Opus-the-Penguin

Opus-the-Penguin t1_jderszf wrote

Yeah, I hate the way people use downvotes as a way of disagreeing. I like hearing opinions that don't match mine and I think you've expressed yours thoughtfully.

For what it's worth, I was close to 40 when I heard Jeff Buckley's version (and it was the first I'd heard, so I admit I "imprinted" on it like a duckling). And I'd had some major life curves that aged me beyond those years. But what I heard seemed authentic and relatable and not at all like a cheeky kid claiming he'd experienced the full gamut of life's vicissitudes.

3

Opus-the-Penguin t1_jddshhk wrote

Yeah, but it's not. That's my point. Cale's making fine music but, for me, there's no connection to the words. He might as well be singing in a foreign language. He's Joan Sutherland and Buckley is Maria Callas.

Or to switch metaphors, Leonard Cohen's version is Moses--harsh and full of implied glory. Cale's is John the Baptist, preparing the way. But when the perfect comes, the partial must pass away.

1

Opus-the-Penguin t1_jddpn0g wrote

Jeff Buckley. Never heard anything that comes close. Not Cohen's original. Not John Cale, who inexplicably gets ranked ahead of Buckley by some. Seriously? Listen to them both. How do you go back to Cale's surface skim after hearing Buckley plunge deep into the song's heart? Cale makes pleasant music but he clearly has no idea what the words mean. Definitely not Rufus Wainwright's Shrek version. Not J-Hud. Buckley's is one of those covers that makes all other versions superfluous and all future attempts pointless. It's kind of like Johnny Cash's Hurt.

16

Opus-the-Penguin t1_j6or1db wrote

As the other replies indicate, even if they don't come right out and say it, you won't know. Not for sure. Especially if your work and finance situations changed during 2022. But everyone is SUPPOSED to get your documents to you by January 31. (If they can't, they're supposed to send you a notice telling you that a certain form is coming and estimating when it will drop. Charles Schwab does this to me every year.) So I usually wait to file until the second week in February (by which time Chuck Schwab finally has his act together) when I can safely assume I have everything I'm going to get. This system has yet to fail me.

1

Opus-the-Penguin t1_j6ob9zh wrote

GREAT question! It so often gets asked the other way. (It's a good question that way too, just overdone.) Disturbed's cover of "The Sound of Silence" got a lot of attention 7 or 8 years ago. Like a lot of people, I was blown away. It was powerful and raw. People said it had replaced the original. But for me it ended up being a one-play wonder. Once I'd heard it, I didn't need to hear it again. The unexpectedness was the hook. Once that was gone, the cover was much less interesting. I kept being drawn back to the Simon and Garfunkel original. It was quiet and gentle and yet somehow so powerful that it pushed the newer version aside and re-asserted itself as the ur-text.

9

Opus-the-Penguin t1_j5pstvh wrote

I know for a fact that they are not. They're presented with the performance and they laugh when they feel moved to do so. There is no LAUGH NOW sign that lights up. At the same time, they know they're being recorded and their laughter will be part of the finished product. So they'll cheerfully laugh for a second, third, etc. take if they thought it was funny the first time. In that sense it's artificial, but it's uncoerced.

10

Opus-the-Penguin t1_j2dw0cr wrote

It may have just hit me wrong. But once it did, it's been something I can't unsee. There's a sort of feedback loop at this point where I tense up when the scene starts, which of course takes me out of the movie, which means I'm experiencing the moment all wrong.

−1