could probably give them now. I kind of get the feeling that he was just so excited about this album that he wasn’t able to be objective about the songs and take his time putting them together. If that's the case, then on the one hand, it's touching. On the other hand, it's aggravating as hell. There are some songs, though, that, in spite of how different they are, will definitely end up on a cd mix to be listened to along with the best of his work from Soundgarden, Temple of the Dog, and Euphoria Morning. Carry On is just good enough for me to be eager to hear what he does next.

First paddle of the year

I finally got my kayak out for the first time yesterday. I've been neglecting it terribly since last year. Getting the new bike last year got me all excited about cycling, not to mention that it's vastly easier to throw the bike on top of the car than it is the kayak. I think I had the boat out about a half dozen times last year, compared to close to 50 bike rides (which is a pittance to the serious cyclists out there). It's been so long since I last paddled that I had to stop and actually remember how to tie the boat on the car.

It felt great once I was out on the water, though. I launched late afternoon on the Monocacy River at the aquaduct, near where it joins the Potomac, and paddled upstream to the Rte 28 bridge. The little rapid there was too rough to paddle through upstream and I didn't feel like dragging the boat, so that was my turnaround point. Heading back downstream, I practiced some low brace turns (a very elegant turn that's fun to do), then headed out onto the Potomac. Ended up anchoring myself against a log sticking above the surface midstream, releasing the seatback, and lying back to chill out for a while. Late day, watching rays break around the edges of cloud that had passed in front of the sun while listening to the water trickle along under the hull of my boat... All in all, a damned nice way to spend a couple of hours.

My intro to singletrack riding

This past Sunday, my cyclocross bike and I took the plunge and I had to change my mind about mountain biking.

For years, I've been conflicted about mountain biking. Having seen a lot of the trails I hike turn into sidewalk-wide mud pits due to being plowed up by knobby tires, having been disturbed on peaceful rambles by the shouted conversations of mtb riders whizzing by on the trail, and having almost been run down once or twice, I've generally felt that bikes should not share trails with hikers and equestrians. There's one park in my area (Schaeffer Farms) that was developed by local mtb associations and that's primarily, unofficially reserved for bikes. That's fine. I've been happy to keep my feet off their trail if they keep their tires off mine. But, at the same time, being a biker in addition to a hiker, I could kind of understand the appeal of mountain biking. I've ridden for years along the C&O Canal towpath and loved every dusty, muddy, rocky, gorgeous mile through the trees along the Potomac River.

I did give mountain biking a try once about a dozen or so years ago. My ex-boyfriend, whose total experience with bikes really revolved around a (probably stolen) bmx, decided one day that we should try out the trails at Schaeffer Farms. All I really remember of the ride is being so busy looking at the scenery that I kept running into things. That ride pretty much convinced me that the whole mtb thing probably wasn't my cup of tea.

Since buying a cyclocross bike (Specialized Tri-Cross) last year that can supposedly handle a variety of terrain, I've been wanting to test it's abilities. It's excellent on the towpath. It's capable on the road (can't keep up with most of the other women I ride with, but that's partly the bike's limitations and partly mine). The only thing left was singletrack. Finally, this past weekend, some of my riding buddies dragged me around the DC Beltway to Rosaryville State Park for a spin on 10 miles of fairly simple trail.

It was a blast. We took it easy, averaging about 7mph and taking lots of breaks to re-group &/or catch our breath. I found, though, that it was really surprisingly easy. Granted, it's rated as a beginner/intermediate trail and I avoided log obstacles and walked one stream crossing, but I was able to keep up most of the time with the more experienced, stronger rider who was leading us. The bike's gearing handled the rollercoaster hills just perfectly (though my forearms cramped up from squeezing the hell out of the brakes on downhills). By the time we hit the halfway point, I had figured out the rythm of the trail, using the little humps like a slingshot to propel the bike up larger rollers, and guiding it around tree roots and curves with my shoulders and hips instead of the handlebars. And, of course, the woods and meadows the trail passed through were beautiful, albeit a tad blurred. I also had a moment of validation. At one point, a couple of young guys pulled up on the side of the trail to let us pass. As I approached them, I heard one of them say "A 'cross bike. Cool!"

So now I'm hooked. I don't see myself ever bombing down a hill or across a stream, and I definitely don't see myself climbing over logs, but I can see me and the Tri-Cross flowing along a swoopy, smooth trail like Rosaryville pretty frequently. Which makes planning where to ride on my day off just that much more difficult. Toooo many options

Spring fever

"Though I may not believe in the order of the universe, yet I love the sticky little leaves as they open in spring."
(Ivan Karamazov to his brother Alyosha in The Brothers Karamazov, Fyodor Doestoevsky)

Every year at this time, I have to pull out that big fat Russian soap-opera of a novel and read that line (which Doestoevsky apparently cribbed from a Pushkin poem).

If you haven't been getting out and experiencing the opening of the sticky little leaves lately, then shame on you.

Interesting encounters: Chris Cornell and a fox

Last night, I headed up to B'more to experience Chris Cornell performing live at Ram's Head. I passed up a couple of Audioslave shows over the last few years because I'm just not interested in experiencing music in an arena setting anymore. The one time I saw Soundgarden was at a Lollapalooza event (with The Ramones and Metallica, woo-hoo!!), and that was definitely a cool experience. My memories of SG's performance are hazy at best, since I spent most of their set in the mosh-pit (where I learned that I'm armpit height to the average male), but the entire day was an experience. And a few years ago, I saw a few shows on T00l's tour for Lateralus. One was general admission at an outdoor pavillion, the other two were in arenas. The pavillion show is the only one of the three that is firmly planted in my memory. There's just something about the energy of a general admission crowd that adds to a show, and it's even better in an intimate club setting. So, when Cornell seemingly threw this club tour together at a moment's notice, I was glad that I heard about it in time to snag a ticket the day they went on sale. If his new solo career follows the course begun with Audioslave, it may be the last chance to see him in an intimate venue.

I did hesitate a bit, I admit. Chris' voice has definitely shown signs of wear over the last several years. Something happened to his throat between Euphoria Morning and the first 'Slave album. While the new huskiness evident on tunes like "Cochise" and "What You Need" was definitely sexy, it concerned me. Then I started hearing live recordings in which it was obvious he was straining. Worst of all was a live performance after the second album, Out of Exile, was released. It was some VH1 award show or something, and Chris' voice cracked all over the place while singing "Doesn't Remind Me". I cringed watching it. Somehow, between Out of Exile and Revelations, though, he managed to gain some control over the situation. He sounded better on the new album, and live performances on the 'net had a smoothness to them I was afraid he'd lost. He's held onto that whiskeyed huskiness, but seems better able to hit those high notes he was once notorious for. So, I had a hard time keeping my expectations in check on the drive to B'more last night.

In a nutshell, the show was awesome. The fact that there were too many tall people between me and the stage, and that the sound mix was frustratingly muddy, couldn't detract from the fact that the man who's music has entranced me for 16 years was bouncing and prowling around the stage mere feet in front of me. I missed not hearing "Like Suicide", "Call Me a Dog" or "Zero Chance" (which I've heard he's performed at other shows this tour), but Chris put together a great selection of tunes nonetheless. A handful of SG Badmotorfinger classics, a couple of Temple of the Dog gems, his movie soundtrack treasures "Seasons" and "Sunshower", and a few tunes from his soon-to-be released 2nd solo album. It was hard to catch the emotion of his voice, between his mic being buried in the sound mix and everyone (myself included) singing along with every song, but it was obvious that he was having no issues hitting every note with intensity. I have to admit to being so caught up in the experience that I actually sang along with "No Such Thing" (from the new album, not impressive) and "Black Hole Sun" (the song for which SG is doomed to be remembered, not one of their best). And the more up-tempo, dramatic version of his "Billie Jean" cover was fantastic, much better than the slow, actually dull (my opinion, sorry) acoustic version I'd heard on the 'net.

I've got mixed expectations for Carry On, the new album coming out in June. Of the four tunes I've heard so far ("You Know My Name", "Billie Jean", "No Such Thing" & "Arms Around Your Love"), two of them are pretty weak lyrically, continuing a trend that concerned me on the 2nd & 3rd 'Slave albums. As much as I hate to say this, my impression is that sobriety has tempered Chris' poetic ability. The incredible imagery and metaphors of his past tunes have been repaced by a clear-eyed straightforwardness that just doesn't have the same impact. And he's picked up a disturbing habit of sophomoric rhyming. After last night's show, though, I'm more than willing to give the new album a chance to grow on me. I'll follow Chris' new direction for as far as I possibly can.

Today's encounter was much more sedate and quiet. I hit the woods for a hike, since last night left me too wiped out for a bike ride. So, I'm heading up a slight hill and I see something standing in the middle of the trail up ahead. At first I thought it was a dog, since most people who hike with their dogs aren't smart enough to keep them leashed, but then I realized it was a fox. It was just standing smack in the middle of the trail as calm as could be, watching me approach. At first, I froze, thinking it would be startled and take off. When it continued to just stand there, I slowly moved along the trail till I was a couple dozen feet from it, at which point we both stood there looking at each other. Then, the fox sat down. That floored me. It didn't appear to be injured or rabid or otherwise wacked out, it just wasn't concerned that I was there. I took a few tentative steps closer and it didn't budge. That is, until it decided to lie down. After a while, it even put it's head down and appeared to be napping. I had no choice but to stand there. Several minutes later, a squeak next to a nearby tree had the fox on it's feet. Had to be a mouse or a chipmunk. The fox, with no care for the fact that it was coming closer to me, trotted down the trail to stand next to the tree looking for the source of the squeak. It apparently didn't find it, because it soon plopped itself down on trail again, put it's head on it's paws, and re-commenced it's nap. It raised it's head once as I moved a few steps to sit on a rock near my section of the trail, but then closed it's eyes again.

About half an hour after our little party began, a full bladder convinced me that it was time to disturb the fox and continue on to the parking area and the porta-johns. I stood up and took a few steps forward. The fox raised it's head and looked at me, but didn't move. I took a few more steps and it realized the situation. It stood up and headed back up to where it was when I first saw it, where it turned and waited to see what I was going to do. I began slowly walking toward it, and it finally decided to move off into the mountain laurels bordering the trail. It didn't go far, though, and watched me as I passed. After a dozen or so feet, I turned back and saw it step back out onto the trail and down towards the tree where the mysterious squeak was sounded. I would have loved to have hung out and watched it for a while longer, but I had a 5:30pm chiro appointment and the urgings of my bladder to deal with. So, I hiked on.

That was somewhat dull in the telling, but it really was a very cool occurrence. On the heels of last night's Chris Cornell experience, it made for a pair of incidents I had to write about to preserve them in my memory.

You tell me I'm low 'cause I've slept on the floor,
And out in the woods with the badgers & wolves...
(Chris Cornell, "Call Me a Dog", Temple of the Dog)