Emotional Vertigo Hi. Song for Odin here. Song for Odin posts a video of a song with some commentary each Wednesday, by tradition in the morning, but Song for Odin got off to a late start today, for reasons best kept between Song for Odin and itself. At any rate, here we are with "Love Is Dead" live at the Rivoli in Toronto, October 5, 1997. https://youtu.be/slOljVR3fag A few songs from this set have turned up in the "series" before (see playlist in notes below) and as I'm sure I must have mentioned, the main thing I remember about this show was that I was deathly ill, chain-sucking Fisherman's Friends and sedated with Theraflu and bourbon. That's why I'm a bit more listless than usual. Also, the Revenge Is Sweet album had just come out and we were still feeling our way towards figuring out how to play this stuff live, for an audience that was way less familiar with the material than the equivalent crowd would be even a few months later. And this can affect how much confidence and verve a diffident, self-critical so-called artist can summon up to bring to the table. This song, it turned out, had what it took to get the seal of approval of however many dozens of people at a time we were trying to interest and engage. I know that now, but I sure didn't know it then. You get a big "assist" from this type of familiarity, like the recording has already done most of the work and all you have to do is sort of reference it with your live performance to trigger the warm response. I often wondered, and still do, if songs like mine, done by a band like this, with production standards like this, could make it on their own without the assist, that is, without the audience having "done the reading" beforehand. Some maybe, but not all, and maybe not this one. Here's something I wrote way back when this song first came up as a Song for Odin, way back at the beginning (see notes for link): "As for the song itself, it's a pretty good essay at that Tin Pan Alley approach to lyrics and structure that I've sometimes stabbed at. The bridge is particularly ridiculous (meaning good), illustrating the initial vague notion of "emotional vertigo" with subsequent climbing of what turns out to be a tree, one of the limbs of which the narrator is "out on" etc. I love it when you can take things too far, to the point of stupidity, and somehow it simulates brilliance as long as your words are nice. Or so I like to think." Looking at it now, I'm struck by how much "work" that bridge does. Before it pops up, things are pretty straightforwardly conventional/traditional (not that there's anything wrong with that) but then it gets all poetry-y and baroque for four lines and that twists things up -- just enough, I'd like to think, to justify its existence. Anyway, I still like it, which I can't say about every song twenty odd years later. One further "minor secret" -- those "la la la la" back-ups included Kim Shattuck and my nephew Michael and niece Susan, little kids at the time, but I don't think they were in the studio at the same time. Regardless, it's a cool sound. Song for Odin will see you all next week. Bye for now. notes: -- studio recording: https://youtu.be/bq55Yxu_zek -- previous "minor secrets" write-up for this song: http://www.doktorfrank.com/archives/2017/12/love_is_dead_2.html -- playlist of songs from this set posted thus far: https://www.youtube.com/playlist?list=PLommF46BbnATIFNLGLZctcdWvAihK-Zkx -- Songs for Odin playlist: https://www.youtube.com/playlist?list=PLommF46BbnATopffORs0YkspebJHka2o_ #music #songs #video #minds

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