A little holiday sentimentality from Paisley Pop Alt-Country Superstars The Long Ryders.
Happy New Year to All!
Tuesday, December 31, 2013
Monday, December 30, 2013
Western Industrial Dance and Trance---Red Lorry Yellow Lorry--Paint Your Wagon!
I bought Red Lorry Yellow Lorry's 2nd album without knowing a thing about them. They are from Leeds, England. I got it in Champaign-Urbana, Illinois at the Record Stop. The combination of the fiery Wagon Wheel cover art (and the always helpful spot-on handwritten descriptions on the albums penned on little quarter sized stickies on the plastic slipcovers) were what sold me. Turned out to be a good decision. Back in the 80's, I know I listened to this a lot.
I'm not sure what the album is about--singer Chris Reed plays the role of a deep voiced disco religious revivalist here. He certainly does a lot of chanting short mantras on this album. Between the album art and the song titles, thematically the music is about the American West. But overall it sounds like proto-industrial dance music to me, and without the aforementioned cues, I probably would not view this as a Western Album.
The disc I am listening to is an old Cherry Red reissue which also contains their 1st album, Talk About the Weather. Talk about the Weather is a perfectly good album, and Reed is noticeably singing in the style of Ian Curtis. But there are other elements at work, in the music, like early Killing Joke and Gang of Four. Maybe Jesus & Mary Chain. This particular release is a very nice twofer.
Chris Reed: Vocals and Guitar
David Wolfenden: Guitar
Leon Phillips: Bass
Chris Oldroyd: Drums
Having the two albums on the same disc allows the listener an opportunity to really contrast how the music changed in a short period of time. They are sounding much more original. Right out of the gate, on Walking on Your Hands you hear the assertive drumming right up front in the mix. The droning shrapnelly guitar riffs sync up nicely with the beats, with the malevolent vocals laying over the top. They are sonically impressive on this record, noisy yet somehow pop accessible. Certainly this is functional music, like an noisy engine built for use the dance floor. And while the band is in a groove throughout the recording, the songs don't all sound the same.
The Lorries wound up recording 5 albums in total before splitting up. Though it does seem like they have gotten back together and performed as recently as this year.
When I listen to the great sound that they achieved on Paint Your Wagon, I have to conclude that they were an innovative bunch. Don't go looking for profundity in the lyrics--it wasn't really the point here. There simply were not a lot of lyrics, and they were repeated and repeated in order to create a mesmerizing affect. Overall a pretty successful effort by a talented band well worth investigating.
I'm not sure what the album is about--singer Chris Reed plays the role of a deep voiced disco religious revivalist here. He certainly does a lot of chanting short mantras on this album. Between the album art and the song titles, thematically the music is about the American West. But overall it sounds like proto-industrial dance music to me, and without the aforementioned cues, I probably would not view this as a Western Album.
The disc I am listening to is an old Cherry Red reissue which also contains their 1st album, Talk About the Weather. Talk about the Weather is a perfectly good album, and Reed is noticeably singing in the style of Ian Curtis. But there are other elements at work, in the music, like early Killing Joke and Gang of Four. Maybe Jesus & Mary Chain. This particular release is a very nice twofer.
Chris Reed: Vocals and Guitar
David Wolfenden: Guitar
Leon Phillips: Bass
Chris Oldroyd: Drums
Having the two albums on the same disc allows the listener an opportunity to really contrast how the music changed in a short period of time. They are sounding much more original. Right out of the gate, on Walking on Your Hands you hear the assertive drumming right up front in the mix. The droning shrapnelly guitar riffs sync up nicely with the beats, with the malevolent vocals laying over the top. They are sonically impressive on this record, noisy yet somehow pop accessible. Certainly this is functional music, like an noisy engine built for use the dance floor. And while the band is in a groove throughout the recording, the songs don't all sound the same.
The Lorries wound up recording 5 albums in total before splitting up. Though it does seem like they have gotten back together and performed as recently as this year.
When I listen to the great sound that they achieved on Paint Your Wagon, I have to conclude that they were an innovative bunch. Don't go looking for profundity in the lyrics--it wasn't really the point here. There simply were not a lot of lyrics, and they were repeated and repeated in order to create a mesmerizing affect. Overall a pretty successful effort by a talented band well worth investigating.
Sunday, December 29, 2013
Stars Fell on the Magic City......Birmingham's Primitons Anthologized At Last
Been listening to a pretty fine little reissue from Arena Rock Records, Don't Go Away: Collected Works by Primitons, a very good 80's melodic rock band from Birmingham, Alabama. The record collects their entire recorded output, through several lineup changes. I don't recall hearing about them when they were originally putting out records, but I wish I had. The band name is a mash-up of "Primitive Tones".
R.E.M. comparison are inevitable with the Primiton's music, but not entirely accurate. If you love the music of R.E.M., I don't think this album would be a tough sell. But in some ways they are poppier, and other points they rock out a bit more. They actually remind me a bit of the Country Punk of Jason and the Scorchers at times. They rock out fairly righteously when not jangling. They must have been a very great act to see in a club.
At times they are kind of Psychedelic garage sounding like the raga-like guitar coda on Gabrielle. And three passes through this album I'm listening to Seeing is Believing, and I keep thinking that they were influenced by 60's groups like The Monkees. And I mean that in the most complimentary way. The Monkees got to me through the television at an impressionable age and have left an indelible impact on my pop sensibilities. And whether or not they wrote a lot of their more memorable songs, I don't care all that much. They left the musical world a great body of work. And probably any kid with access to a TV watched them.
The tendency for some people is to disparage their music, but if you don't believe me, read Robert Forster's excellent essay on The Monkees from his 10 Rules of Rock N' Roll. The former Go-Between is nearly as excellent as a music essayist as he is at penning song lyrics. While you're at it, I recommend you read all the essays in his book!
Primitons definitely have a southern charm to them, without falling into cliches. It's like having a sensibility and world view from being born and raised in a place, but not necessarily fitting into longstanding traditions. Like on the song You'll Never Know, Mats Roden sings about his "hair being on fire". In the album liner notes, he said that the song was about his closeted sexuality, sort of like, C'mon do I really need to say it?
Mats Roden:Vocals, Guitar, Keys
Brad Dorset: Vocals, Guitar, Keys
Leif Bondarenko: Drums, Accordian
Don Tinsley: Bass, Vocals
Stephanie Truelove Wright: Lyrics
Don't Go Away is chock full of highpoints, like the melodic jangle of Stars Falling on Alabama, which was one of their most popular songs. Or Something on My Mind, which sounds like a long lost Hollies song. Or a beautiful ballad with subtle harmonizing like Happy All the Time. Don't Go Away, the title track is a pop monster. Randomly put a track on and it will probably be terrific.
For all the 20, 25, 30, 40 year deluxe anniversary reissues of well-know albums that keep coming out, it's more gratifying for me when a compilation like this comes out after all these years. Seemingly out of left field. Primitons were a really great band that have finally gotten their body of work released. Fans of Athens Georgia's finest, The dB's, Big Star, Velvet Crush, Lets Active, Jason Ringenberg & Co., will be delighted with this recording! Please support labels that put out releases like this, because people who produce reissues of this caliber definitely need to be incentivized.
 |
| Don't forget the Magic City.... |
R.E.M. comparison are inevitable with the Primiton's music, but not entirely accurate. If you love the music of R.E.M., I don't think this album would be a tough sell. But in some ways they are poppier, and other points they rock out a bit more. They actually remind me a bit of the Country Punk of Jason and the Scorchers at times. They rock out fairly righteously when not jangling. They must have been a very great act to see in a club.
At times they are kind of Psychedelic garage sounding like the raga-like guitar coda on Gabrielle. And three passes through this album I'm listening to Seeing is Believing, and I keep thinking that they were influenced by 60's groups like The Monkees. And I mean that in the most complimentary way. The Monkees got to me through the television at an impressionable age and have left an indelible impact on my pop sensibilities. And whether or not they wrote a lot of their more memorable songs, I don't care all that much. They left the musical world a great body of work. And probably any kid with access to a TV watched them.
The tendency for some people is to disparage their music, but if you don't believe me, read Robert Forster's excellent essay on The Monkees from his 10 Rules of Rock N' Roll. The former Go-Between is nearly as excellent as a music essayist as he is at penning song lyrics. While you're at it, I recommend you read all the essays in his book!
Primitons definitely have a southern charm to them, without falling into cliches. It's like having a sensibility and world view from being born and raised in a place, but not necessarily fitting into longstanding traditions. Like on the song You'll Never Know, Mats Roden sings about his "hair being on fire". In the album liner notes, he said that the song was about his closeted sexuality, sort of like, C'mon do I really need to say it?
Mats Roden:Vocals, Guitar, Keys
Brad Dorset: Vocals, Guitar, Keys
Leif Bondarenko: Drums, Accordian
Don Tinsley: Bass, Vocals
Stephanie Truelove Wright: Lyrics
Don't Go Away is chock full of highpoints, like the melodic jangle of Stars Falling on Alabama, which was one of their most popular songs. Or Something on My Mind, which sounds like a long lost Hollies song. Or a beautiful ballad with subtle harmonizing like Happy All the Time. Don't Go Away, the title track is a pop monster. Randomly put a track on and it will probably be terrific.
For all the 20, 25, 30, 40 year deluxe anniversary reissues of well-know albums that keep coming out, it's more gratifying for me when a compilation like this comes out after all these years. Seemingly out of left field. Primitons were a really great band that have finally gotten their body of work released. Fans of Athens Georgia's finest, The dB's, Big Star, Velvet Crush, Lets Active, Jason Ringenberg & Co., will be delighted with this recording! Please support labels that put out releases like this, because people who produce reissues of this caliber definitely need to be incentivized.
Thursday, December 26, 2013
Disavow your Vow Smash Your Sacred Cow---Art Bergmann-What Fresh Hell is This---It's Boxing Day in Canada!
I wanted to do a Canadian Post for Boxing Day, originally I was going to do a long overdue post on the Dishrags. But you know what? I realized that I've amassed 6 Art Bergmann albums without having a post on him yet. Well, I haven't listened to them all either.
So I've changed my mind. Sorry Dishrags--but your time will come. Jade Blade has got to be one of the best punk names ever.......
So I'm listening to a pretty great but extremely dark album from Art Bergmann, one of the most original and talented Canadian musicians you could listen to. The album is What Fresh Hell is This?, and it won the 1996 Juno Award for Best Canadian Alternative Album. But how many people have heard this one South of their border?
Bergmann is probably best known for leading the K-Tels and Young Canadians from the early Punk days of Vancouver. You can see him in the documentary Bloodied Not Unbowed, one of the best made scene documentaries around. The Young Canadians/K-Tels compilation on Sudden Death Records is mandatory punk listening. Back in those early days he was probably the musician that people thought would break out. Well, sadly that did not come to pass. But let's get back to Hell.
But its pretty amazing that an album with such self-confessional desperate jaded gritty vitriolic poetry could get such mainstream acclaim. I couldn't really imagine an album like this winning a Grammy. Musically the album is a fairly melodic rock album (he's a pretty great guitarist), but the listening to the subject matter sort of like pulling off a scab to reveal a whole other world that I'm fortunate not to have lived. Harrowing songs, right on the edge of things, kind of like Lou Reed. But its Art Bergmann and he is in his own Hell, not anyone else's. This music is just too personal, edgy, like Curt Cobain's---this is not about simply being an entertainer, it's breaking down the boundaries between generalities and the personal. I feel like I know too much now, like a voyeur.
Just from the outset, with the song Beatles in Hollywood, he sings about the contrast between idealism, innocence and the music business and its corruptibility, but it seems to be equally about fighting demons. But whatever it means, it is a seriously miserable place to be in.
The songs on Fresh Hell have titles like Demolished, Buried Alive, Some Fresh Hell, Dive. It gives you some idea of the subject matter. The song Contract is probably one of the more vicious songs about the music industry you could hear. "I dig my own grave for you, be a slave for you", he sings.
Guns and Heroin is an epic sounding ballad on the album, replete with cello by Anne Bourne.
What a powerful song this is!
Art Bergmann is an artist well worth getting acquainted with, and What Fresh Hell is This? is probably a good place to start. But most of his albums are available at reasonable prices, with the exception of Vultura Freeway. The Lost Art Bergmann came out in 2009, but that seems pretty impossible to get today.
He's been playing shows again recently, the reviews so far seem to be mixed, but hopefully better times are coming for him. One listen to What Fresh Hell is This? and you'll wonder why you didn't hear about this album 10 years ago!
So I've changed my mind. Sorry Dishrags--but your time will come. Jade Blade has got to be one of the best punk names ever.......
So I'm listening to a pretty great but extremely dark album from Art Bergmann, one of the most original and talented Canadian musicians you could listen to. The album is What Fresh Hell is This?, and it won the 1996 Juno Award for Best Canadian Alternative Album. But how many people have heard this one South of their border?
 |
| Create a Monster and Eat it Too...... |
Bergmann is probably best known for leading the K-Tels and Young Canadians from the early Punk days of Vancouver. You can see him in the documentary Bloodied Not Unbowed, one of the best made scene documentaries around. The Young Canadians/K-Tels compilation on Sudden Death Records is mandatory punk listening. Back in those early days he was probably the musician that people thought would break out. Well, sadly that did not come to pass. But let's get back to Hell.
But its pretty amazing that an album with such self-confessional desperate jaded gritty vitriolic poetry could get such mainstream acclaim. I couldn't really imagine an album like this winning a Grammy. Musically the album is a fairly melodic rock album (he's a pretty great guitarist), but the listening to the subject matter sort of like pulling off a scab to reveal a whole other world that I'm fortunate not to have lived. Harrowing songs, right on the edge of things, kind of like Lou Reed. But its Art Bergmann and he is in his own Hell, not anyone else's. This music is just too personal, edgy, like Curt Cobain's---this is not about simply being an entertainer, it's breaking down the boundaries between generalities and the personal. I feel like I know too much now, like a voyeur.
Just from the outset, with the song Beatles in Hollywood, he sings about the contrast between idealism, innocence and the music business and its corruptibility, but it seems to be equally about fighting demons. But whatever it means, it is a seriously miserable place to be in.
The songs on Fresh Hell have titles like Demolished, Buried Alive, Some Fresh Hell, Dive. It gives you some idea of the subject matter. The song Contract is probably one of the more vicious songs about the music industry you could hear. "I dig my own grave for you, be a slave for you", he sings.
Guns and Heroin is an epic sounding ballad on the album, replete with cello by Anne Bourne.
What a powerful song this is!
Art Bergmann is an artist well worth getting acquainted with, and What Fresh Hell is This? is probably a good place to start. But most of his albums are available at reasonable prices, with the exception of Vultura Freeway. The Lost Art Bergmann came out in 2009, but that seems pretty impossible to get today.
He's been playing shows again recently, the reviews so far seem to be mixed, but hopefully better times are coming for him. One listen to What Fresh Hell is This? and you'll wonder why you didn't hear about this album 10 years ago!
Pernice Brothers Honor an American Legend......
 |
| Ad Pondus Omnium |
 |
| Headquarters |
It's obvious to me why The Pernices wrote the following song. Clearly it has to be dedicated to the one and only, regarded by many as Boston's truest son, like an illicit love child of Larry Bird and Sam Adams. The culmination of generations of Classical Jesuit scholarship. Had it not been for "Mimegate", he might very well have wound up elected Mayor of Boston.
So, here's to you, Sir, a special tribute by one of Massachusett's best bands.
As the wise man once said "Entita Ipsa Involvit Aptitudinam ad Extorquendum
Certum Assensum". Words to live by.
Tuesday, December 24, 2013
New Mendicants---Teaching Us the True Meaning of Christmas!
Christmas magic from the new singing/songwriting super duo, The New Mendicants. This is my pick so far of this years Christmas songs.
Comprised of Toronto immigrants (and neighbors) Joe Pernice (Pernice Brothers) and Norman Blake (Teenage Fanclub)!
The first album is due out early next year.
Here's their exceptional performance of a Go-Betweens classic.
Wishing everybody a safe and happy Christmas!
Comprised of Toronto immigrants (and neighbors) Joe Pernice (Pernice Brothers) and Norman Blake (Teenage Fanclub)!
The first album is due out early next year.
Here's their exceptional performance of a Go-Betweens classic.
Wishing everybody a safe and happy Christmas!
Monday, December 23, 2013
Not the Band who Must not be Named....Blind Idiot God---Remarkable Improvisational Dub Shredding from St Louis
Blind Idiot God was a thrashy improvisational rock trio from the 1980's, originally from St Louis, Mo. What a great Lovecraftian band name they had, and one beautifully freaky Lovecraftian album cover! Up there with Pink Floyd's Piper at the Gates of Dawn. These outward elements aligned perfectly with sort of music they played. A lot of musical worlds collided head on with this music---thrash, free jazz, hard rock, punk, dub. No vocals. This is a pretty unique sounding recording to me, the musicianship is superb; just beneath the amazing powerhouse guitar shredwork is a completely rock solid kick ass rhythm section.
Either I had forgot or never knew this, but this eponymous album (their first) from 1987 was released on SST records. The notion that SST was a pretty super label at one time has inadvertently become a forgotten factoid in my memory. But they were just that at one time. In addition to some of the great American bands of the 80, acts like Meat Puppets, Minutemen, Dinosaur Jr., Husker Du, Sonic Youth, and of course Black Flag, they were also releasing great music by other bands that are less well known, like B.I.G., or The Last. At one time there was a bit of cachet to be on the SST roster in the way Subpop label became actually bigger than the bands.
The Band:
Andy Hawkins: Guitar
Gabriel Katz: Bass
Ted Epstein: Drums
Album art and layout: Miles Rutlin
In the post-Punk landscape of the time, these guys were pretty sui generis. They definitely can't be described as "trendy". What's nice to me is that the songs are not aimless 19 minute of noodling around--the longest songs are 5 minutes flat. And the bounty of musical ideas are executed in fresh interesting ways. The album definitely is not prototypical album of the era, probably inspired as much by the music of Sonny Sharrock, Chrome and King Tubby, as Bad Brains hardcore, The Ruts or Killing Joke. The albums rips along at a blistering pace--its almost like they share a common idea with what John Zorn was trying to do on Naked City, except he was crossing over from a jazz perspective. And Naked City came out a few years after Blind Idiot God!
For a band with a name like Blind Idiot God they certainly had a great deal of vision. Their album is a truly artistic statement, particularly as this is their first recording. I don't know how many people know about this album, but I am sure a fair share of musicians covering a variety of genres are familiar with them.
As much as I like a good pop hook, it's always great to hear a band that has carved out its own space with musical chops and ingenuity. I bought this album originally at about the time it was released, and it still sounds just as vital today. And frankly, I probably would have bought it blindly just for the cool name and amazing album art. Blind Idiot God also put out 2 other albums, Undertow & Cyclotron before they called it quits in the early 90's.
Give these guys a listen if you dare.....
 |
| The other notorious B.I.G. |
Either I had forgot or never knew this, but this eponymous album (their first) from 1987 was released on SST records. The notion that SST was a pretty super label at one time has inadvertently become a forgotten factoid in my memory. But they were just that at one time. In addition to some of the great American bands of the 80, acts like Meat Puppets, Minutemen, Dinosaur Jr., Husker Du, Sonic Youth, and of course Black Flag, they were also releasing great music by other bands that are less well known, like B.I.G., or The Last. At one time there was a bit of cachet to be on the SST roster in the way Subpop label became actually bigger than the bands.
The Band:
Andy Hawkins: Guitar
Gabriel Katz: Bass
Ted Epstein: Drums
Album art and layout: Miles Rutlin
In the post-Punk landscape of the time, these guys were pretty sui generis. They definitely can't be described as "trendy". What's nice to me is that the songs are not aimless 19 minute of noodling around--the longest songs are 5 minutes flat. And the bounty of musical ideas are executed in fresh interesting ways. The album definitely is not prototypical album of the era, probably inspired as much by the music of Sonny Sharrock, Chrome and King Tubby, as Bad Brains hardcore, The Ruts or Killing Joke. The albums rips along at a blistering pace--its almost like they share a common idea with what John Zorn was trying to do on Naked City, except he was crossing over from a jazz perspective. And Naked City came out a few years after Blind Idiot God!
For a band with a name like Blind Idiot God they certainly had a great deal of vision. Their album is a truly artistic statement, particularly as this is their first recording. I don't know how many people know about this album, but I am sure a fair share of musicians covering a variety of genres are familiar with them.
As much as I like a good pop hook, it's always great to hear a band that has carved out its own space with musical chops and ingenuity. I bought this album originally at about the time it was released, and it still sounds just as vital today. And frankly, I probably would have bought it blindly just for the cool name and amazing album art. Blind Idiot God also put out 2 other albums, Undertow & Cyclotron before they called it quits in the early 90's.
Give these guys a listen if you dare.....
Sunday, December 22, 2013
I Make a New World in the Smog!------Marcos Valle----Garra!
I guess the Light in the Attic label has done it again. Another nice reissue series, this one being of Marcos Valle, a legendary Brazilian artist from Rio de Janeiro. Of the 4 albums from the 70's that the label has reissued I dipped my toes into the water with Garra (meaning "Claw") from 1971, and it is truly great, from start to finish. Some people have said that this is the greatest Brazilian pop album ever made. I'm not qualified to make such an overarching argument (and it is all a bit of conjecture), but having listened to the recording, I can't discount that opinion either. I'm fairly surprised that this album has not been released here sooner.
Outwardly the album is a fairly mellow sunny upbeat orchestrated pop album. But, like a lot of the music at the time, there were hidden messages. Being too obvious on albums could have bad consequences for you with the military dictatorship that was ruling Brazil at the time. And you did not have the freedom to say anything you wanted, as songs had to be approved in advance by the censorship bureau. Though, as stated in the useful liner notes, there apparently was some give and take there. Submitting unacceptable lyrics to the bureau was not necessarily a prison sentence if they found content that they did not approve of. As Valle notes of the first song on the album Jesus Mei Rei (Jesus My King), the original intent was to title it Pobre do Rei (My Poor King) to be about the President. But the censors would not accept this. Of course some lyrics passed muster but actually were criticisms of the regime. Garra also has a second meaning "Tenacity", so the title of the album itself had a political implication!
Fortunately for Valle the freedom that he lacked in society was contrasted by the freedom he had in the studio. Valle was free to try things, experiment, make changes to the songs he was recording. And additionally he had the benefit of an orchestra. According to Valle that's what the recording labels had in those years; a studio orchestra on standby! Valle seemingly took full advantage of this on Garra. The album sounds loose, like everybody involved was into trying things, experimenting, expressing ideas.
Com Mais de 30 (Over Thirty) is social criticism of blind consumerism, about being manipulated by people in charge, people who were no doubt over 30. The title track attacks untrammelled greed for advancement. According to Valle, the censors interpreted the song as having a positive theme. Black is Beautiful is a song that today doesn't seem so controversial, but according to the notes it was inspired by time he and his brother spent in Los Angeles, when African Americans were fighting for Civil Rights, and were outwardly and proudly embracing their heritage in the face of centuries of the ugliest negative stereotyping and institutionalized racism. It seems like many of the important issues that Americans were struggling with in that era also resonated in Brazil.
But the mood of the music is very uplifting, happy. Extremely entertaining. Just another instance where I bought an album that I hoped would be good, but in reality, the quality of the music far exceeded any expectations that I could have had. I like when that happens. Garra is simply an exceptional album. Light in the Attic has also reissued Marcos Valle, Vento Sul, and Previsão Do Tempo--I won't be surprised if I pick up a few more of these in the near future.
 |
| Que bom, você voltou.... |
Outwardly the album is a fairly mellow sunny upbeat orchestrated pop album. But, like a lot of the music at the time, there were hidden messages. Being too obvious on albums could have bad consequences for you with the military dictatorship that was ruling Brazil at the time. And you did not have the freedom to say anything you wanted, as songs had to be approved in advance by the censorship bureau. Though, as stated in the useful liner notes, there apparently was some give and take there. Submitting unacceptable lyrics to the bureau was not necessarily a prison sentence if they found content that they did not approve of. As Valle notes of the first song on the album Jesus Mei Rei (Jesus My King), the original intent was to title it Pobre do Rei (My Poor King) to be about the President. But the censors would not accept this. Of course some lyrics passed muster but actually were criticisms of the regime. Garra also has a second meaning "Tenacity", so the title of the album itself had a political implication!
Fortunately for Valle the freedom that he lacked in society was contrasted by the freedom he had in the studio. Valle was free to try things, experiment, make changes to the songs he was recording. And additionally he had the benefit of an orchestra. According to Valle that's what the recording labels had in those years; a studio orchestra on standby! Valle seemingly took full advantage of this on Garra. The album sounds loose, like everybody involved was into trying things, experimenting, expressing ideas.
Com Mais de 30 (Over Thirty) is social criticism of blind consumerism, about being manipulated by people in charge, people who were no doubt over 30. The title track attacks untrammelled greed for advancement. According to Valle, the censors interpreted the song as having a positive theme. Black is Beautiful is a song that today doesn't seem so controversial, but according to the notes it was inspired by time he and his brother spent in Los Angeles, when African Americans were fighting for Civil Rights, and were outwardly and proudly embracing their heritage in the face of centuries of the ugliest negative stereotyping and institutionalized racism. It seems like many of the important issues that Americans were struggling with in that era also resonated in Brazil.
But the mood of the music is very uplifting, happy. Extremely entertaining. Just another instance where I bought an album that I hoped would be good, but in reality, the quality of the music far exceeded any expectations that I could have had. I like when that happens. Garra is simply an exceptional album. Light in the Attic has also reissued Marcos Valle, Vento Sul, and Previsão Do Tempo--I won't be surprised if I pick up a few more of these in the near future.
Saturday, December 21, 2013
Iceland's Latest Musical Sensation? Ásgeir Trausti----Dýrð Í Dauðaþögn
Iceland.
The little country that could.
First there was Bjork and the Sugarcubes. Then there were bands like Múm, Unun, Kolrassa Krókríðandi, and eventually we learned of bands like Minus, Maus, Singapore Sling. Sigur Ros was the big breakthrough. And there are new bands coming out like Monsters and Men and Hjaltalín, just to name a few!
But maybe the next ice storm is on the immediate horizon. I'm talking about Ásgeir Trausti, a 21 year old who is the hottest star right now in the Icelandic music scene. I don't know if sales mean anything at all, but his 1st album Dýrð Í Dauðaþögn, which according to google translate means the cheerful "Glory in the Silence of Death", is the best selling album in the history of Iceland.
No, it's not Death Metal. Not by a long shot. Not Sadcore per se. Not a Joy Division tribute.
My best characterization of the music would be "folk pop". Most of the songs on this record sound like they are spare songs, constructed with acoustic guitar finger picking and voice, then embellished in the manner of Nick Drake's orchestrated albums from the 1970's, with strings, rhythms, horn added on to the core of the song. But the music is also updated to include more modern touches, reflecting modern recording changes and new technology. There are also a few songs on the album that have a more soulful RnB quality to them. I find that there is an intimacy and introspective quality to the music that reminds me of Elliott Smith's work. But having said this, Ásgeir is a singular talent. He has a pretty amazing voice, with a big range. If their was such a thing (and there probably is) as the equivalent of Iceland Idol, I would like his chances if he was an unknown amateur competing.
But keep your ears peeled. Come Febuary there will be a lot morebuzz and hype about Ásgeir Trausti. An English language variant of Dýrð Í Dauðaþögn, entitled In the Silence will be released---then the quest for worldwide domination begins in earnest! I have not heard the reworked music yet but if the quality is maintained from the original work, I think he will impress a lot of people.
And this is just his first album. Not bad for a 21 year old!
The little country that could.
First there was Bjork and the Sugarcubes. Then there were bands like Múm, Unun, Kolrassa Krókríðandi, and eventually we learned of bands like Minus, Maus, Singapore Sling. Sigur Ros was the big breakthrough. And there are new bands coming out like Monsters and Men and Hjaltalín, just to name a few!
But maybe the next ice storm is on the immediate horizon. I'm talking about Ásgeir Trausti, a 21 year old who is the hottest star right now in the Icelandic music scene. I don't know if sales mean anything at all, but his 1st album Dýrð Í Dauðaþögn, which according to google translate means the cheerful "Glory in the Silence of Death", is the best selling album in the history of Iceland.
No, it's not Death Metal. Not by a long shot. Not Sadcore per se. Not a Joy Division tribute.
My best characterization of the music would be "folk pop". Most of the songs on this record sound like they are spare songs, constructed with acoustic guitar finger picking and voice, then embellished in the manner of Nick Drake's orchestrated albums from the 1970's, with strings, rhythms, horn added on to the core of the song. But the music is also updated to include more modern touches, reflecting modern recording changes and new technology. There are also a few songs on the album that have a more soulful RnB quality to them. I find that there is an intimacy and introspective quality to the music that reminds me of Elliott Smith's work. But having said this, Ásgeir is a singular talent. He has a pretty amazing voice, with a big range. If their was such a thing (and there probably is) as the equivalent of Iceland Idol, I would like his chances if he was an unknown amateur competing.
But keep your ears peeled. Come Febuary there will be a lot morebuzz and hype about Ásgeir Trausti. An English language variant of Dýrð Í Dauðaþögn, entitled In the Silence will be released---then the quest for worldwide domination begins in earnest! I have not heard the reworked music yet but if the quality is maintained from the original work, I think he will impress a lot of people.
And this is just his first album. Not bad for a 21 year old!
Friday, December 20, 2013
In Sweden Where the Shadows Lie....Bo Hansson's The Lord of the Rings/Sagan om Ringen
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| Frodo and the Nine Finger Discount... |
I first became aware of Middle Earth when I was in Middle School, I think. I had to read The Hobbit for English class. As a young dork, I was quite taken with Tolkien's book, opening up a whole new realm of imagination to me. Shortly thereafter, I tore through the three books comprising the Lord of the Rings, being careful to ignore the many pages of Elvish poetry. I've been a fan of these books ever since, though it has been a few years since I've re-read them. There are so many other great books to keep me busy. I was very gratified that movie/computer technology has advanced to where making Lord of the Rings/The Hobbit became feasible. But not so gratified as to appear at a movie theaters dressed up in a funny outfit.
Since the beginning of the 21st century, New Zealand has become the epicenter of all things Hobbit. A trend similar to Finland becoming Santa Claus land. Tourists descend on the remote islands to get a gander at the hobbit holes from Peter Jackson's movie sets. No doubt there are panhandlers roaming the tourist shopping areas dressed up like Ents. Of course, maybe better reasons to go would be for the excellent Sauvignon Blanc/Pinot Noir, stunning scenery, and the cool music. And, yes we must never forget the glow worms.
But perhaps it didn't have to turn out this way. I mean, where the hell is Middle Earth, anyway? In the same way that the QWERTY keyboard defeated other more efficient keyboard prototypes, it seems there were also other worthy nations that eagerly grasped for the golden ring of Middle Earth. One such country was Sweden...............
I found a Swedish album being sold on the Parasol records website, when they were a gargantuan mail-order company. They were always selling cool Scandinavian albums there, so it wasn't too surprising they had this. I felt somehow drawn to this disc, though usually this was not the sort of music I purchased. For some reason, I simply had to have it.
Forged in the fires of a volcano on an island off of the coast of Sweden back in the old days before Ronald Reagan rose to power, this CD never fails to elicit admiration, nay extreme adulation from listeners. In truth, I have no conclusive evidence that there are in fact any copies exist of Sagan om Ringen, other than the one I am currently listening to.
Just recently I noticed that there were some fine calligraphy etched in a circular fashion across the top to the CD. With a flashlight and a magnifying glass I was able to make out some curious verse......
yes, I've been broken hearted
blue since the day we started
why, why did I ever let you go?
God only knows what that gibberish means. It's obviously some sort of dark Swedish incantation. Or maybe garden variety Death Metal. None the less, I find myself listening to this album more and more each day, and if somebody tells me to put some other music on, well, they had better watch out!
I suppose it would be fair to say that the album has become precious to me......
Okay, enough fun.
Lord of the Rings/Saga om Ringen was an album made in 1969 by Bo Hannson (organ, guitar, moog, bass) and Rune Carlsson (drums), along with Gunnar Bergsten (saxophone) and Sten Bergman (flute). Basically its an instrumental album featuring the organ, which was influenced by Tolkien's fantasy novels. If you had to guess by looking at the artwork you would say that this must be prog music, but to me it seems to be more jazzy in a moody introspective ECM records style.
The musicianship is good on this. According to the liner notes, these guys used to jam with Hendrix. So this isn't a schmaltzy endeavor by any means. Composing this music must have required a good deal of effort by Hansson. This is artistic stuff, not a mercantile attempt to cash in on the legacy of Tolkien. I mean that's what Bilbo Baggins hates, after all....
But again, this is an organ-based instrumental album set in Middle Earth! It makes for decent background music. It begins with the hobbit's flight from the Shire and ends with the Grey Havens basically. A lot of material to cover in one compact disc, as opposed to three lengthy movies. And yet.......
On this disc Tom Bombadil Lives!
Though in the official movies he has been erased in the same way Communist leaders disappeared from the public record in the 1930's, Hansson found room for him on his 75 minute recording. The second song is entitled The Old Forest and Tom Bombadil. Word is that New Zealand authorities managed to force a confession out of old Tom B., and he remains languishing in some Dunedin gulag....
Since the 2nd film in the Hobbit trilogy was released I thought it would be fun to talk about this album. I know I'm joking a little bit about this, but honestly the record is pretty good for what it is attempting to do, and if you love Tolkien, chances are you would be happy to have this on your playlist. It's definitely a one of a kind recording.
Here's my little attempt at some international diplomacy.......
Sunday, December 15, 2013
I Believe in Jersey Christmas---The Grip Weeds---Under the Influence of Christmas
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| Welcome Christmas Bring Your Light.... |
You know, it seems that everybody puts out a Christmas album, it's almost as predictable these days as band reunions. Strummer and Jones performed together, Bob Mould and Grant Hart reunited briefly on stage, even Australia's Saints performed together a few years ago. Probably somewhere in the world, some mad scientist someplace is trying to do something with Beatle DNA.
But you know, most of these Christmas projects suck. If you go on a website like Amazon and poke around, its mostly the same old crap. Vanity projects, a bunch of songs hashed together to make a quick buck. Boring.
But as you may have noticed, I said mostly, not all. I haven't really found too much this year to recommend. The Nick Lowe Cd is okay. He's a class act, a guy who knows how to pen a song. By no means is the album bad, but I find it a bit bland. I've posted some things in prior years that are worthy of your filthy lucre. Things like Rhino's Punk Rock Christmas comp, The Yobs, Die Roten Rosen, Vibeke Saugestad's superb Christmas Ep, Tim Wheeler and Emmy the Great, Goldie Lookin' Chain.
But this season I came across The Grip Weeds Under the Influence of Christmas this year. It's the best Christmas album I've heard recently. It actually came out in 2011 on the Rainbow Quartz label, and I like this a lot. They are a 60's influenced pop band from New Jersey who truly are masters of harmony. The album is mix of Christmas originals, traditional tunes, and more contemporaneous Christmas covers.
And they get through this with help from their friends, notably fellow New Jerseyans The Smithereens, doing a nice version of Chrissie Hynde's 2000 Miles. What really blew my mind was that George Cameron of the remarkable Left Banke(!) sings backup on For The Holidays, a suitably wintry original song that really needs to be heard.
Under the Influence of Christmas is nice because they don't simply bash out songs in a similar fashion. On songs like Christmas Dream or Santa Make Me Good you find them rocking out quite capably. On other songs like A Christmas Song or the baroque ELP Christmas chestnut I Believe in Father Christmas they mellow out. And the superb Merry Christmas All is a pitch perfect Christmas Classic, a song that sounds like it came out on a Phil Spector album from 50 years ago.
Also, the band had the good taste to cover Welcome Christmas from How the Grinch Stole Christmas. The go-to Grinch song is ordinarily You're a Mean One Mr Grinch, but Welcome Christmas was the song I always felt had the best cover potential.
Overall Under The Influence is pretty terrific from beginning to end, and a suitable stocking stuffer for anyone who loves classic 60's rock music.
Of course in addition to their holiday tunes, the Grip Weeds are a superb rock band with a bunch of accomplished albums. Well worth seeking out--check out their website for more details. They recently contributed to the benefit album My Hometown along with other Jersey bands, the proceeds going to a good cause, helping Hurricane Sandy victims.
So far I haven't found any Christmas record that came out in 2013 that I can wholeheartedly recommend, but there are still some shopping days left. If I find something I will let you know.
80's Worcester Memories and Some Local Worcester Bands
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| City Lights, City Nights.... |
If you look carefully, you can make out the Hollywood sign in the background. Oh, wait, that's probably the old Polar Cola sign just off of I-290. I don't know if they still have that giant polar bear on the building, big enough to do battle with Godzilla. That's right, this is Worcester Massachusetts, not L.A!
It was a fun time, we were hated and adored, sometimes by the same people. Basically a covers band with a few originals, but quite possibly the first band on campus to be "new wave". We played dorm basements, drank beer. It was a lot of fun creating and hanging up jokey ads for our little gigs. One night we actually did perform in town at a Halloween Battle of the bands at Ralph's Chadwick Square Diner. Spoiler alert: I think out of the three bands, we may have finished fourth.
We had it all, the smart one, the cute one, the mysterious one, the cool one, the rebel, the sad one.
One of these guys is a Worcester Rock N Roll legend....I guess I gave away who the cool one was.
The college radio station at the time WCHC, had a playlist at the time which included playing area bands as well as bands from Boston. One of those local bands that was played a bit was The Unattached.
I don't know too much about the band, aside from hearing them on the radio--I've found one song uploaded on YouTube, but I think that there must have been more recordings, maybe a cassette release or an ep. The one thing I do know is that I recall Pat telling a story that they caught Jamey Jetson, the Unattached singer running down an alleyway after a Lynch Mob show trying to make off with one of their amps.
Here is a song off a compilation on the Throbbing Lobster label--Let's Breed!
I think a compilation of Worcester bands came out in 1980, but it seems a shame that with all of the Nuggets, Pebbles Power Pop Garage and Psych Rock scenes that have been issued that there isn't more done for the local punk new wave scenes around the U.S. Sure, some are out there, but we can always use some more. Think of all the cool singles that must be floating around that people ought to be able to be hear. I know there is a nice comp of Milwaukee bands A History in Three Chords, but that seems to be out of print these days.
Anyway, here's a few other noteworthy bands from back then.
The Odds
The Commandos
Just thought for a change of pace that I would share something personal. No fears, this is not devolving into a crappy Facebook Wall.
Tuesday, December 10, 2013
Sheena was a Punk........Ramones Legendary Punk Girl Abides
Everybody knows the legendary song "Sheena is a Punk Rocker" by The Ramones, the hyper energetic punk anthem! A punk rock homage to the Beach Boys you might easily say. Everybody loves the Ramones, even a lot of people who profess a hatred for the Punk Rock. These guys were Teflon...
That iconic young woman who broke with conventions and rebranded herself as a Punk. She didn't care what anyone thought. With that sort of Ramones exposure, she became sort of a global phenomenon. Celebrated by fans of the new sound, she became the toast of the world like a New Wave Josephine Baker, first traveling from Forest Hills Queens.....
To Deutschland:
And on to Brazil:
Even reaching the shores of Japan!
But like Icarus, who flew to close to the sun and plummeted back to Earth, there is always the inevitable critical backlash.....
And new fashions and movements appear to replace the old.........
And eventually, most of us have to grow up and move on with our lives, leaving our ideals behind....self actualization through commerce maybe.......
But there is always hope for new adulation from a new generation. There used to be 15 minutes of fame, but in these days of juiced globalization and technological innovation it's probably closer to 5.
But just keep your eyes and ears peeled--you never know where Sheena may just turn up again......?
But what of our brave Sheena?
That iconic young woman who broke with conventions and rebranded herself as a Punk. She didn't care what anyone thought. With that sort of Ramones exposure, she became sort of a global phenomenon. Celebrated by fans of the new sound, she became the toast of the world like a New Wave Josephine Baker, first traveling from Forest Hills Queens.....
To Deutschland:
And on to Brazil:
Even reaching the shores of Japan!
But like Icarus, who flew to close to the sun and plummeted back to Earth, there is always the inevitable critical backlash.....
And new fashions and movements appear to replace the old.........
And eventually, most of us have to grow up and move on with our lives, leaving our ideals behind....self actualization through commerce maybe.......
But there is always hope for new adulation from a new generation. There used to be 15 minutes of fame, but in these days of juiced globalization and technological innovation it's probably closer to 5.
But just keep your eyes and ears peeled--you never know where Sheena may just turn up again......?
Monday, December 9, 2013
The Indestructible Beat of Soweto---Rambling Reflections on the Passing of Nelson Mandela
There is something to me that is very symbolic about The Indestructible Beat of Soweto, an absolutely essential collection of Mbaqanga music. I simply associate it with the fight to abolish the racist policies of apartheid in South Africa. I had some awareness of what was going on at the time and I definitely did not buy the idea propagated by the US government in the Reagan years that working with that government would accomplish the goal of change. I listened to the argument, but I did not find such an argument very convincing.
Whenever I listen to The Indestructible Beat, I recall those days distinctly. Since news of Nelson Mandela's serious illness became public I've been thinking about him a lot. And now that the great man is no longer with us, I wanted to say a few things. Mandela is a man that has always awed me a bit. Can you imagine being subjected to all that he endured, yet he persevered and succeeded, despite the efforts of a brutal dictatorial government. All those years of imprisonment and solitude. In the Special Aka song Free Nelson Mandela, the lyrics mentioned "21 years in captivity". He had to wait another 6 long years for that dream to finally be realised. I try to imagine what it would be like to be in his shoes in those days and I simply can't do it. I was watching Fareed Zakaria this weekend, and he remarked that Mandela was a one term president, voluntarily deciding to step down. It seems so common that fledgling democracies wind up metamorphosing into president for life regimes. It's unfortunate that we so often honor people when they pass on, so I would like to say that it is his great life that we are celebrating now. Truly one of the great men of the past century, an inspiration and role model for me and for the whole world.
Like a lot of Americans I first learned of apartheid in high school, reading Cry the Beloved Country by Alan Paton. It was a story that really opened up my eyes---it just seemed to be stupid, cruel and unfair. Injustice exists aroung the world, but when it is legislated into being the law of the land. Certainly as an American I feel a little like a hypocrite when I say this, because our history has had a number of racist social experiments that I'm not too proud of. But I did want to learn more about South Africa, reading books by Rian Malan and J.M. Coetzee, among others. The book by Malan, My Traitor's Heart, was a pretty engrossing read as I recall. And it was interesting that while he was an advocate of ending apartheid, he also quite candidly spoke of the fear of what would happen when the whole system came crashing down. But of course the brutal stories that were related in his book about the police and life in the shanty towns were hard to bear. It seems natural today that such a system was untenable, doomed, but at the time it wasn't very certain at all. And if it was going to happen, then when?
But let's get back to the music....
Indestructible Beat of Soweto is one of the great musical compilations. When I listen to this I can't help but reflect on the upbeat happiness evident on this album. It sounds like there was nothing wrong in South Africa. To me it's like the music says, do what you will but we will never give up the fight. You may have won the battles so far, but the war is still up for grabs. Though the song themes are not overtly political, you can feel the pride pouring out on each song. Music for the heart and soul.
And when I think of the term Township music, it would seem to evoke the idea of urban music. But honestly the music has a rural sort of feel to it, which probably makes some sense, since so many people came from the countryside to work in the towns and mines. The music came with the people, mixed with other peoples music from other areas in the country and and became a new thing. Some of the songs remind me a little of Zydeco music, fiddles and accordians. And there is a lot of gospel harmonies going on here, and not just by Ladysmith Black Mambazo, the final artist on the album, and the best known group here, as they performed on Paul Simon's Graceland album. Simon got a lot of flack because he was thought to be taking from another culture, but I no that I was curious as to who was accompanying him on the record. For a lot of Americans, this was probably their first encounter with African musicians, so it could also be said that he was an early popularisor of what became known as World Music.
It's hard to pick out favorites on this stellar compilation, but I have a soft spot for Amaswazi Emvelo, in particular the song Thul'ulalele which has such great soaring harmonies which made their way onto more than a few mixtapes over the years. The whole album is simply ebullient though. I love the infectious loping bass on Sobabamba by Udokotela Shange Namajaha. Or the call and response vocals on Holotelani by Nelcy Sedibe.
I still remember when I was in graduate school in the mid-80's at University of Illinois Champain-Urbana, when students built shanty towns on the school quad in protest, to get the Administration to divest from companies that did business in South Africa. Some of the kids who protested got into some pretty serious trouble as I recall, not really about the shanty towns--after all if you are a student school officials can have a lot of power over your life. And as I recall the administration was pretty intransigent as to what they should invest in. But what was most shocking was that one night, somebody came to the quad and set at least one of the tents on fire, when protesting students were actually camped out in them. I never heard whether they caught the people who did such a thing, but it is just more evidence about how corrosive unjust political ideas about managing societies like apartheid are. Of course its not the same as getting your neighborhood bulldozed down as illegal dwellings.by the powers that be, but it was still an ugly little incident.
The Indestructible Beat of Soweto is a hands down classic anthology. If you love african music you probably own this album already. If you don't own it, what are you waiting for? Simply an essential, vibrant record of the 80's, endlessly entertaining!
I know that I am rambling a bit, but certainly we can all spare a little time to reflect on the legacy of such a brave, intelligent, just, and resilient leader as President Mandela, who helped make his country and the world a better and more humane place. I don't know if they still make people of the caliber of a Nelson Mandela, but certainly let's hope so! There is still a lot of work to do....
Whenever I listen to The Indestructible Beat, I recall those days distinctly. Since news of Nelson Mandela's serious illness became public I've been thinking about him a lot. And now that the great man is no longer with us, I wanted to say a few things. Mandela is a man that has always awed me a bit. Can you imagine being subjected to all that he endured, yet he persevered and succeeded, despite the efforts of a brutal dictatorial government. All those years of imprisonment and solitude. In the Special Aka song Free Nelson Mandela, the lyrics mentioned "21 years in captivity". He had to wait another 6 long years for that dream to finally be realised. I try to imagine what it would be like to be in his shoes in those days and I simply can't do it. I was watching Fareed Zakaria this weekend, and he remarked that Mandela was a one term president, voluntarily deciding to step down. It seems so common that fledgling democracies wind up metamorphosing into president for life regimes. It's unfortunate that we so often honor people when they pass on, so I would like to say that it is his great life that we are celebrating now. Truly one of the great men of the past century, an inspiration and role model for me and for the whole world.
Like a lot of Americans I first learned of apartheid in high school, reading Cry the Beloved Country by Alan Paton. It was a story that really opened up my eyes---it just seemed to be stupid, cruel and unfair. Injustice exists aroung the world, but when it is legislated into being the law of the land. Certainly as an American I feel a little like a hypocrite when I say this, because our history has had a number of racist social experiments that I'm not too proud of. But I did want to learn more about South Africa, reading books by Rian Malan and J.M. Coetzee, among others. The book by Malan, My Traitor's Heart, was a pretty engrossing read as I recall. And it was interesting that while he was an advocate of ending apartheid, he also quite candidly spoke of the fear of what would happen when the whole system came crashing down. But of course the brutal stories that were related in his book about the police and life in the shanty towns were hard to bear. It seems natural today that such a system was untenable, doomed, but at the time it wasn't very certain at all. And if it was going to happen, then when?
But let's get back to the music....
Indestructible Beat of Soweto is one of the great musical compilations. When I listen to this I can't help but reflect on the upbeat happiness evident on this album. It sounds like there was nothing wrong in South Africa. To me it's like the music says, do what you will but we will never give up the fight. You may have won the battles so far, but the war is still up for grabs. Though the song themes are not overtly political, you can feel the pride pouring out on each song. Music for the heart and soul.
And when I think of the term Township music, it would seem to evoke the idea of urban music. But honestly the music has a rural sort of feel to it, which probably makes some sense, since so many people came from the countryside to work in the towns and mines. The music came with the people, mixed with other peoples music from other areas in the country and and became a new thing. Some of the songs remind me a little of Zydeco music, fiddles and accordians. And there is a lot of gospel harmonies going on here, and not just by Ladysmith Black Mambazo, the final artist on the album, and the best known group here, as they performed on Paul Simon's Graceland album. Simon got a lot of flack because he was thought to be taking from another culture, but I no that I was curious as to who was accompanying him on the record. For a lot of Americans, this was probably their first encounter with African musicians, so it could also be said that he was an early popularisor of what became known as World Music.
It's hard to pick out favorites on this stellar compilation, but I have a soft spot for Amaswazi Emvelo, in particular the song Thul'ulalele which has such great soaring harmonies which made their way onto more than a few mixtapes over the years. The whole album is simply ebullient though. I love the infectious loping bass on Sobabamba by Udokotela Shange Namajaha. Or the call and response vocals on Holotelani by Nelcy Sedibe.
I still remember when I was in graduate school in the mid-80's at University of Illinois Champain-Urbana, when students built shanty towns on the school quad in protest, to get the Administration to divest from companies that did business in South Africa. Some of the kids who protested got into some pretty serious trouble as I recall, not really about the shanty towns--after all if you are a student school officials can have a lot of power over your life. And as I recall the administration was pretty intransigent as to what they should invest in. But what was most shocking was that one night, somebody came to the quad and set at least one of the tents on fire, when protesting students were actually camped out in them. I never heard whether they caught the people who did such a thing, but it is just more evidence about how corrosive unjust political ideas about managing societies like apartheid are. Of course its not the same as getting your neighborhood bulldozed down as illegal dwellings.by the powers that be, but it was still an ugly little incident.
The Indestructible Beat of Soweto is a hands down classic anthology. If you love african music you probably own this album already. If you don't own it, what are you waiting for? Simply an essential, vibrant record of the 80's, endlessly entertaining!
I know that I am rambling a bit, but certainly we can all spare a little time to reflect on the legacy of such a brave, intelligent, just, and resilient leader as President Mandela, who helped make his country and the world a better and more humane place. I don't know if they still make people of the caliber of a Nelson Mandela, but certainly let's hope so! There is still a lot of work to do....
Sunday, December 8, 2013
Coming up for Air---Terrarium---Пятиугольный Грех (Pentagonal Sin)--Boris Grebenshikov's Ambitious Psychedelic Classic!
I've been listening to Terrarium, a Boris Grebenshikov project, whose only album is Пятиугольный Грех, seeming translated as Pentagonal Sin. Boris is from the legendary group Aquarium one of the first underground groups that appeared during the Soviet era.
Though I really am enjoying this album, I just realized now that this was recorded in 2000, and not 1976. In the back of my head I was wondering how an album of this quality and sophistication like this could have been recorded back then. I have my answer now, because it was not.
I would say it is inspired by 60's music however, and more than a little wacky. I've heard the album described as a Russian Sergeant Pepper, which I feel is a little cookie cutter. There are a lot of disparate things thrown into the mix here. Despite this, Пятиугольный Грех has the feel of a concept album--it may or may not be, but there appears to be a lot of coherence to the album as a whole.The fact that it was recorded in 2000 may explain why I was looking at this a little differently. If this had been recorded 20 or 30 years earlier, I would be hailing this as an eccentric masterpiece. Don't get me wrong, this is an excellent album that is consistently entertaining. The fact that all these disparate influences seem to fit together so seamlessly is a testament to the musician involved here.
The first song on the album Январский Романс (January Romance) sounds more like something from Gilberto Gil than Lennon-McCartney, like Russian Tropicalia. Электрическая Птица, or Electric Bird has a middle eastern with balalaika flavor to it plus a female choir and what almost sounds like an attempt at Tuvan throat singing with a passage of Jew's Harp. Excellent!
On the other hand Зоя И Соня (Zoe and Sonia) has a bit of a Tom Petty vibe to it. The album is filled with odd touches, birds chirping, alarms clocks going off, eccentric noises. There is an irreverent sort of fun that I associate with the proceedings. Even География, though it does contain the Penny Lane style horns you find in places on the album, has a patriotic martial feel to it. You can associate a lot of things here beyond the Beatles, though certainly Вести С Огорода (Lead from the Vegetable Garden) is pretty much Beatles/Syd Barrett fare. And Не Синхрон (Don't Bite) is full of George Harrison styled guitar leads. On the other hand, Китайцы Не Хотят (The Chinese Don't Want) has a Latin vibe to it, and Моллой Пришел is clearly a stab at spaghetti western music.
Пятиугольный Грех is a terrific album overall. The kitchen sink is thrown against the wall, and most of it stuck, and in a cohesive manner. Grebenshikov is definitely an artist with an inquisitive ear, and it is very evident in the variety of song choices on this album. And it sounds like they had a lot of fun making this! I know that I thoroughly enjoyed this too!
Thursday, December 5, 2013
A Rock Opera Just for Kids!!! (and maybe a few cool grownups) Rheostatics---The Story of Harmelodia
Once again my goddaughter is having a birthday, so I've decided to showcase another cool album for the wee ones. Unfortunately, the album in its deluxe form has been out of print for about 15 years and is kind of a collectors item. It seems to be available as a digital download.
The album is The Story of Harmelodia by The Rheostatics, who many say may have been Canada's most Canadian Band. I'm pretty sure Canada's most American band was The Band. I couldn't tell you who America's most Canadian band is. But I guess what they mean is that they write songs that have resonance with their fellow countrymen. You know, they sing about Wendel Clark and Saskatoon, and didn't really believe that being in a rock band meant you had be or at least pretend to be from the U.S. or England. I respect this stick-to-itiveness and sense of national pride that they represent who they are and where they come from.
After all, I am an American who would never think of turning the Maple Leaf upside down...
In a nutshell, The Story of Harmelodia is basically Tommy for toddlers. It's a Rock Opera just for Kids, or for those who are still kids at heart. Everything about this release is pretty much over the top. A lot of time, effort, care, and love went into the making of this record.
First and foremost, it is a lot more than a CD. It is really a CD sized illustrated book with a CD tucked inside. As far as the format goes, Harmelodia is a pretty hefty item.
So first of all you have a story, narrated by Janet Morassutti, who is Dave Bidini's wife. He is one of the Rheostatics and these days does a lot of book writing, mostly about Hockey, Baseball, and Rock N' Roll.
Secondly, the Story is loaded with illustrations, beautifully drawn and painted by Martin Tielli, another member of the Rheostatics.
We complete this winning trifecta with of course the CD, full of engaging songs that accompany the narrative.
The Band: David Bidini, Kevin Hearn, Don Kerr, Martin Tielli, Tim Vesely
Produced Mixed, Aided and Abetted by: Michael Philip Wojewoda.
Additionally many other musicians made contributions on this record including the likes of Gord Downie (wrote lyrics to Father's Sad Song) , Ben Gunning, Sarah Harmer, and Kurt Swinghammer to name a few.
Spoiler alert: There will no spoiler alert because I'm not going to give the story away, except to say it is about Bug and Dot, a brother and sister who get lost and go on a magical adventure.
What I will divulge is that the music is very diverse, from sweet loving ballads to rock n roll to classically inspired music, folk music, marching band music, and just plain silly musical mayhem! I really think that behind the idea of selling swag to kids which is something all American's know and love this is a covert attempt to trick innocent kids to learn to love music at a very early age. You gotta get em' on board while they're young. Like the cigarette companies. I mean music is at least as addictive as nicotine, but actually great for your heart and soul and long term personal development.
Since the CD is such an elaborate creation I would definitely recommend the physical copy over the download, but usually the price for this is a little costly. I guess anyway you can get this would be a good thing. I don't know whether they only made a small number of these or its just that people don't want to part with them, because I also don't see many of these being sold.
But definitely The Story of Harmelodia is an album that will delight children, a great gift to give somebody you care about.
 |
| Her Majesty's a pretty nice girl.... |
The album is The Story of Harmelodia by The Rheostatics, who many say may have been Canada's most Canadian Band. I'm pretty sure Canada's most American band was The Band. I couldn't tell you who America's most Canadian band is. But I guess what they mean is that they write songs that have resonance with their fellow countrymen. You know, they sing about Wendel Clark and Saskatoon, and didn't really believe that being in a rock band meant you had be or at least pretend to be from the U.S. or England. I respect this stick-to-itiveness and sense of national pride that they represent who they are and where they come from.
After all, I am an American who would never think of turning the Maple Leaf upside down...
In a nutshell, The Story of Harmelodia is basically Tommy for toddlers. It's a Rock Opera just for Kids, or for those who are still kids at heart. Everything about this release is pretty much over the top. A lot of time, effort, care, and love went into the making of this record.
First and foremost, it is a lot more than a CD. It is really a CD sized illustrated book with a CD tucked inside. As far as the format goes, Harmelodia is a pretty hefty item.
So first of all you have a story, narrated by Janet Morassutti, who is Dave Bidini's wife. He is one of the Rheostatics and these days does a lot of book writing, mostly about Hockey, Baseball, and Rock N' Roll.
Secondly, the Story is loaded with illustrations, beautifully drawn and painted by Martin Tielli, another member of the Rheostatics.
 |
| What's the Word? Monkeybird |
We complete this winning trifecta with of course the CD, full of engaging songs that accompany the narrative.
The Band: David Bidini, Kevin Hearn, Don Kerr, Martin Tielli, Tim Vesely
Produced Mixed, Aided and Abetted by: Michael Philip Wojewoda.
Additionally many other musicians made contributions on this record including the likes of Gord Downie (wrote lyrics to Father's Sad Song) , Ben Gunning, Sarah Harmer, and Kurt Swinghammer to name a few.
Spoiler alert: There will no spoiler alert because I'm not going to give the story away, except to say it is about Bug and Dot, a brother and sister who get lost and go on a magical adventure.
What I will divulge is that the music is very diverse, from sweet loving ballads to rock n roll to classically inspired music, folk music, marching band music, and just plain silly musical mayhem! I really think that behind the idea of selling swag to kids which is something all American's know and love this is a covert attempt to trick innocent kids to learn to love music at a very early age. You gotta get em' on board while they're young. Like the cigarette companies. I mean music is at least as addictive as nicotine, but actually great for your heart and soul and long term personal development.
Since the CD is such an elaborate creation I would definitely recommend the physical copy over the download, but usually the price for this is a little costly. I guess anyway you can get this would be a good thing. I don't know whether they only made a small number of these or its just that people don't want to part with them, because I also don't see many of these being sold.
But definitely The Story of Harmelodia is an album that will delight children, a great gift to give somebody you care about.
Wednesday, December 4, 2013
Gruff Rhys told me......Ail Symudiad--Yr Oes Ail---80's Welsh Language New Wave
I think it was in Uncut Magazine, where Gruff Rhys, front man for Welsh superband Super Furry Animals gave a plug to Ail Symudiad, a Welsh New Wave band from Cardigan.
I thought was a recent reissue but was having a little trouble finding it from the usual suspects. Turned out the bands recordings are readily available on Welsh label Fflach's website. I thought that it would be cool to hear some Welsh language New-Wave so I went out and got me some.
Yr Oes Ail is the first compilation of their music--there are 2 others. And this is not a recent reissue, but from 2002. This is pretty solid punk-pop music along the lines of The Undertones, snappy pop, though without the unique vocals of a Feargal Sharkey.
Maybe Gruff Rhys was helping to promote the band's new release which actually did come out fairly entitled Rifiera Gymrieg. It turns out the band has basically remained together, performing gigs locally but not releasing any new material for many years. Certainly Rhys does a fair share of giving props to Welsh language music, earlier rock and folk bands, not to mention the Goldie Lookin' Chain. And certainly with SFA's Welsh album Mwng-the pipe smoking goat album, his earlier band Ffa Coffi Pawb, he has certainly directly championed the cause. And if you haven't heard his solo Hotel Shampoo yet, well you should--because it's pretty terrific!
Yr Oes Ail was created for home consumption basically, so there are no English translations of the lyrics. I find that I don't need them to enjoy the music. I think they are a decent band considering I don't have the benefit of knowing what they are singing about! Never stopped me before.
Whisgi a Soda--I think I know what this means, but I'm still surprised that there aren't more y's and multiple consonsants strung together in the words. It almost feels like a trick.
So thank Gruff for the tip. So I thought I would pass the favor along and present my impressions of the band conveniently just in time for Christmas shopping.
Remember that "help will always be given at Continuum Transfunctioner to those who deserve it".
 |
| Parti Dawns Cymraeg! |
I thought was a recent reissue but was having a little trouble finding it from the usual suspects. Turned out the bands recordings are readily available on Welsh label Fflach's website. I thought that it would be cool to hear some Welsh language New-Wave so I went out and got me some.
Yr Oes Ail is the first compilation of their music--there are 2 others. And this is not a recent reissue, but from 2002. This is pretty solid punk-pop music along the lines of The Undertones, snappy pop, though without the unique vocals of a Feargal Sharkey.
Maybe Gruff Rhys was helping to promote the band's new release which actually did come out fairly entitled Rifiera Gymrieg. It turns out the band has basically remained together, performing gigs locally but not releasing any new material for many years. Certainly Rhys does a fair share of giving props to Welsh language music, earlier rock and folk bands, not to mention the Goldie Lookin' Chain. And certainly with SFA's Welsh album Mwng-the pipe smoking goat album, his earlier band Ffa Coffi Pawb, he has certainly directly championed the cause. And if you haven't heard his solo Hotel Shampoo yet, well you should--because it's pretty terrific!
Yr Oes Ail was created for home consumption basically, so there are no English translations of the lyrics. I find that I don't need them to enjoy the music. I think they are a decent band considering I don't have the benefit of knowing what they are singing about! Never stopped me before.
Whisgi a Soda--I think I know what this means, but I'm still surprised that there aren't more y's and multiple consonsants strung together in the words. It almost feels like a trick.
So thank Gruff for the tip. So I thought I would pass the favor along and present my impressions of the band conveniently just in time for Christmas shopping.
Remember that "help will always be given at Continuum Transfunctioner to those who deserve it".
Monday, December 2, 2013
Surviving Beat Me Senseless Day....Ron Hawkins and the Rusty Nails--Crackstatic
Another recently found gem for me is now Crackstatic the album by Toronto's Ron Hawkins and the Rusty Nails. Gave it a listen for the first time yesterday and immediately gave me a jolt of musical happiness!
Originally a member of the Lowest of The Low, a band that garnered surprising popularity, given that their first album was an independent release, Hawkins made a solo album The Secret of My Excess, and then put out Greasing the Star Machine with the Rusty Nails.
You would have thought NAFTA might have helped us get more recognition of deserving Canadian artists like Hawkins. Maybe Arcade Fire made it over the cultural wall to the USA, but it seems the wall still remains. Now that America's 24-7 news cycle is fixated on the Toronto's beleaguered mayor maybe more people will realize that there actually is a country north of us.
Hawkins is a pretty terrific lyricist, and possesses a sense of humor all too lacking in music, albeit pretty dark. Not to say this is novelty music, because unfortunately people tend to associate humor in music as not being "serious", which is seriously idiotic. The word is that he is revered by our friends to the North and one listen to this album will do a lot of explaining. There is a nice mix of songs here, from flat out punky scorchers here alongside poignant ballads. He really does sound a bit like Elvis Costello, but I find the songs to be definitely his own. I really love his vocal delivery---it sounds as though it is something that he is very conscious of and has worked at.
Ron Hawkins: vocals, guitar, piano hammond organ, talk box
Blitz: bass guitar
Mark Hansen: drums and percussion
Lawrence Nichols: vocals, harmonies, melodica
Christopher Plock: baritone and tenor sax
Jason Walters: baritone sax
The first song out on Crackstatic is Bite Down Hard, a anthemically hooky high energy number with great lyrics. The album is filled with black self-deprecating humor like on Beat Me Senseless;
There's a boxing ring in my reality
And there's a punching bag and it looks a lot like me
And they'll finally enrol my name in the Glass Half Empty Hall of Fame
If I beat me senseless again
Little Backstabbers is a vicious song, reminiscent of early Elvis Costello. Other highlights include the
oddly upbeat darkness of Small Vicories, the long song Beautiful Chemistry. The title track of Cracktastic is also great, a song criticizing the quality of music on radio. If Jonathan Richman sang Radio On! in Roadrunner, Hawkins is singing Radio Off!, or more accurately kick the radio until you hear static.
I've emphasized Hawkins as a singer and songwriter but I also must say that the Rusty Nails back him very ably on this album. From start to finish this is a standout album that needs to be heard.
These days Hawkins is playing with the Do Good Assassins these days and has subsequently released several other albums. Judging by YouTube he also performs a fair amount of one-man shows. He is also is an artist. Most of his art seems to be portraits, often of other musicians. You can see his paintings and order some of his discography on his website. He and several other Canadian artists are also profiled in a documentary by Tim Thompson entitled Born To It. Now available on DVD at Victimless Capitalism.
Crackstatic is definitely Cracktastic. You should give this Canadian classic a listen.
 |
| Gonna find God in the midday Sun..... |
Originally a member of the Lowest of The Low, a band that garnered surprising popularity, given that their first album was an independent release, Hawkins made a solo album The Secret of My Excess, and then put out Greasing the Star Machine with the Rusty Nails.
You would have thought NAFTA might have helped us get more recognition of deserving Canadian artists like Hawkins. Maybe Arcade Fire made it over the cultural wall to the USA, but it seems the wall still remains. Now that America's 24-7 news cycle is fixated on the Toronto's beleaguered mayor maybe more people will realize that there actually is a country north of us.
Hawkins is a pretty terrific lyricist, and possesses a sense of humor all too lacking in music, albeit pretty dark. Not to say this is novelty music, because unfortunately people tend to associate humor in music as not being "serious", which is seriously idiotic. The word is that he is revered by our friends to the North and one listen to this album will do a lot of explaining. There is a nice mix of songs here, from flat out punky scorchers here alongside poignant ballads. He really does sound a bit like Elvis Costello, but I find the songs to be definitely his own. I really love his vocal delivery---it sounds as though it is something that he is very conscious of and has worked at.
Ron Hawkins: vocals, guitar, piano hammond organ, talk box
Blitz: bass guitar
Mark Hansen: drums and percussion
Lawrence Nichols: vocals, harmonies, melodica
Christopher Plock: baritone and tenor sax
Jason Walters: baritone sax
The first song out on Crackstatic is Bite Down Hard, a anthemically hooky high energy number with great lyrics. The album is filled with black self-deprecating humor like on Beat Me Senseless;
There's a boxing ring in my reality
And there's a punching bag and it looks a lot like me
And they'll finally enrol my name in the Glass Half Empty Hall of Fame
If I beat me senseless again
Little Backstabbers is a vicious song, reminiscent of early Elvis Costello. Other highlights include the
oddly upbeat darkness of Small Vicories, the long song Beautiful Chemistry. The title track of Cracktastic is also great, a song criticizing the quality of music on radio. If Jonathan Richman sang Radio On! in Roadrunner, Hawkins is singing Radio Off!, or more accurately kick the radio until you hear static.
I've emphasized Hawkins as a singer and songwriter but I also must say that the Rusty Nails back him very ably on this album. From start to finish this is a standout album that needs to be heard.
These days Hawkins is playing with the Do Good Assassins these days and has subsequently released several other albums. Judging by YouTube he also performs a fair amount of one-man shows. He is also is an artist. Most of his art seems to be portraits, often of other musicians. You can see his paintings and order some of his discography on his website. He and several other Canadian artists are also profiled in a documentary by Tim Thompson entitled Born To It. Now available on DVD at Victimless Capitalism.
Crackstatic is definitely Cracktastic. You should give this Canadian classic a listen.
Saturday, November 30, 2013
Heaven Yes!---Happydeadmen----Classics-a Decade in Pop
The Happydeadmen cd I am listening to right was a very pleasant surprise. I feel now as though I am crawling out from under a rock when I first heard this band about three weeks ago, as they were an influential and popular band in Sweden, being in existence from 1988-1998. But a brand new band to me. I don't know very much about them, but they apparently were trailblazers in the Swedish indie pop movement. Before the rest of the world was cued in, pre-Cardigans.
That being said, it would not be unjust to say that Happydeadmen are stylistically in resemblance to The Smiths. There really is no way to get around this. Though I might add that there is a bounce to some of the songs reminiscent of The Housemartins.
Having said that, Classics-a Decade in Pop is an impeccable collection of sopisticated romantic guitar pop. Every song included on this compilation is a little gem. Jangly jangly melodies, with maudlin lyrics. There are songs from throughout the bands 10 year existence, and includes b-sides, and rare tracks. Though I would have liked lyrics included in the liner notes, the pithy descriptions of each song that are listed are informative.
Jan Hedin - Vocals and acoustic guitar
Magnus Karlsson - Electric guitar
Roger Kjellgren - Bass
Thomas Kristoffersson - Drums
Patrik Jonsfjord - Electric guitar
The album is loaded with highlights, like the smart pop of Science Fiction, the upbeat catchy music of The Age of Chivalry. An obvious classic Heaven No!, a song sounding very much like a call from the Morrissey/Marr playbook. Another number I am partial to is the early song that the album leads with, Silent Sigh City.
All in all a collection that most pop bands would envy. Though sounding like the Smiths, the overall quality of the material overrides any negatives, making Classics-A Decade in Pop album a very worthwhile acquisition.
That being said, it would not be unjust to say that Happydeadmen are stylistically in resemblance to The Smiths. There really is no way to get around this. Though I might add that there is a bounce to some of the songs reminiscent of The Housemartins.
Having said that, Classics-a Decade in Pop is an impeccable collection of sopisticated romantic guitar pop. Every song included on this compilation is a little gem. Jangly jangly melodies, with maudlin lyrics. There are songs from throughout the bands 10 year existence, and includes b-sides, and rare tracks. Though I would have liked lyrics included in the liner notes, the pithy descriptions of each song that are listed are informative.
Jan Hedin - Vocals and acoustic guitar
Magnus Karlsson - Electric guitar
Roger Kjellgren - Bass
Thomas Kristoffersson - Drums
Patrik Jonsfjord - Electric guitar
The album is loaded with highlights, like the smart pop of Science Fiction, the upbeat catchy music of The Age of Chivalry. An obvious classic Heaven No!, a song sounding very much like a call from the Morrissey/Marr playbook. Another number I am partial to is the early song that the album leads with, Silent Sigh City.
All in all a collection that most pop bands would envy. Though sounding like the Smiths, the overall quality of the material overrides any negatives, making Classics-A Decade in Pop album a very worthwhile acquisition.
Bailter Space's New Album Trinine---Now Back with More Vengeance
Bailter Space has released their 2nd album in the last year or so in October, Trinine. It's the sort of thing I've been waiting to hear from them. Strobosphere was a very good album, but the menace that I know and love is back in full force, again released on Fire records. They do not disappoint here.
Yeah, I'm not objective. I have been a fan of this band since before they moved to New York from New Zealand, and I've probably seen them half a dozen times here in the Big Apple. But I think that they are one original sounding band, creating some of the most beautifully menacing noise around. And with the perspective of seeing them live, believe me, they are a band that tears the roof off a club. Full force menacing assault. Originally they were called The Gordons, a legendary band that is getting its due in New Zealand these days. The testaments I've read of their live shows pretty much practically compare the gigs to military strikes. The Bailter sound is still loud but more textured.
So still my advice is that when you play Trinine, (as to old live album cliche goes) you need to play it LOUD.
Alister Parker: Guitar Vocals
John Halvorsen: Bass Vocals
Bret McLachlan: Drums
From the instant I listened to Trinine I was immediately impressed by the sonics! All that wobbly low end muddle. And the vocals are more buried in the mix this time around, and the effects used on them give the singing a hallucinogenic, almost conspiratorial vibe. It seems that these days, so many bands are inspired by bands like The Clean, or the Bats, or The Chills. Bailter Space is another band that people need to embrace also. New Zealand music isn't just about the jangle. People tend to think Bailter Space merely copied bands like Sonic Youth, or My Bloody Valentine, but while their music certainly did not get created in a vacuum, they were around to early to have these band be an influence to them.
No doubt they probably had listened to some Wire, and I did hear Halvorsen mention on a NZ radio show that he was influenced by Australian experimental group Severed Heads.
John Halvorsen, the bassist/guitarist, was not on Strobosphere, but he is very present on Trinine. It's probably why I like this better. Halvorsen was also a member of The Skeptics, another great New Zealand band that is in the spotlight lately, due to the Sheen of Gold documentary and the spate of reissues that just came out on Flying Nun within the last few months. Skeptics albums were fetching pretty high prices recently, so it is nice to see that Flying Nun is continuing to make their back catalog available.
But right now I am just glad that Bailter Space have just put out another terrific album. If you love noisy creative music, you need to hear Trinine and their back catalog. The Flying Nun Compilation is probably not the place to start though. Probably Thermos, Tanker, Vortura, or The Aim ep. Or that ep with Grader Spader on it.
 |
| People in Projects |
Yeah, I'm not objective. I have been a fan of this band since before they moved to New York from New Zealand, and I've probably seen them half a dozen times here in the Big Apple. But I think that they are one original sounding band, creating some of the most beautifully menacing noise around. And with the perspective of seeing them live, believe me, they are a band that tears the roof off a club. Full force menacing assault. Originally they were called The Gordons, a legendary band that is getting its due in New Zealand these days. The testaments I've read of their live shows pretty much practically compare the gigs to military strikes. The Bailter sound is still loud but more textured.
So still my advice is that when you play Trinine, (as to old live album cliche goes) you need to play it LOUD.
Alister Parker: Guitar Vocals
John Halvorsen: Bass Vocals
Bret McLachlan: Drums
From the instant I listened to Trinine I was immediately impressed by the sonics! All that wobbly low end muddle. And the vocals are more buried in the mix this time around, and the effects used on them give the singing a hallucinogenic, almost conspiratorial vibe. It seems that these days, so many bands are inspired by bands like The Clean, or the Bats, or The Chills. Bailter Space is another band that people need to embrace also. New Zealand music isn't just about the jangle. People tend to think Bailter Space merely copied bands like Sonic Youth, or My Bloody Valentine, but while their music certainly did not get created in a vacuum, they were around to early to have these band be an influence to them.
No doubt they probably had listened to some Wire, and I did hear Halvorsen mention on a NZ radio show that he was influenced by Australian experimental group Severed Heads.
John Halvorsen, the bassist/guitarist, was not on Strobosphere, but he is very present on Trinine. It's probably why I like this better. Halvorsen was also a member of The Skeptics, another great New Zealand band that is in the spotlight lately, due to the Sheen of Gold documentary and the spate of reissues that just came out on Flying Nun within the last few months. Skeptics albums were fetching pretty high prices recently, so it is nice to see that Flying Nun is continuing to make their back catalog available.
But right now I am just glad that Bailter Space have just put out another terrific album. If you love noisy creative music, you need to hear Trinine and their back catalog. The Flying Nun Compilation is probably not the place to start though. Probably Thermos, Tanker, Vortura, or The Aim ep. Or that ep with Grader Spader on it.
Sunday, November 24, 2013
We All Together---The Singles---Peru's answer to Badfinger
I've been listening to a singles collection by a Peruvian band this weekend. The band is We All Together and the recordings are from 1973-1974, and was released in 2008 by Lion Productions.
I have to say that these guys must have really loved Badfinger. A lot. Even to the extent of covering their music, on this collection Rock of Ages. But most of the songs here are originals, though only three songs are in Spanish.
In all honesty, the music is very impressive here, not far from uncovering secret recordings of the aforementioned godfathers of Welsh Power Pop. They also made a single which contained two songs by Paul McCartney, Band on the Run and Bluebird which are included in the collection. And they sound great. But it seems to me that their original songs were of such a high quality that they didn't need to cover bands they admired. Though their Dear Sally does sound in parts like The Beatles song Oh Darling!!! I particularly like the Spanish songs like Lo Mas Grande que Existe en el Amor, or Soy Timido.
The band was Saul Cornejo-guitar, Manuel Cornejo-drums, Ernesto Samame-bass, Felix Varvarande-keyboards, and Carlos Guerrero-vocals.
We All Together was only together for a few years, but managed to release these singles and two albums, We All Together and We All Together 2. The first album was reissued by Lion Productions in 2007, and another label has reissued it this year with bonus tracks. Let's hope that the second album is also in the works.
Overall, the band is very accomplished musically, and Carlos Guerrero has a great voice, but ultimately the songs are pretty derivative. But I would be lying if I didn't say that I really liked this album. Any fan of the Beatles, Badfinger, or a nice pop song would enjoy this album.
 |
| Mas grande que existe |
I have to say that these guys must have really loved Badfinger. A lot. Even to the extent of covering their music, on this collection Rock of Ages. But most of the songs here are originals, though only three songs are in Spanish.
In all honesty, the music is very impressive here, not far from uncovering secret recordings of the aforementioned godfathers of Welsh Power Pop. They also made a single which contained two songs by Paul McCartney, Band on the Run and Bluebird which are included in the collection. And they sound great. But it seems to me that their original songs were of such a high quality that they didn't need to cover bands they admired. Though their Dear Sally does sound in parts like The Beatles song Oh Darling!!! I particularly like the Spanish songs like Lo Mas Grande que Existe en el Amor, or Soy Timido.
The band was Saul Cornejo-guitar, Manuel Cornejo-drums, Ernesto Samame-bass, Felix Varvarande-keyboards, and Carlos Guerrero-vocals.
We All Together was only together for a few years, but managed to release these singles and two albums, We All Together and We All Together 2. The first album was reissued by Lion Productions in 2007, and another label has reissued it this year with bonus tracks. Let's hope that the second album is also in the works.
Overall, the band is very accomplished musically, and Carlos Guerrero has a great voice, but ultimately the songs are pretty derivative. But I would be lying if I didn't say that I really liked this album. Any fan of the Beatles, Badfinger, or a nice pop song would enjoy this album.
Friday, November 22, 2013
La Dusseldorf--Viva---A Very Very Powerful Motorik and a case for Telefunken.....
I have been listening to the first two La Dusseldorf albums for the past week. They are an experimental electronic group from Dusseldorf, Germany from the 1970's, and two of the members were in the group Neu! Klaus Dinger wrote the songs. I won't use the stupid term given for this type of music. I'd much rather call it Telefunken, which is a name I saw on the back of Viva. I like the way that sounds, stylish and cutting edge. And funky. Actually, in reality I think it is the name of German company that produces very high-end microphones.
I bought Viva, the 2nd album, a few years ago, and it, like its eponymous predecessor basically took my world by storm. Though I listen to all types of music, some of the more highly lauded electronic groups just don't grab my interest. But La Dusseldorf plays some incredibly audacious music. When this music first came out it must have been even more eventful, because when listening to this today its very evident how influential these guys have been to bands I am very familiar with. And not just electronic music, but rap, punk, and movie soundtrack composition. What I mean to say is, when I first heard them I felt I had been here before, but of course, that was not the case at all.
But to be clear, a jazz group might attempt to emulate Ornette Coleman, but the results might turn out a little different. La Dusseldorf is that sort of special. There are imitators, but I don't know of anyone who could do this better. People more schooled in electronic music would probably have a few names for me, of course.
First of all, I was immediately struck by the upbeat, almost joyful demeanor of the songs on Viva. I don't want to overgeneralize, but there is a lot of glum electronic music and certainly when I became a music fan, there was a lot of obsessing over people becoming machines and machines becoming people. This music has an organic looseness and funkiness to it that is extremely appealing.
Secondly, without trying to overstate things, repetition in electronic music is not an uncommon thing.
Throughout these records, the music changes in inventive and artistic ways. The songs never gets boring, even on the lengthier numbers, and the music is downright swaggeringly aggressive in places. I am always surprised and disappointed when the album seems to end so abruptly.
Thirdly, and most significantly, are the drums! The drums and percussion playing here are simply otherwordly. I'm not talking about John Bonham lengthy drum solos. Great drummers have subtlety in their game, Hans Lampe and the Dinger brothers bring It in La Dusseldorf. They have that propulsive drive in the music, "motorik" as it is described, and the contrast between the vivid steady, trance-inducing beat and the music constantly swirling around it, which creates something profound. The beat is definitely the difference maker in this music, what sets it apart.
The 20 minute Cha Cha 2000 which originally must have been the entire vinyl side 2, is apparently an electronic music classic. I like it and I am a person who generally is not a fan of songs dragging along. Between punk rock and doing half hour blues jams in somebodies basement for half an hour made me a proponent of tight editing. It's a hell of a lot nicer to listen to than say, Freebird, which is actually much shorter than this. I mean has anyone ever heard anyone make a sarcastic request for Cha Cha 2000 at a rock concert?
This was again, a situation where I completely underestimated the quality of this music. Though by no means a unknown band, the critical praise they get is completely deserved. So good that I was compelled to open my big mouth about it. Check out the glammy electro perfection of White Overalls which at first listen reminded me of The Clash!
So Viva is my feel-good album of the week. Check it out. And I still like the name Telefunken, so I'm sticking with it.
 |
| Gonna set my soul on fire..... |
I bought Viva, the 2nd album, a few years ago, and it, like its eponymous predecessor basically took my world by storm. Though I listen to all types of music, some of the more highly lauded electronic groups just don't grab my interest. But La Dusseldorf plays some incredibly audacious music. When this music first came out it must have been even more eventful, because when listening to this today its very evident how influential these guys have been to bands I am very familiar with. And not just electronic music, but rap, punk, and movie soundtrack composition. What I mean to say is, when I first heard them I felt I had been here before, but of course, that was not the case at all.
But to be clear, a jazz group might attempt to emulate Ornette Coleman, but the results might turn out a little different. La Dusseldorf is that sort of special. There are imitators, but I don't know of anyone who could do this better. People more schooled in electronic music would probably have a few names for me, of course.
First of all, I was immediately struck by the upbeat, almost joyful demeanor of the songs on Viva. I don't want to overgeneralize, but there is a lot of glum electronic music and certainly when I became a music fan, there was a lot of obsessing over people becoming machines and machines becoming people. This music has an organic looseness and funkiness to it that is extremely appealing.
Secondly, without trying to overstate things, repetition in electronic music is not an uncommon thing.
Throughout these records, the music changes in inventive and artistic ways. The songs never gets boring, even on the lengthier numbers, and the music is downright swaggeringly aggressive in places. I am always surprised and disappointed when the album seems to end so abruptly.
Thirdly, and most significantly, are the drums! The drums and percussion playing here are simply otherwordly. I'm not talking about John Bonham lengthy drum solos. Great drummers have subtlety in their game, Hans Lampe and the Dinger brothers bring It in La Dusseldorf. They have that propulsive drive in the music, "motorik" as it is described, and the contrast between the vivid steady, trance-inducing beat and the music constantly swirling around it, which creates something profound. The beat is definitely the difference maker in this music, what sets it apart.
The 20 minute Cha Cha 2000 which originally must have been the entire vinyl side 2, is apparently an electronic music classic. I like it and I am a person who generally is not a fan of songs dragging along. Between punk rock and doing half hour blues jams in somebodies basement for half an hour made me a proponent of tight editing. It's a hell of a lot nicer to listen to than say, Freebird, which is actually much shorter than this. I mean has anyone ever heard anyone make a sarcastic request for Cha Cha 2000 at a rock concert?
This was again, a situation where I completely underestimated the quality of this music. Though by no means a unknown band, the critical praise they get is completely deserved. So good that I was compelled to open my big mouth about it. Check out the glammy electro perfection of White Overalls which at first listen reminded me of The Clash!
So Viva is my feel-good album of the week. Check it out. And I still like the name Telefunken, so I'm sticking with it.
Sunday, November 17, 2013
The Forbidden Planet Survives!--Somewhere Beautiful--The Chills
I'm So Bloated up Happy.....
As I am an unabashed fan of Martin Phillips and The Chills, in my estimation the ultimate New Zealand band, I am very pleased to mention that the long drought is over. Somewhere Beautiful was recently released on Fire Records.No, its not an album of new material. It is a live album, recorded in 2011 New Year's Eve at a private party. Nonetheless, my instincts told me that anything new by The Chills is a wonderful thing. And I'm enjoying the live disc immensely. You might find some of the vocals a little shouty, but overall Phillips and his bandmates are in great form throughout.
The album has 20 tracks from throughout The Chill's discography (even from his solo album Sketchbook), so it is a nice retrospective of the band. It also includes Canterbury Go!, which must be a recent song. Which seemingly is a portent of things to come.
Because a great sounding new Chills song, Molten Gold, has recently appeared on the Internet, and word is that a new studio album is in the works. But for now, Somewhere Beautiful is a suitable vehicle to tide us over until the rumors are converted to reality. I've always had the utmost regard for his songwriting abilities, but listening to the live album reminded me that the songs are also chock full of inventive creative guitar and keyboard passages.
But if you are unfamiliar with this band, my advice is to buy everything you can get your hands on. I'm still hoping that a remastered version of Brave Words is on the horizon. Though I've always been most partial to Submarine Bells, Brave Words is also a really great album. With a strange hummy mix sound. Some people like this actually, but I know that Martin does not. On the Flying Nun Chills retrospective Heavenly Pop Hits, there are modified versions of a few Brave Words songs. Upon reflection, should a cleaned up version of this album come about, it might very well be in consideration as the finest rock album ever released from New Zealand. I know it's all subjective--and if you have seen this blog before, you know that I have a lot of favorites from Aotearoa.
Just add the Kaleidescope World early singles compilation to the mix, and you have three excellent, excellent albums. Let's hope that Somewhere Beautiful is just the beginning of the resurrection of a rare talent.
Please note: none of the videos I've posted are represented on Somewhere Beautiful.
At Home He's a Tourist...Part 3--The Go--Instant Reaction--Chronicles from the Skinny Tie Revolution
They say you can't keep a good man down, but certainly the adage is not true in musical world.
Take this band from just due south of my neck of the woods, Yonkers, New York--Westchester's biggest city. The Go.
Back in 1980 they released a 4 song ep entitled Instant Reaction, which is no doubt a pretty rare collectors item these days. But overall I wouldn't think that most people remember them. Because that's the last thing that was released by them for a very long time.
Of course, the logical outcome was that their first full length release would come out in 2005 on a Japanese label dedicated to mostly unheralded mod, power pop, and punk pop groups, Wizzard in Vinyl. Its a label that has released a lot of interesting things. And in the case of Instant Reaction, 18 previously unreleased songs are included! These were mostly home recorded. It seems that Wizzard in Vinyl isn't releasing anything anymore unfortunately so invariably releases like this are also becoming collectors items. Which is a shame, because clearly the enterprise must have been a labor of love. Japanese labels like this and 1+2 records have really released some great things.
But to the matter at hand. When I was in High School, I really loved music, hard rock, metal, Beatles, The Who, Beach Boys--what you might expect of a kid in the mid-1970's. But there seemed to be a change on the horizon. Being in the suburbs, we heard about the punk rock, but basically that it was an evil thing, an assault on our musical loyalties! They couldn't play their instruments, there were no classically-trained axemen to gloat about. But of course punk wasn't something you heard on the radio--you had to go get it if you wanted it. And there was a substantial moral opprobrium directed toward the people who embraced the movement. Between Punk and Disco there seemed to be a lot of people wanting to burn things, which even at the time I thought was pretty weird. But what we did manage to hear was a modified version of the new sound, something a little more familiar, more palatable, less confrontational and fractious. "New Wave".
That of course was the new music of groups like Cheap Trick, The Cars, The Knack, The Police, The Records, The Romantics, even Elvis Costello before the Ray Charles incident. And of course, there were groups like The Shoes, and The Nerves who I didn't hear until much later, who spawned the superb bands The Plimsouls and The Beat. But all these artists were part of a disparate movement of sorts. If you've heard the Jordan Oakes Yellow Pills comps, it's evident that this was happening all over the U.S. The skinny tie brigade. I know that it all felt pretty exciting to me at the time, all huge hooks and energy.
And certainly I wasn't the only person who felt this way. There is the old adage about all the bands that were inspired by the Sex Pistols concert in Manchester, but how many bands were inspired by the perfect pop of "Starry Eyes" by the Records, or My Sharona? To my ears, the guys in The Go would fall under that category. While the liner notes indicate that they were big Ramones fans, the music fall more toward the pop variety than punk. In fact the music at times sounds like revved up Buddy Holly tunes.
The Go:
Tom Conte: Guitar, Vocals
Kenny Dutch: Guitar, Vocals
George Peters: Bass, Vocals
Joe Bryo: Joe Bryo
The great thing about the expanded version of Instant Reaction is that the many extras included are extremely worthwhile. Sometimes reissues have additional things included to entice fans who already own the originals to buy the same product again. There is often a common sense reason why the bonus track never saw the light of day. In the case of The Go, I find that I like many of the home made recordings better than the numbers on the 1980 ep. Though they never released anything after the EP, obviously they had aspirations and continued to hone their craft and got better. Even without the full studio treatment, these songs are top-notch power pop tunes.
I wish I had anecdotal information about these guys, but I didn't learn about the band until a few years ago. I certainly never saw them play live. And I didn't buy this recording until I was able to get it at a reasonable price. And I'm certainly glad I did, because this is overall a very solid collection. We get a chance to hear songs like You Wanna Be Like Her, Ricki, Let It Rip, The Girl I Let Go, She's Never Alone, Kerri Tells Me, Come Back Rosalyn, and Too Cool, which might have never seen the light of day otherwise.
The two snippets at the end of the Cd are a real reminder of how things were back then, particularly in the burbs. For a lot of people there was a real line in the sand drawn between the new music and what is now known as classic rock. Stepping across that line could affect your reputation among your peers. Young people are particularly serious about things like this--it's about fighting the good fight to save Rock and Roll from the barbarians (and the BeeGees). One of the snippets is an ad for the Instant Reaction ep, where they state "yeah, its a bit new wave, but give it listen and then decide". Listening before you make snap judgments is always a good philosophy, of course, and not isolated to musical appreciation. If happened to be in a band at that time, maybe you wanted to be part of this new movement, but on the other hand you didn't want it to cost you popularity.
The second snippet is taped from a radio station, when a caller calls criticizing the music of The Go.
He doesn't really like it, kind of sounds "New Wave". More Skynyrd, please. It seems odd today that music like this could be controversial, because it really doesn't sound very different from a lot of conventional pop music of the time. The songs are mostly about getting girls, or losing girls. Of course, in those days punks were walking targets, getting the crap beaten out of them for their appearance, so thankfully times have changed for the better. Mostly.
While I wouldn't call Instant Reaction a desert island disk, it is a very enjoyable collection. I probably picked it up initially because of the Westchester connection, but anybody who loves a good pop song should enjoy this. The Go have actually had a few reunion shows over the past decade, but as far as I know this did not lead to any new recording sessions. Let's hope that there will soon be an easier way for more people to get their mitts on this music. And let's at least give credit to Wizzard in Vinyl for making a recording like this possible.
Take this band from just due south of my neck of the woods, Yonkers, New York--Westchester's biggest city. The Go.
Back in 1980 they released a 4 song ep entitled Instant Reaction, which is no doubt a pretty rare collectors item these days. But overall I wouldn't think that most people remember them. Because that's the last thing that was released by them for a very long time.
Of course, the logical outcome was that their first full length release would come out in 2005 on a Japanese label dedicated to mostly unheralded mod, power pop, and punk pop groups, Wizzard in Vinyl. Its a label that has released a lot of interesting things. And in the case of Instant Reaction, 18 previously unreleased songs are included! These were mostly home recorded. It seems that Wizzard in Vinyl isn't releasing anything anymore unfortunately so invariably releases like this are also becoming collectors items. Which is a shame, because clearly the enterprise must have been a labor of love. Japanese labels like this and 1+2 records have really released some great things.
But to the matter at hand. When I was in High School, I really loved music, hard rock, metal, Beatles, The Who, Beach Boys--what you might expect of a kid in the mid-1970's. But there seemed to be a change on the horizon. Being in the suburbs, we heard about the punk rock, but basically that it was an evil thing, an assault on our musical loyalties! They couldn't play their instruments, there were no classically-trained axemen to gloat about. But of course punk wasn't something you heard on the radio--you had to go get it if you wanted it. And there was a substantial moral opprobrium directed toward the people who embraced the movement. Between Punk and Disco there seemed to be a lot of people wanting to burn things, which even at the time I thought was pretty weird. But what we did manage to hear was a modified version of the new sound, something a little more familiar, more palatable, less confrontational and fractious. "New Wave".
That of course was the new music of groups like Cheap Trick, The Cars, The Knack, The Police, The Records, The Romantics, even Elvis Costello before the Ray Charles incident. And of course, there were groups like The Shoes, and The Nerves who I didn't hear until much later, who spawned the superb bands The Plimsouls and The Beat. But all these artists were part of a disparate movement of sorts. If you've heard the Jordan Oakes Yellow Pills comps, it's evident that this was happening all over the U.S. The skinny tie brigade. I know that it all felt pretty exciting to me at the time, all huge hooks and energy.
And certainly I wasn't the only person who felt this way. There is the old adage about all the bands that were inspired by the Sex Pistols concert in Manchester, but how many bands were inspired by the perfect pop of "Starry Eyes" by the Records, or My Sharona? To my ears, the guys in The Go would fall under that category. While the liner notes indicate that they were big Ramones fans, the music fall more toward the pop variety than punk. In fact the music at times sounds like revved up Buddy Holly tunes.
The Go:
Tom Conte: Guitar, Vocals
Kenny Dutch: Guitar, Vocals
George Peters: Bass, Vocals
Joe Bryo: Joe Bryo
The great thing about the expanded version of Instant Reaction is that the many extras included are extremely worthwhile. Sometimes reissues have additional things included to entice fans who already own the originals to buy the same product again. There is often a common sense reason why the bonus track never saw the light of day. In the case of The Go, I find that I like many of the home made recordings better than the numbers on the 1980 ep. Though they never released anything after the EP, obviously they had aspirations and continued to hone their craft and got better. Even without the full studio treatment, these songs are top-notch power pop tunes.
I wish I had anecdotal information about these guys, but I didn't learn about the band until a few years ago. I certainly never saw them play live. And I didn't buy this recording until I was able to get it at a reasonable price. And I'm certainly glad I did, because this is overall a very solid collection. We get a chance to hear songs like You Wanna Be Like Her, Ricki, Let It Rip, The Girl I Let Go, She's Never Alone, Kerri Tells Me, Come Back Rosalyn, and Too Cool, which might have never seen the light of day otherwise.
The two snippets at the end of the Cd are a real reminder of how things were back then, particularly in the burbs. For a lot of people there was a real line in the sand drawn between the new music and what is now known as classic rock. Stepping across that line could affect your reputation among your peers. Young people are particularly serious about things like this--it's about fighting the good fight to save Rock and Roll from the barbarians (and the BeeGees). One of the snippets is an ad for the Instant Reaction ep, where they state "yeah, its a bit new wave, but give it listen and then decide". Listening before you make snap judgments is always a good philosophy, of course, and not isolated to musical appreciation. If happened to be in a band at that time, maybe you wanted to be part of this new movement, but on the other hand you didn't want it to cost you popularity.
The second snippet is taped from a radio station, when a caller calls criticizing the music of The Go.
He doesn't really like it, kind of sounds "New Wave". More Skynyrd, please. It seems odd today that music like this could be controversial, because it really doesn't sound very different from a lot of conventional pop music of the time. The songs are mostly about getting girls, or losing girls. Of course, in those days punks were walking targets, getting the crap beaten out of them for their appearance, so thankfully times have changed for the better. Mostly.
While I wouldn't call Instant Reaction a desert island disk, it is a very enjoyable collection. I probably picked it up initially because of the Westchester connection, but anybody who loves a good pop song should enjoy this. The Go have actually had a few reunion shows over the past decade, but as far as I know this did not lead to any new recording sessions. Let's hope that there will soon be an easier way for more people to get their mitts on this music. And let's at least give credit to Wizzard in Vinyl for making a recording like this possible.
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