Grey McMurray Reinvents a Classic Horror Movie Theme and Its Aftermath
Before the world premiere of his new arrangement of Mike Oldfield’s Tubular Bells last night, guitarist Grey McMurray encouraged WNYC’s John Schaefer to take a few slugs from the hip flask that he’d just flashed to the audience. The joke was that the original album was ostensibly fueled by a lot of alcohol (and obviously a lot of other stuff – it was 1973, after all). What was it like to experience McMurray’s new version without the help of any of that? It was definitely an improvement on the original, worthy of Brian Eno in places. The question is whether or not the original merited as much. Running late to get to the early afterwork show, there wasn’t time to hit the wine store beforehand, something that might have been a good idea.
Seriously: beyond the prog-rock/mathrock cult, who’s ever listened to side two of the album, let alone the sequence of tracks after the iconic tune in 15/4 time that was cut-and-pasted into the theme to the Exorcist? That hit single has been a staple of Halloween playlists for four decades. How Halloweenish did it sound, as played by McMurray and the Wordless Music Orchestra? Not very. The main theme wasn’t even played on tubular bells: drummer Qasim Naqvi introduced it by plinking it out on glockenspiel. From a listener’s point of view, it was as hard to defamiliarize, and experience that deliciously eerie theme with fresh ears, as it must have been for McMurray and the group to recontextualize it. He’d explained beforehand that he’d discouraged them from listening to the original for inspiration: smart advice.
What is the rest of the album like? The original, mostly overdubbed by Oldfield himself on a large studio’s supply of instruments, is showoffy, endlessly vamping and not particularly substantial. It’s short of second-rate Pink Floyd. For that matter, it’s not second-rate Jethro Tull, another obvious influence, either. Yet McMurray found beauty and elegance in it, building a joyously Enoesque, clear-sky gleam that lingered until the piece took a detour into secondhand Americana. Violinist Caleb Burhans, acoustic guitarist Aaron Roche, keyboardist/singer Olga Bell, pianist Justin Carroll and cellist Clarice Jensen reveled in those expansive textures.
Sound engineer Richie Clarke was given a shout-out in the program notes and earned that many times over: the World Financial Center atrium, where highs spin off the walls like electrons from what’s left of the Fukushima plant, is hardly conducive to rock bands, even an elegant art-rock band like this one. But he made it work, and McMurray gets credit for much of that because he also felt the room and kept his amp down in the mix so that the strings in particular could be heard. The lone shiver-inducing moment belonged to Jensen, whose sinewy, raspy reprise of the horror movie theme came completely by surprise about a third of the way through the suite. Bassist Chris Morrissey, like McMurray, looked like he was about to jump out of his shoes at times, resisting the urge to stand up and blast out his loopily propulsive groove. And Schaefer himself supplied the deadpan spoken-word introduction of the instruments, unable to resist a grin as he did so: by then, maybe he’d gotten into the sauce.
What’s it like to listen back to after a few drinks? It sounds better. You can decide for yourself when the concert airs on Q2 and then on Schaefer’s New Sounds program on November 20: you might want to make it a party night. Memo to the band: release this album on vinyl and you stand a good chance of topping the Billboard charts. No joke. If Leonard Cohen could do it, so can you. There’s an awful lot of old people, and young people too, who will buy it.