July 21, 2010

黑暗休会: The Voice of Magic Saw

Wang Jiahua performs 甜蜜蜜 ("Sweet Honey") + 瀟灑走一回 ("???")

The "Magic Saw" technique involves amping a traditional Chinese musical saw performance, and sometimes adding drum machine and effects.  Musical saw was very popular throughout southeast Asia and continues to have its followers.  I am particularly interested in Hong Kong's Fang-Teng Lee, otherwise known as the "The Sound of Magic Saw," who released several albums in the late sixties. Wang Jiahua, for her part, is known as "The Voice of Magic Saw" ( 魔鋸之音), and is a street performer living in Taiwan.

July 17, 2010

Jean-Claude Vannier est étonnant et passionnant!


Jean-Claude Vannier arranged much of Gainsbourg's psychedelic sixties soundtracks as well as Histoire de Melody Nelson (1971).  He has gained more notoreity recently with the recently reissued L’enfant assassin des mouches (1973), where this video was provided as a bonus.  He recorded  five other very rare solo albums, he was a painter, writer, and the comic radio host of gardening and cooking shows for France Culture.

Andy Votel's JC Vannier mixtape,  Histoire De Melody Vannier, is absolutely essential, and the only readily available means of hearing some of Vannier's amazing soundtrack and studio work.

June 29, 2010

SERGE GAINSBOURG - Gainsbourg Percussions (1964)


Serge Gainsbourg created this, his first of many concept records, out of African and Carribean percussion rhythms.  Still relatively new to the scene in 1964, Gainsbourg's fanbase was mostly confined to Chanson-jazz afficianados.  Gainsbourg Percussions (1964) is a divergent path for the fated Dirty Old Man of France and an overlooked gem.  In the early 60s, the Chanson genre was on the decline as American pop took over French radio. Later in the decade, Gainsbourg jumped on the yé-yé  bandwagon, writing a slew of pop hits for notable French ladies. 

Besides a few boring Chansons thrown in for his original fanbase, Afro drums remain at the forefront, and Gainsbourg's gravelly drawl couldn't be more indifferent.  He even lists off the names of different buildings he saw on a vacation in "New York USA" (actually an appropriation of Babatunde Olatunji's "Akiwowo").  Females chant rhythmically in accompaniment, the best example being "Les Sambassadeurs" which ends with the sounds of riots in the street and automatic gunfire.






• I also recommend this kinescope for "Couleur Café ," Gainsbourg's only hit from the album.  

June 5, 2010

June 3, 2010

ግልጽ ያልሆነ ጉድጓድ: Tlahoun Gèssèssè


"Tlahoun Gèssèssè (ጥላሁን ገሠሠ), known across Ethiopia and Sudan as "The Voice," first came to stardom at age 18 when he joined the Imperial Bodyguard Band.  Passionate performances as lead singer for the band would often end with tears streaked across his face.  His thinly veiled protest songs put him in hot water with Emperor Haile Selassie and he was thrown into prison when the Imperial Bodyguard attempted a coup d'tat in 1960.  He was eventually released when growing opposition against the Emperor forced him to adopt a more tolerant attitude to the music and night life of the capital city. Tlahoun Gèssèssè went on to become Ethiopia's most popular singer in the "swinging Addis Ababa years" of the 60s and 70s.

***
•  More ጥላሁን ገሠሠ you crave here, here, & here.
The Ethiopiques series has made Tlahoun Gèssèssè's music widely available in the West for the first time.
Minyahel Tlahoun followed in his father's footsteps and became a star when he was still a teenager.

June 1, 2010

LA LUPE - La Era de la Lupe (1968) + Dos Lados De Lupe (1968) + Definitivamente La Yi-Yi-Yi (1969)

"A sado-masochist with a sense of rhythm." – Guillermo Cabrera Infante

La Lupe's act was an exorcism.  Her fans gave her the nickname, La Yiyiyi, for her ecstatic cries and wails.  On stage, she picked at her face compulsively, pulled her hair and bit herself, clutched her breasts, and tore her clothing.  She flung herself back and forth as she sang until her shoes, clothes, and wig were strewn about and her make-up smeared with drool. 

Guadelupe Yoli grew up in 1930s Santiago, Cuba under a strict father and a stepmother who hated her dark skin.  She skipped school one day to enter a radio contest, winning first prize and booking clubs immediately.  She caused a stir throughout Havana with her epilectic sex appeal.  Considered a poor role model and much too vulgar for the general public, she was also revered by other artists like Tennessee Williams, Hemminway, Sartre, and Picasso.  Deemed too risque by Fidel Castro himself, La Lupe was exiled first to Mexico, then to New York City, shortly after the Cuban Revolution.   


In New York, La Lupe's popularity soared when she partnered with Tito Puente.  It wasn't La Lupe's violent performances that proved too controversial for Tito Puente.  His career enjoyed a second wind due to their partnership.  Her raw boleros serve as an obvious bridge from the popular Big Band sound enjoyed by  America's middle class style to a barrio style that forged the New York City Salsa scene in the 60s and 70s.  But her public devotion to Santería-- which remained steadfast during even her greatest time of wealth and fame-- proved too provocative for Puente.  And he feared his association with La Lupe's dark arts might sully his squeaky-clean persona.  Divinations of evil spirits and bad omens caused her to behave erratically, even cancelling appearances at the last minute.  Puente abruptly ended their partnership by kicking La Lupe off their tour in 1968, replacing her with El Lupo (aka El Yiyiyo), a drag queen impersonator.

Though she continued to record throughout the 70s, she was nevertheless forced into obscurity.  Puente famously told their mutual manager: "I'm not working anywhere that that black woman plays."  Excessive payments to santeros and battles with drug abuse brought La Lupe to poverty.  In 1984, she suffered a severe spinal injury while trying to hang a curtain.   She was briefly homeless after an electrical fire destroyed her home.  Some years later, she was healed miraculously by an evangelist at a Christian Crusade.  She abandoned Santeria and briefly became a Pentecostal minister before dying at the age of 55. 





May 21, 2010

Centrifuge Scrubbin'

La République de Guinée - Sons Nouveax D'Une Nation Nouvelle (1962)

This mysterious record from the Republic of Guinea in West Africa is a frenzied kora string jam session with light, varied percussion. Almost trance-like or ecstatic, this obscurity was originally posted by Blank Dogs on his blog years ago.  The group's(?) name translates to "Sounds of a New Nation," and it appears to be a state-sponsored record in much the same way as Mali's Orchestre Régional de Kayes.  Guinea and Mali both declared their independence from French colonial rule at the end of the 50s.  The two neighboring countries fell under one-party rule almost immediately, and their autocratic leaders hoped to tap into a pre-colonial cultural identity by commissioning musicians to perform the "traditional" music of their respective peoples.  However, I get the feeling that these musicians had already gotten way into psych by this point.  There's certainly an undoubtable psych influence on many of the other Mali and Guinee records of the era.

Sons Nouveax D'Une Nation Nouvelle. La République de Guinée

• Throughout the sixties and seventies, Tempo International released many, if not all, the République de Guinée albums.  Check out the discography here

May 11, 2010

Goodbye, Barry Hannah (A Belated Remembrance)



Barry Hannah has been my favorite living author for much of my adult life.  On March 1st, to little fanfare, he became one of my many favorite dead ones.  Reading Hannah for the first time as a teenager in the Deep South, completely rearranged my orientation to the habitat around me, and I began to experience Hannah's world in real ways.  I wandered upon Airships, Hannah's first collection of short stories, in the public library and opened it to "Coming Close to Donna," because it was the shortest story in the book. I read about a fight between two young men in a graveyard:

      I'm neutral.  I wear sharp clothes and everybody thinks I'm a fag, though it's not true.  The truth is, I'm not all that crazy about Donna, that's all, and I tend to be a sissy of voice.  Never had a chance otherwise-- raised by a dreadfully vocal old aunt after my parents were killed by vicious homosexuals in Panama City.  Further, I am fat.  I've got fat ankles going into my suede boots.
     I ask her, "Say, what you think about that, Donna?  Are you going to be whoever win's girl friend?"
     "Why not? They're both cute," she says.
     Her big lips are moist.  She starts taking her sweater off.  When it comes off, I see she's got great humpers in her bra.  There's a nice brown valley of hair between them. 
    "I can't lose," she says.

Airships is typical to Hannah's work.  It's peopled with real individuals:  fearless weirdos and pitiful turds, uppity Blacks, tennis champs, gay Confederate soldiers, and post-apocalyptic cannibals seamlessly woven into a history of the South happening at once.  He earned comparisons to Flannery O'Connor early in his career.  His work in the eighties seemed to ocillate between playfully experimental and sentimentally familiar.  Whether it was our desperate hero on the fringe of decent life or old men farting around in a fishing boat, Hannah showed great affection for the Southern eccentrics that outsiders might assume are the invention of its writers.  But in not even the strangest corners of the South, Hannah's characters have a way of popping up and making themselves archetypal. 

In the early 80s, Hannah moved out to Hollywood to write and bunk up with Robert Altman.  I've always wondered what kind of home those two American oddballs might have had together.  Back in Oxford, Mississippi, legends loom large of his adventures.  He could live a pretty wild life sometimes, drank a great deal and sobered up.   It's been said he pulled a gun on one of his writing students after the kid had played the smartass in front of his class.  I've also heard, in a time of crisis, he spray-painted everything in his kitchen silver, floor to ceiling, inside and out.  Everything in the cabinets and the items in the fridge silver too.  He shot up the floorboard of his yellow Chrysler convertible to drain the rainwater out and was once arrested for shooting flaming arrows at Rowan Oak, William Faulkner's estate.


In 1993, he published Bats out of Hell, his best collection of stories since Airships.  He almost died of pneumonia in 2000.  While laid up in hospital bed, he saw Jesus come to him.  His near-death experience inspired him to write what would be his last and arguably most experimental work, Yonder Stands Your Orphan (2006).

I'd like to present, from Airships, "Constant Pain in Tuscaloosa."  It is, so far as I know, unavailable online, and, just one of the best short stories around:



* Constant Pain in Tuscaloosa *

by Barry Hannah

I went by this Chrysler on my Honda the other day. It was a sort of cold green car, in front of the bank. This nigger was eating a banana, hanging his leg out the front seat on the curb. He didn't have socks. He was truly eating that banana. Eating it was giving him such pleasure, I rounded the block and came by again to see him finish it off. By that time he was throwing the peel in the gutter.
    I shut off the bike.
    “Hey, man! You can't foul up the streets like that!” I said.
    He looked at me awhile and then got out and picked up the peel.
    “Who's that car belong to?” I said.
    I'm a very slight guy and about that time something embarrassing happened. The motorbike fell over on me and I couldn't squirm out from under it before the muffler pipe had burned the dook out of my leg through my jeans. I pulled my leg out of the bike and jumped around on the walk. One of my old girl friends walked by and I was humiliated.
    “My sister,” said the nigger.
    “You just sitting out here eating a banana waiting for her?”
    “Correct.”
    “Oh ho. You been educated.”
    “Junior college.”
    I was still hopping around somewhat.
    “It hurt, don't it?” he said.
    “Somewhat.” My leg was about to go over the border into some kind of new state of pain.
    He had him another banana by then.
    “You wearing a nowhere helmet, baby,” he said.
    “What's wrong with my goddamn helmet?”
    “Look like some other person ought to be in it. That's some kind of airplane orange, ain't it?”
    “Lets 'em see you at night, brother.”
    “What you come here criticizing my bananas for?”
    “There was a way you were doing it, eating. Your eyes were big and your jaw humped out. You were really having fun. It's not the same with the one you have now. You're doing it more casual-like now, little bitty bites, more civilized.”
    “I never came in your house watch you eat,” he said. “Tomorrow I'm coming over your house watch you eat. I'm gone drive my sister's Chrysler into your house and hang out the window watch you eat. Where you live?”
    “Wait. No offense. I didn't mean anything by it,” I said.
    “Where you live?”
    “I don't have to tell you that.”
    “This Chrysler is my home. It's me and my sister's home. Where you live?”
    “Three oh four Earnest Lane.”
    If I hadn't been in such pain, I'd never have told him.
    “This car's the only home we got,” he said. “We be by your place tomorrow.”
    His sister came out of the bank. She had on stilt shoes and this African jewelry all over her. She got in the Chrysler. I heard her talking to him.
    “They turned us down for the loan,” she said.
    He never even looked my way when they backed out and drove off. I was trembly. My stomach was upset, and my leg had never quit hurting. Another thing. I'd been driving my bike around town thinking things over about reality and eternity and went by the Baptist church several times reading the marquee. It said: Pay Now, Fly Later. I'd decided I was going to quit fucking around and be a Christian.
    So right in front of the church there's Dr. Campbell, the minister of that church, a big guy with not much hair left and old acne marks and a look in his eye like he'd never thought about nooky one way or the other and had had his children by a holy accident. We all have our flaws. I walked over to him.
    “Say, Doctor Campbell, I'm surrendering my heart to Jesus.”
    He laid scrutiny on me. The few hairs he had left were oily and carefully set in a dramatic way.
    “Tell you what, my son.” He laid hand on my shoulder. He whispered. “I'm not the person to talk to. I hate your guts, after what you did to that poor disk jockey.”
    “He was a queer and it was an even fight,” I said. “He had a baseball bat and I had a TV antenna. On the roof there wasn't anything else.”
    “He's still lying out in Druid Hospital.”
    “I know where he is. I take beer to him under my coat. What about Jesus? I was surrendering my heart.”
    “I've got to this position, Ellsworth. I don't think Jesus wants you. He's too dead to want. He was a hell of a sweet genius guy, but he's dead. The only thing left is humanism. Are you humanistic?”
    “Right on.”
    “Precious are the hours we touch one another,” the son of a bitch said.

The Honda had hurt me so bad I was sort of timid about getting on it again, but it took me home. I sat in my house and listened to the two records I own on my Sears stereo. Three years ago my wife left this place. All the pictures she hung and the decorations she did are still around. Sometimes late at night on the phone she says she might come back. She says her condition is one of constant pain. She's been in constant pain in St. Louis, Fayetteville, Arkansas, and Mobile. A guy in Fayetteville called me one night at one o'clock. He said, “Who's this, is this the authentic Ellsworth?” Lots of people were in the room he was in and I could hear they thought my name was funny. “You know what I just did with your wife, Ellsworth?” said the guy. “What I did was get in an Ellsworth costume and have sex with her—har har har,” said the guy.
    “Why're you calling me?” I said. “I loathe her and don't give a spit for her career. She was something I screwed and nagged me into marriage. I'll tell you what I'll do for you, however. My name is Ellsworth and I don't know what yours is, but I don't like this laughter about my name. You and me, phone person. Just give me your name and I'll be in Fayetteville to take care of your number.”
    “Wonderful, wonderful,” said the guy. “We knew you'd be like that.”
    You could hear my wife among the tittering.
    Actually it tore the last shred out of my bosom. I don't love her, but she was mine, and I don't want anybody else to, either. She knows that, that's why she called. She wants me to join her in constant pain.

I sat three places on my table and swept up the house. I was sweeping the front steps when my leg, the one that was burned, went through the top step and I was up to my hip in my porch. I wish my landlord could've seen that. Maybe eighty-five per shouldn't get you a palace on the moon, but goddamn, it ought to get you something. It sprained the hell out of my crotch muscle, plus tore my boot.
    The rest of the day I just lay around and swore. I didn't even get a beer out of the fridge. After you've drunk a hundred fifty thousand Falstaffs, the taste goes on you.
    I made sure the house stayed clean. About midnight, I went out and looked over at Mrs. Earnest's flower tree. All her lights were out. I stole about fifteen blooms off her tree. Then I got this pussy-looking green dish my wife bought and put the flowers on the table. I bought some steaks in the morning. I didn't have a barbecue, so I got a hub cap and pulled the grill out of the oven to go over it.
    About three in the afternoon, they showed up in the Chrysler. I looked out and they were looking at the house, engine running. The spade had another banana he was chewing on. His sister was driving. I went out on the porch as if to check out the curb on my Honda.
    “Oh, hi!” I called. “Come in the house now you're here!”
    They came in the front room. His sister shook hands with me. She had blue fingernails, long ones, and that African jewelry all over and some new elevated nigger sandals and her toenails were blue too. When she walked, she rattled like a walking chandelier. The guy had on a plain shirt and just looked like an ordinary nigger. He went straight for the fridge.
    “You got any soda or yogurt around?” he said.
    “Hold on. This ain't a delicatessen,” I said.
    “It for straight sure ain't,” his sister said. “You got a hole in your porch. Hey, look at the flowers!” she said. She went over and picked up one of the flowers out of the water. “I get off on flowers,” she said.
    I was so pleased, I guess I blushed.
    She called her brother Rip or Reap, I couldn't quite make it out. He never called her name.
    “Man, look at the number of these beers! Are you some kind of beer salesman?”
    “I keep it for friends who drop by,” I said.
    “Ain't nobody drop by here,” he said. “You got some handsome steaks in there.” He made a motion for me to move aside so his sister could get a view of the fridge. “Look at them steaks,” he said.
    “I get off on big old steaks,” she said.
    “We're gonna get those on the grill in a couple of hours. Let me put on some music and you people sit down and relax.” I put the two records on. “I got some dope if you...”
    “You what? We don't use no dope! We don't like no rock-and-roll music, either,” he said.
    “I get off on Ralph Vaughan Williams,” said the sister. “You got any Ralph Vaughan Williams?”
    “Come out here, look at his barbecue,” the dude said to his sister. He was looking out the back door of the kitchen at my unit. “That a space-age model, ain't it?”
    After a while they said they were going out and sit in the Chrysler for the air-conditioning. I thought it was a ruse to leave for good. When they shut the door, I had to call back this yell that was coming out my throat. It was a yell that if it had come out would've been the weirdest sound I ever made.
    I knew I'd hear the motor start. They were out there fifteen minutes. I couldn't stand it. I went and got a beer in each fist and killed them in four minutes. I pushed the curtain to the side.
    The nigger was working on another banana and talking to his sister. She sat in the driver's seat looking like she was really grossed away by his eating etiquette. They got out and opened my door again.
    “Get cooled off?” I said.
    “We're out of gas,” said the nigger.
    “It's cooling down some now. We can get those steaks on in half a sec. The other side of that record isn't so much of a roar. I turned it down. It's got some nice soft licks in it.”
    “I'm a vegetarian,” said Rip or Reap.
    “He's lying through his face, Ellsworth,” said the girl. “This family man in Baltimore, he came out on the parking lot with two buckets of Kentucky Fried Chicken on his arms. He”—she pointed at the nigger—“cruised by and robbed them right off the man. He put his face in the bucket and eat that chicken out just like a hog.”
    “Beauty ain't gone keep you well forever,” said the nigger to her.
    “He had slaw on his nose,” she said.
    The nigger made a move at her.
    “Freeze, buster,” I said.
    “What you got can stop me?” He looked around.
    I ducked in the back room and got that UHF antenna I messed up Oliver Darling with. By that time he was half-nelsoning his sister.
    “Leave off, Rip, Reap!” I shouted.
    He sprung off her and came out with something yellow from his hip. It was a banana. He was a larger-looking nigger now and he raced over and beat the damn light out of me. When I woke up, he was still laying on my burned leg with what was left of the banana, these peel fibers. They stung in a vicious way.
    “Stop it, stop it!” his sister was saying. “You woke him up, for Jesus's sake!”
    I washed up and after we'd eaten the steaks, with light bread and ketchup, we were all lying around pretty sleepy. The girl drank half a beer. It'd drunk five or six for pain. The girl stood up and went to use the bathroom.
    “Say,” I said to the nigger while she was out. “I'm kind of in love with her. I know that's not the right thing to say now. It's just my feeling talking.”
    “You what?” He got wall-eyed like a joke nigger.
    “Got a crush on your sis. Don't come at me again. You don't need to get tough on me. Thought we could talk this out. You think I'd have a chance with your sister?”
    “Yeah. Cause you're white and she's terrible tired. You weren't too bad-looking till I blued you all up in the face.”
    She came back and sat down on the floor. Pretty soon she was fast away asleep.
    “I'll tell you,” he said softly, “you can't get away from people bothering you anymore. People coming by laughing at even what you eating. Don't move,” he whispered, and eased out of the room.

***

April 27, 2010

April 19, 2010

SLAVES - Devil's Pleasures (1999)

[l to r: Andrew (Douglas) Rothbard, keys; Dave Clifford, drums; Joshua Hughes, guitar]

San Francisco's Slaves were originally the band behind Sonny Kay's scary voice in VSS.  Slaves became better known as Pleasure Forever when they signed to Sub Pop-- a  high concept project devoted to Sadean debauchery and Reichian acquiescence to pleasures of the flesh.  But back when they were Slaves, it was exploited labor and the occult which informed their style.  Equal parts goth punk and trashcan glam, synth swells blend with sharp, atmospheric guitar for a clautrophobic feeling throughout.  Dave Clifford would usually end their shows standing up to beat the drums as hard as he could.  Devil's Pleasures [Troubleman Unlimited] is a compilation of their two EPs before the change of name and label.  Pleasure Forever's two albums are also worth seeking out.


March 31, 2010

CLIKATAT IKATOWI - August 29+30 1995

Recorded live at Chicago's Fireside Bowl, this is Clikatat Ikatowi's most essential album, and may be the single best document of the San Diego-Gravity Records axis that spawned such kin as Heroin and Antioch Arrow.  In fact, guitarist Scott Bartoloni left that Heroin to join Clikatat Ikatowi.  The group served as a house band of sorts for The Ché Café, along with Antioch Arrow.  The analog video aesthetic the 90s is forever trapped in has made underground punk of the time look today as grainy and outdated as Edison's vitaphone.  Gravity bands, which sounded like total noise to most people anyway, have emerged on YouTube (here, here, here) as pure white cacophony within the meager limitations of built-in camera mics..  Here the recording is surprisingly balanced, though Mario Rubalcaba's (Rocket from the Crypt, Hot Snakes, Earthless) insane drumming tends to find its way front and center.  The frontman, C. Goldsby, remains obscure and has not been in any other bands as far as I know.  Director John Hughes saw Clikatat play in Chicago and loved them.  He had intentions to release their next album on his own label, but, sadly, he dropped dead walking down the street just 15 years after he had the chance. 

To the working classes...


March 11, 2010

Norma Desmond?

"No one leaves a star. That's what makes one a star."

March 9, 2010

ROBERT MITCHUM - Calypso Is Like So (1957)


"Isn't that awful? You sing your heart out and nobody... nobody ever listens."

Robert Mitchum is most popularly remembered as the Hollywood anti-hero and laconic "soul of film noir," and it was a persona he cultivated offscreen as well.  As a teen during the Great Depression, he lived the vagrant life of a rail rider, landing him in a Georgia chain gang at age 14.  He tried his hand at a number of jobs, including metal worker, prizefighter, ditch-digger, coal miner, and as a ghostwriter for Carroll Righter, "Astrologer to the Stars."  He also dabbled in community theater groups and wrote original songs and nightclub routines for his sister to perform.  Upon the birth of his first son, he tried settling down and worked as a jackhammer operator, but the stress of it caused him to temporarily go blind.  Looking for work, he began taking jobs as a movie extra. 

He developed his career in movies as a soldier and B-Western toughie for RKO Pictures.  With the success of Out of the Past (1947), he became an immediate star, but he maintained his illicit lifestyle, often walking up the Strip with a joint tucked behind each ear, despite the increased scrutiny of the press. In September of 1948, Mitchum was arrested with actress Lila Leeds in a sting operation for marijuana possession.  When asked by the booking officer what his occupation was, Mitchum said "former actor."  He assumed his career was over with. Mitchum's defiant attitude at his sentencing (seen right) has been cited by Lester Bangs as an early progenitor of punk rock ethos.

Instead of being ruined, Mitchum was released from jail to box office success.  His conviction was eventually overturned due to probable criminality on the part of law enforcement.  Leeds' career never recovered, limited to the autobiographical reefer exploitation film She Shoulda Said No! (1949). Mitchum had long been loosy-goosy by the time he signed on to John Huston's Heaven Knows, Mr. Allison (1957).  Huston and Mitchum spent a lot of man-time together on location in Trindad & Tobago.  During the film's production, Mitchum fell in love with Calypso music.  An excellent mimic, he made every effort to absorb the Trinidadian cadence and dialect.  Harry Belafonte had just released his own Calypso (1957) album, and eager to capitalize on a possible craze, Capital asked Mitchum to record his favorite Calypso standards as well as some compositions of his own. 

The result is a novelty record infinitely more interesting than anything Belafonte ever recorded.  If Mitchum's faux-Trinidadian accent seems a curious counter-distinction to his more serious persona, his approach to the material is anything but kitsch.  The banjo in "I Learn A Merengue, Mama" and the production in "Mama Looka Boo Boo" are examples of unusual arrangements in what makes for a surprisingly solid album.

Calypso Is Like So (1957)


MORE MITCHUM

When he appeared on "What's My Line" in 1965, nobody seemed aware that he was even a singer.  "I had made a couple of records," Mitchum said.  An incredulous woman asks, "Singing records?"

 Mitchum later released a compilation of songs called That Man, Robert Mitchum Sings (1967).

February 24, 2010

ግልጽ ያልሆነ ጉድጓድ: Yeshimebet Dubale

 

There is a cornucopia of great Ethiopian pop on YouTube, which I'll be posting more of in the future.  I stumbled across Yeshimebet Dubale a while back and have been in love ever since.  She has the most incredible voice.  These videos are, unfortunately, all of I've been able to track down of her music.  Anyone out there who knows where her stuff can be found, I'd greatly appreciate you breaking me off some information. 





February 19, 2010

World of Mirth

February 18, 2010

VA - House of Broken Hearts Pt. 1 and Pt. 2 (Mississippi Records Cassette Series)

House of Broken Hearts Pt. 1 and Pt. 2 are the first two cassettes released by Mississippi Records' ongoing and ever-engaging Cassette Series.  The label has been the source of a variety of old America, international, and punk music pressed cheaply on vinyl with album sleeves often printed on the back of leftover sleeves from other albums.  Critics of the label point to dubious licensing practices, but bootleg labels are nothing new.  Their motto is "Always - Love Over Gold" and there's no question that their meticulously culled compilations and hand-made cassettes have turned on a lot of folks to music they may not have sought out themselves.

House of Broken Hearts is a collection of "Early R&B, Doo Wop, Rockabilly & Instrumentals" which has a collectively strange and wonderful quality.  I've separated the tapes into individual tracks.  Be sure to read the liner notes from Pt. 2 to learn interesting tidbits like Charlie Feathers was an illiterate and Bo Diddley was top of his Black Studies college class.  

"Themes explored include-- The wind as a symbol of longing & loss, death, & moving on to a better day in the bye & bye."

HOUSE OF BROKEN HEARTS PT 1 (MRC-001)




(Check in the Comments Section for legibly printed tracklists)

February 5, 2010

Possible Worlds: The Codex Seraphinianus



The Codex Seraphinianus is kind of like a textbook for a universe parallel to our own. Luigi Serafini, an Italian designer and architect, finished writing and illustrating the book in 1978. Strange diagrams and pictures accompany florid and incomprehensible text, which defied linguists and cryptographers for decades.

The book's overall feel is like that of a child reading books intended for adults.  It seems clear that the pictures and words have a consistency in meaning, but what that meaning might be is still lost on the reader.  The book was extremely rare for some time, costing anywhere between $200 and $400.  Library copies were very often stolen.  In 2006, a relatively affordable copy was produced and the Codex Seraphinianus was widely examined for the first time.


What seems clear is that Serafini was deeply influenced by the Voynich Manuscript.  The Voynich Manuscript is believed to have been written some time in the 1400s or 1500s and it too was written in a mysterious language and accompanied by strange diagrams and pictures.  It too seems to be an encyclopedia for an unknown world.  The most skillful cryptographers and statistical analysts in the world--from mathematicians to the CIA codecrackers--have worked to determine the manuscript's cipher with no success.  The smooth ductus of the writer's pen and the indentation of letters suggest the writer knew what he was writing.  Closer analysis reveals patterns in the words like that of a natural language.  It is theorized that the great court mystic, Roger Bacon, is somehow behind the Voynich Manuscript.  Though we don't know if he was the actual writer, he almost certainly had the manuscript in his possession for much of his adult life. 


Serafini's language, on the other had, appears to share certain traits with automatic writing.  Though the system seems undoubtedly complex, its lack of a coherent cipher, in this case, suggests that the letters were chosen at random.  Divided into eleven chapters, the Codex Seraphinianus illuminates subjects ranging from the biology of wonderous creatures to bizarre social practices and complex machines used by a variety of different humanoid races.


Serafini never put a great deal of effort into hiding his authorship of the Codex Seraphinianus. The surreal and often humorous depictions of natural and social dynamics seem intended to poke fun at absurd aspects of human social convention. Its bizarre illustrations have such a strange resonance with our own world. It reminds me of what fellow Surrealist Luis Buñuel once said when asked why he chose to make films: "To show we do not live in the best of all possible worlds."


Look at the entire Codex Seraphinianus online here.

Or download the book in PDF format here.


OTHER THINGS

Serafini wrote another book called the Pulcinellopedia Piccola in 1983. I have never successfully found a copy of this book, but from the pictures I've seen, it doesn't seem nearly as interesting as the Codex Seraphinianus. Kind of looks like a crudely drawn black & white Mardi Gras comic book.

• More information on the Voynich Manuscript here.


• Look at the entire Voynich Manuscript here.




VA - Eastern Standard Time (2009)

One of the guys from Notwist compiled this collection of 60s and 70s Eastern-styled instrumentals from the likes of Egypt, Pakistan, India, Turkey, Japan, and Lebanon.  Highlights include "Dance of the Rice-Tresher" and the surfy "Aa Jane Jaan."  The most recognizable name here would be Egypt's Omar Khorshid, who's Magic Guitar has already opened a lot of Western minds.  Like the Waking up Scheherazade compilation from a few years ago, these songs seem to have been made with Western ears in mind.  Most songs are in the novelty or exotica vein, but they're all deep cuts with a real psych vibe throughout.  As one would expect from the Notwist affiliation, this compilation has some pretty unbelievable breaks. And for anyone who's heard the Sound of Wonder! compilation of Pakistani "Lollywood" songs, you might notice Shabaz Qualander's "Fore Thoughts" has the same melody as the opening title track.  I've found similarly lifted melodies in a lot of Eastern music. Traditional melodies from the Middle East get swapped with Southeast Asian ones, and everyone steals Western pop hooks.  But the songs never sound the same, even when it's a cover.  Many times the melody gets warped at the service of the new song.  It can be a weird and jarring experience.  Like a dialogue between worlds.

TRACKLIST:
A1 - Layale Bourg El Hamam - Azef El Leyl
A2 - Mohamed Abdel Wahab - Sahara City
A3 - Baligh Hamdy - Gada
A4 - The Sheiks Men - The Belly Dancer
A5 - The Leon-Symphoniette - Dance Of The Rice-Tresher
A6 - Fore Thoughts - Shabaz Qualander
A7 - Terauchi Takeshi + His Blue Jeans - Edo Komoriuta
A8 - Sohail Rana - Saat Maatray
B1 - Faiza Ahmed - Nootet Al Daaf
B2 - Baligh Hamdi - Raks El Asie
B3 - Omar Khorshid - Guitar El Chark
B4 - Little Egypt - Snake Charmer's Delight
B5 - Les Mogol - Madimak
B6 - Naushad - Dream Ride
B7 - S. Hazarasingh - Aa Jane Jaan
B8 - Charanjit Singh - Jaaneman Jaaneman

link removed by bequest

Solitairy Confinement