Added to Watchlist. Critic Reviews. Philip Tanzini. Robert Ridgely. Maitzi Morgan. Peter Yarrow. Regis Cordic. Reel to Reel audio recording. Neworld Media. The Billboard Book of Top 40 Hits 8th ed. New York: Billboard Books. Record Research. Retrieved December 9, The Star. Discovering Jewish music.
Jewish Publication Society. Retrieved 9 September Penguin Books. Retrieved May 15, Western Morning News. Archived from the original on 23 September Retrieved 23 September Archived from the original on 26 May Retrieved 12 July Listen to this article. This audio file was created from a revision of this article dated , and does not reflect subsequent edits. I'm a really sucker for a good harmony, and these two deliver in spades. I really wasn't expecting this, such accomplished, beautiful harmonies.
I spent ages trying to work out why they appealed to me so much, what made them different, and I think I've narrowed it down. Firstly, they aren't simple, lazy harmonies, but rather take the pairing in unusual or unexpected directions. Where you might expect her to go up, she goes down, and vice versa. I suspect this might be where 'counter melody' comes in, but as a buffoon in such matters, I'm not going to commit to this term yet.
Secondly, in many though not all cases, Nina sings in a similar range to Frederik, but takes the lower part, effectively providing the bass with her silky smooth voice.
The sleeve notes call this 'descant' singing, which helped to provide a description, but the technical definition implies that descant is sung higher than the melody, and that's not always the case with these two. Nina takes the low road often enough to be noticeable, and I find that rather lovely. There is a definite difference in the quality of their respective voices - Nina's flows like warm syrup, while Frederiks is competent, but that bit more pedestrian.
Over the course of the album, they both take 'lead' vocals with minimal input from the other on occasion, as well as full on harmonised songs. There's enough of a mix to keep it interesting, but overall I think where Nina takes the lead of the equal descant, those songs stand out slightly more than those where Frederik is more prominent. And of course, it doesn't bloody work right. The link for this song takes you to another, unrelated Nina and Frederik track, in German.
Just click on the Spotify logo. Go on. It's a lovely song. After the bouncy, upbeat opening of 'Little Boxes' we move onto the far more laid back, cowboy swing of 'Those Who Are Wise'. Despite being branded as folk singers, there is more than a hint of a country influence on this album, and this is the first example right here. It's on this song that the first curveball comes. The harmonies at the end of the first musical phrase, but halfway through the lyrical one swoop keep you hanging on, waiting for a resolution with is what drives the song forward.
Again, these two people are creating interesting harmonies which I don't think are matched even when you add a third person into the mix, as in this example by the Kingston Trio The song itself doesn't particularly appeal - it becomes repetitive very quickly, but it's the gut reaction that it produces that keeps it interesting. There was something about the nature of this song which reminds me of soap or cold cream adverts from my youth. I'm sure you know the kind of thing - a wide eyed housewife holding her hand at an improbabe right angle at chin level, a coiled mound of lotion on her outstretched fingers, rubbing the cosmetic goodness into her cheek with three fingers.
The sense of luxury that was implied to a 5 year-old me, the ability to let a little luxury transport you is replicated in me by these harmonies. They impart the same sense of indulgent little luxuries that I understood as a child, and I can't help but wonder how this happens, but it does. So there's that. A fragile, gentle little song that showcases the smoothness of Nina's vocals. It was by this stage of listening that I realised one of the things that sets this apart from more modern music is the importance of diction.
No wonder the English claimed them as their own, as there is not a hint of an accent, and the RP is flawless. Every word enunciated with absolute clarity. There's also a sense of melancholy and nostalgia going on here, though nostalgia for what I couldn't tell you.
Maybe it's a trick of using the word 'remember' in the title. We veer unexpectedly into the twee here. Another song that sounds like it should be a country number, and indeed was covered by people like Jim Reeves. Here it has a lilting swing beat that doesn't quite convince, but plods along merrily enough telling the tale of a little girl who prays for the 'scarlet ribbons' of the title, a mother who can't find them in the town, yet checks on her daughter in the morning, and finds her bed festooned with miraculous red hair adornments.
Clearly this was meant as a semi-religious tract, highlighting the benevolence of a mysteriously moving God, but sounds to my ears like people using God like Argos, placing their orders for earthly goods and getting next day delivery.
Doesn't sit comfortably. And this isn't the last time that we'll meet over-indulged children on this album. I can't help but feel that this is the kind of song that would have ended up on a Tony Best or Maralene Powell album Says it all really. Connie Francis. Bing Crosby. Clinton Ford. The Irish Rovers. Noel Paul Stookey.
Slim Whitman. Tommy Steele. Nadia Gifford. Crimson Ensemble. Broken Social Scene. Catherine Reed. Sally "Traffic" Boazman. Brian Oliver. Paff, der Zauberdrachen. Johannes Haage Trio. Puff, el drac magic. Ramon Casajoana i Joan Boix. Claire Lepage. Le dragon magique. Die SWE-Stars. Marlene Dietrich. Ramona [Wulf]. Mary Roos. Daliah Lavi. Peace Brothers. Lisa Wahlandt. Chris Kolonko.
There is romance wherever they go, always of a very national kind. There, being one of a large audience, attentive and enthusiastic, I had the same selfish impression as before. Go on. Peter, Paul and Mary. Puff en pappersdrake. Lawrence Welk and His Orchestra. The audience joined in with Stookey and at the end of their sing-along, the judge declared the "case dismissed. Over the course of the album, they both take 'lead' vocals with minimal input from the other on occasion, as well as full on harmonised songs.
The Last Laugh, In Nomine Satanas - Various - In The Name Of Satan (CD), , Intro - Nuclear Warfare - Atomic Nuclear Holocaust Demo 2009 (Cassette), Universe (Brave Remix)