![]() The way Big Joanie’s take ends with a splash of distorted bass, the melancholy feeling lingers. ![]() It’s not better than Solange’s just a different reflection of the song that stuns differently. By the time the lead guitar ascends to float over the top of the song, like a metal cloud, it sounds like they’re finally on their way to feeling better. They take their time with the song and savor its mood. Their version, which will come out on a seven-inch on Friday, runs a minute longer than Solange’s. The other women join her to accent words like “better” and “sadder,” but they never sing “do-do-do-do-do.” There is still some hope in the chorus - the background vocals on the chorus sound almost angelic - but the appeal here is the way the women have tapped into a deeper, more introverted mood and stayed there. The way Stephanie Phillips sings the opening couplet, “I tried to drink it away/I tried to put one in the air,” you know she tried to move past her depression, but you can also picture how hard it was for her just to try from the tone in her voice. The words and melodies are the same, but the deep, echoing drums, dirge-like bass, and sparse, expressionistic guitar feel more dire than Solange’s version of the song, and they hook you in. The cover version by Big Joanie - a London-based trio of black feminists, whose 2018 debut LP, Sistahs, reflected influences that ranged from Joy Division to the Slits - almost feels like a different song. When she sings the chorus, “It’s like cranes in the sky/Sometimes, I don’t want to feel those metal clouds,” a choir of female voices sweetly harmonize, “do-do-do-do-do.” You know she’s sad, but something about the music makes you feel she’ll eventually get through it. The music, which she wrote with Raphael Saadiq, felt airy and light the bass does acrobatics when she sings “I tried to dance it away” and a synthesizer trickles out vaguely Eastern-sounding motifs. Solange’s single was so good - Rolling Stone dubbed it one of the 50 Best Songs of 2016 when it came out and, later, one of the 100 Greatest Songs of the Century – So Far - in part because of the way she blended frank confessions about trying to get herself out of a funk with the poetry of “cranes in the sky,” these enormous metal blights obscuring what could be a beautiful day. These visuals are the perfect partner to a song that tells the story of a woman trying to escape from the weight of the burdens she carries.Solange’s “Cranes in the Sky” was a triumph of melancholia, but Big Joanie’s heavy, fuzzy rendition of the tune makes the original sound positively upbeat by comparison. Not only is it “enough, but it is brilliant, it is excellent”. What these pieces say is “what you have, and who you are, is enough”. ![]() ![]() They represent finding beauty in the simplest of things and creating a platform for that beauty to shine. They represent making the most out of the resources available to you. Okay, Charisse, well what does this mean? Each of these dresses represents making the most out of what is seemingly nothing. One made out of pink paper, another pink plastic, one made of large green leaves, one made out of unravelled yarn and another gold tinsel. I want to talk about the dresses in their video and their significances. Sunset and gradient blue sky on the cranes loading containers at the biggest European. So yes, we’re still talking about Solange because ‘A Seat at The Table’, is an album that in my eyes will never not be relevant.Īnyway, today I’m revisiting the ‘Cranes in The Sky’ music video, directed by herself (Solange Knowles) and her husband Alan Ferguson. Download this stock image: View on seaport with cranes at sunset. Frank Ocean’s ‘Thinking ‘Bout You’ might have once been just a pretty love song, until you got heartbroken and then it became a soundtrack to your lonely nights. Every time you listen to you discover something you hadn’t before, you attach new meaning and new memories to each line. Music doesn’t expire, if anything it constantly renews itself.
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