The album was released in 1979, produced by C. S. Reid, anf released on the Nationwide label out of London. Although there are no credits, Sly and Robbie can be heard on at least some of the tracks. On this LP, Nora has been recast as a regular gal. She sounds older and more mature, and definitely less strange. She just wants the DJ to play her a love song -- surprising and ironic in that she never had a hit with one herself. What remains consistant is the appeal of her voice, which is the star of the LP. Sometimes multi-tracked, her vocals take center stage over the competent, but not overpowering instrumentation. The arrangements wouldn't be at all out of place on a Dennis Brown LP from that time. The first musical surprise is how the first four songs on Play Me A Love Song downplay reggae in favor of other musical styles. The album opens with a cover, "My Hearts Desire", a heavily R&B influenced track, and moves into the soul influenced, "Don't Let Me Know". Both offer a slow, sultry vocal. The next two tracks, "Written All Over Your Face" and "Ever Know About Him", are influenced by American country music, and Nora adds a twang to her singing. All four of these tracks have straight forward lyrics. The fifth track, "Caught In A Trap" is reggae, but it's a slow, static cover of Elvis Presley's "Suspicious Minds". This track was taken from a single released a few year earlier.The songs on the B side are all reggae and include three standouts. The side's opener, "Dry Up Your Tears" features a strong and edgy vocal performance as Nora switches point of view between herself and her man. She despairs about his departure. He promises to return, but never does. A heartbreaking song. The next track, "Never Be Mine", is weak instrumentally, and Nora seem unable to work up any enthusiasm. This is followed by the second stand out track, "No Time To Loose". In it, Nora wants to get on the night train so she won't be late for her a date. Her mother wants her to wait, but she explains that she is a grown girl and wants love. Some double entendre action with a great vocal, with Nora in dreamy voice mode, complete with moans, coos and ah-ya-yas. "Beautiful Morning" follows and the results are musically and vocally less inspiring than her better recordings. The final and titular track is the album's third standout. "Play Me A Love Song" is dancehall influenced, backing a straightforward vocal and lyric. She asks the DJ to play a love song that she can dance to with her man:Play something soft and nasty with words rich with spice
Something with the soulful feeling, something that will send us reelingThis track could be seen as the happy ending for the tragic situation described in the side's opener. A happy/bluesy vocal. A light and upbeat way to close the album.
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My first listen to this album was transporting. Agnes Obel says that she "collected all the songs together with my partner, Alex Brel Flagstad and we just spent time listening to records, trying to see what would fit together. Some of the music I've included here is on mixtapes we made when we were just friends as teenagers. Each one of the tracks produces stories in my head."
Included with these older tracks are three new, original songs from Agnes, including a collaboration with the Danish poet Inger Christensen's work, "Poem on Death." I suggest you hit the play button and listen to the songs and read Agnes Obel's descriptions. This is truly a rare listening experience I'm thrilled to share.
I knew from the beginning that there had to be a Lee Hazelwood song on the compilation. His music has followed me for years, now. The production, especially on vocals and choirs, is something I admire and try to imitate at times. His songs are like small movies taking place in this so very Hazelwood-mental-landscape of longing and humour and bad luck.
This is another track from one of Alex's mixtapes! I've always wanted to use this in a compilation. There is something wonderfully deranged about the song that reminds me of the film Fitzcarraldo and of [actor] Klaus Kinski's crazy, big eyes, especially the lines that are repeated towards the end: "the excess."
You have to listen to this track with headphones on. The vocals are so effortlessly brilliant they appear as if out of nothing, with a soft crescendo, almost like a surreal ancient psalm. And then, the next minute, easily and effortless [it] becomes a Fossa-Nova song.
There is something old and primal about vocal folk music, as if it evokes an ancient truth we all share but have forgotten. The power of their voices and the crescendos that seem to appear as if out of nothing scare me in a wonderful way.
It's a song I'm working on, so it's not even finished yet. The piece is about the experience of a thought that suddenly takes over everything in your mind and it all starts falling apart. While we had to do this compilation, my studio was taken apart and I [was] moving into another studio so I couldn't completely finish the song. But I thought it would be interesting to show a song in the process of development. At this point I still haven't decided if it will be an instrumental or a song with vocals and lyrics.
It's the tone and timbre of her voice, the warmth and the still resignation of a love that is about to end that makes me revisit this song. I hear all these unspoken human interactions that lie outside of normal conversation in her voice.
This is another song my friend, Daniel sent to me one night some years ago while I was finishing an album. I hadn't been out or just socialized in what felt like an eternity, even though my studio was right in the middle of this famous club area in Berlin. Every time I left the studio I would feel like an alien life form, surrounded by this particular, hedonistic Berlin club-dream that still today attracts so many people. I love the stern irony in her voice when she sings, "It doesn't matter what you create if you have no fun."
Can is a band I discovered while living in Germany. It is such a wonderful band to discover because their music doesn't follow the known trajectory of western-styled pop and rock music, so you are constantly surprised. This idea of not following genres or the rock format speaks to me. I think this is why the band sounds so current today, 40 years after this song was recorded.
There's something about vocal music that is seems so pure. I haven't been able to make music in this style, but I'd love to be able to do that at some point. When listening to this piece and the melody lines moving upwards, it seems that there is an experience of hope or a feeling of something better waiting ahead. It's full of doubt, but it is there. I love this sound of hopefulness mixed with uncertainty, like balancing on the edge of a knife. As the piece progresses this hope seems to be lost and the voices seem to conjure nightfall and gloom.
[Danish poet] Inger Christensen's work is truly beautiful. It makes me feel curious towards the otherwise tricky Danish language that is my mother tongue. She approaches it with the freshness of a child and opens it up. This poem, "Poem on Death (Digt om Dden)," makes me wish that everyone could understand it in its original form. I have used a translation I have found online by [author] John Irons that I'm grateful for. The poem holds one of my favourite verses: "Som dybet lfter vandet / op til en kilde / lfter dden de levende / op for at drikke." Translated it is something like: "Like the depths lift the water / up to a source / death lifts the living / up to drink." The poem is written in Haiku-Stanza and describes how writing about death is impossible (leading the poet to [have] writer's block), while the words themselves become an obstacle to the idea. She writes: "The words die like flies on the paper." The poet is finally able to write the poem when she accepts the impossibility of the idea. This acceptance [of] the impossible and the imperfect make it possible for you to create something. That's how I have always understood this poem.
World Premiere co-produced by the 2008 Humana Festival of New American Plays at Actors Theatre of Louisville and by the Studio Theatre in Washington, DC as part of its 2008 Opening Our Doors Initiative.
The Equinox New Play Festival's 2022 theme is Emotional Embrace, and to us that means exploring intimacy at a distance. How do we define when something is 'intimate', and how can that definition expand past skin touching skin? We currently live in a reality where we are forced to live with a required amount of distance, and this year the festival hopes to present 2 plays that explore the different ways distance can affect our relationships.
Nonmonogamy by Alex Werthauer, After an attempt at consensual non-monogamy goes sour, Sam, Adrian, and Johanna find themselves in a unique, unexpected, and ever-unfolding love triangle. Together, they must navigate the complexities of queer relationships & early adulthood, and find societally unconventional solutions to interpersonal puzzles in this four year long snippet of their lives."
Join Dolan, who bears a striking resemblance to the famous, genius author Hans Christian Andersen, as he tells his brand new story The Little Rain Cloud, a story about a young rain cloud who falls to earth and falls in love with a human. But, this proves to be very difficult as unexpected interruptions keep getting in the way. Sometimes the Rain, Sometimes the Sea tells a beautiful story that begs the question: What makes love a true love?
I Want A Country is a play written by Greek playwright Andreas Fourakis and directed by UArts associate professor Fadi Skeiker. In the play, audience members hear from a variety of individuals, all of whom are in search of a new country, a new community, and a society that restores their humanity and offers new opportunities. While the themes of the play are applicable to citizens of any nation, the directorial vision of the performance focuses on Syrians caught within the Syrian conflict in particular. The performers represent small groups of refugees who are seeking a new country to find refuge. The performance is presented in an immersive theatre format where the audience moves from one performance location to the next, embodying the dualistic structured/structureless mobility of the refugee journey. 152ee80cbc