While not skilled at it, I accidentally fell into that soundscape the other day. My ears have been slowly trained over the years to the point that some bird calls pop out of the muddle of birdsong and can be identified. Listening too deeply to the calls, they blurred into a giant chorus line of birds that was mesmerizing in a hypnotic trance kind of way. Individuals popped in and out of the mix, a robin here, a kinglet there, a White-throated Sparrow high above the rest. The world around me faded and I was almost blinded as my ears took over listening to the songs. In my head, that is how people who bird by ear walk through the world, hearing an ongoing, ever changing bird soundscape as a soundtrack to their life.
Look at it this way. Have you ever gotten a new car, then suddenly notice that car everywhere? That is what learning birds is like. Once you learn how to identify one, it pops up everywhere. Learn how to identify the song of an Indigo Bunting one day, hear it singing while filling the car with gas the next.
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Sandhill Cranes are amazing, prehistoric looking birds that have only recently started nesting in the region. Their prehistoric croak first caught my ear ten years or more ago. To figure out where the dinosaur-like call came from required a walk to the swamp to see the bird, which was luckily huge and obvious. A week or two ago, that same odd call sounded while I was on the trail, and my brain informed me that there was a crane nearby before my eyes even started looking for it. There will be a Sandhill Crane program at Audubon on May 5 to learn about and search for these large birds.
One of the joys of being a naturalist is that there are always people who know more than you and you can learn from them. Nature is so complex, with so many intricate details, that it is impossible to know it all. Many people have taught me about birds, others about dragonflies, and still others about trees. Some knowledge is easily absorbed. Other things, like bird songs, remain a challenge. And now, sitting in my library at home, is a CD filled with how to identify grasshoppers and katydids by their song. Right now, they all sound like they buzz, but maybe, with some help and five years of effort, the buzzes will slowly become the distinct calls of individual species singing in a field. Then again, maybe not.
Audubon Community Nature Center builds and nurtures connections between people and nature. Hike the trails, attend a program, or participate in an event to learn more about birds and the world around you. ACNC is located at 1600 Riverside Road just east of Route 62 between Warren and Jamestown. Visit online at auduboncnc.org or call (716) 569-2345 for more information.
Karl Wallinger was World Party. World Party was a Beatles-adjacent late-80s/early-90s alt-rock/pop band that never hit the BIG big time, but certainly flirted with it.
Or did they?
-They played SNL. I watched it live. Karl changed a lyric from Tuesday Night to Saturday Night with a smirk. That seemed pretty cool to me.
-They scored some minor UK hits, got onto alt-rock radio in the US.
-A Grammy nomination.
-Some significant soundtrack appearances (Clueless, Reality Bites) that kept them in the pop culture zeitgeist.
-A song covered by pop giant Robbie Williams1 (that Williams continually claimed was \u201Cthe best song I ever wrote\u201D and which went all the way to #1 platinum status in the UK)
-They were voted 1990\u2019s album of the year by Q magazine2.
-The great Sinead O\u2019Connor guests on two WP albums.
-Paul McCartney went out of his way to tell Wallinger how much he loved \u201CShow Me To The Top.\u201D Called it a hit.
-Called a \u201Cdud\u201D by legendary music critic Robert Christgau (you\u2019ve made it when Christgau goes out of his way to dog your music).
I mean, for me? Everything up there? That\u2019s all big time. I would endure a thousand Christgau duds for one McCartney hit.
And, beyond all that, they mattered to me. I would wager that Goodbye Jumbo was a Top 10 Most Listened Contemporary Album For Me from 1990-943. I loved it so much.
I continue to love it. So much.
World Party, a little pop venture Wallinger put together when he was feeling unfulfilled creatively as a member of the great Waterboys, was a throwback band before throwback bands became cool4. His first album, recorded at his home, has songs that ape the Stones, Dylan, and most notably the Beatles. The second album, my favorite, witnesses Wallinger in full stride\u2014nodding to his influences, but no longer bowing to them. In the years to come Britpop would take over the world, but this was before all that, before the Beatle worship of mega-huge bands like Blur5 and Oasis (both Gallagher brothers have since employed World Party drummer Chris Sharrock for their solo projects) who took it to stadiums. 1998\u2019s ubiquitous hit \u201CYou Get What You Give\u201D by the New Radicals feels like a Wallinger jam, right down to the vocal delivery. If we found out tomorrow that Wallinger ghost-wrote it, I would believe it 1000%6. In fact, I used to hate the song, but since I connected the World Party dots, I\u2026 kinda like it.
That\u2019s beside the point.
Besides his obvious love of 60s and 70s music, Wallinger also had some real Prince7 influence in there, heard most clearly in the falsetto of \u201CAin\u2019t Gonna Come Til I\u2019m Ready\u201D and the synth-funk of \u201CShow Me To The Top.\u201D
As a teenager, I loved Wallinger\u2019s pro-environment stance too. He seemed to thread the needle without falling into the mud pits of self-righteous preachery. He, like his hero John Lennon, had something to say.
The mid-period got a little muddy. But even \u201Cflops\u201D like Egyptology have gems in them. \u201CThe Whole of The Night\u201D is such a rad groove; I wanna live in it with its stompy verses and oooh-ahh choruses. \u201CBeautiful Dream\u201D and \u201CCall Me Up\u201D would feel at home on Revolver. And of course the song Robbie Williams wishes he wrote, \u201CShe\u2019s The One\u201D, is a stunner.
Maybe take a listen to a little Karl Wallinger playlist I threw together to hear a guy who was probably a genius yet whose songs have fewer streams than, like, the Baha Men and Robbie Williams and who knows who else.
Wallinger hated that Williams\u2014a brashly cocky and shallow pop star\u2014covered his song and, maybe more, that the record label they shared (Chrysalis) had pushed Williams\u2019 version, which wasn\u2019t all that different from World Party\u2019s (including stealing World Party\u2019s drummer). He hated that Williams never gave him credit. It ate him up, even while he admitted. \u201C(Williams) kept my kids in school and me in Seaview [Wallinger's recording studio] and for that I thank him.\u201D
With whom he briefly shared a manager. He tells a story of drunkenly playing a piano one night in Paisley Park.
Both he and his former Waterboys bandmate Mike Scott loved Prince. Scott loved him so much, he wrote \u201CThe Whole of the Moon\u201D (a top 3 Waterboys song and one that, no coincidence, featured Wallinger\u2019s touch) to contrast how otherworldly Prince felt.
Jumbo told me all sorts of stories about his earlier singing days, playing quoits and his working life. Compared to some of the larger than life characters who were around at the time, he was a quiet and reserved man, but he had twinkle in his eye and a good, dry sense of humour.
It was clearly a big step for Jumbo to go back there and I remember that among other songs, he sang his version of Jack Barleycorn, which he told me he had picked up from a chap from Essex who had come over on holiday. It was the only time I heard him sing it. Like other songs I expressed an interest in, the words, written in his best copperplate hand writing on an old birthday card, arrived through my letterbox a few days later. In the end I got quite a little collection which is now with the EATMT for safe keeping.
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A Mexican rock band from Monterrey, Jumbo is called. Their use of distorted guitars and contemplative lyrics define the Indie Rock category in which their music is firmly anchored. For more than 20 years, Jumbo has been involved in the Mexican music industry and is well-known to rock fans.
Their songs frequently tackle themes of love, sorrow, and self-discovery, and their music is renowned for its raw intensity and emotional depth. Jumbo's music has a distinct sound that combines complex guitar riffs, pounding basslines, and soaring vocals to produce music that is both imposing and meditative. Jumbo has a distinctive sound despite being compared to other Indie Rock greats like Radiohead and The Strokes in terms of their music.
Jumbo has a devoted following and receives praise from critics for their music, which has connected with audiences in Mexico and beyond. They have established themselves as one of the most significant bands in the Mexican Rock scene, influencing a new generation of musicians to produce sincere music with strong emotional resonance. Jumbo's legacy is proof of the ability of music to bring people together and stir up powerful emotions.
The Monterrey, Mexico-based Rock/Indie Rock band Jumbo has a number of well-known songs that have had an impact on its listeners. Fast-paced guitar riffs and upbeat vocals in "Siento Que...", one of their most well-known songs, make it a fan favorite when they perform it live. Jumbo's talent for producing lively, danceable music is demonstrated by another well-liked song, "Cada Vez Que Me Voy".
Another well-known song with a more laid-back and nostalgic vibe is "Fotografia". The song's nostalgic lyrics about the past and recollections make it the ideal soundtrack for introspection. Heavy guitar chords and a catchy chorus on the upbeat song "Rockstar" demonstrate Jumbo's rock roots and are likely to get listeners headbanging.
Jumbo's other well-known songs include "Lo Dudo," "Aqui," "Despues," and "Yo Sin Tu Amor." These songs highlight the band's diversity because each one has a distinct tone and vibe.
In general, Jumbo has produced a wide variety of well-liked songs that have established them as a mainstay in the Rock and Indie Rock music scenes. They have won over admirers all over the world with their ability to make both lively and catchy songs, as well as more somber and melancholy ones.
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