Showing posts with label zither. Show all posts
Showing posts with label zither. Show all posts

Wednesday, December 04, 2013

Old Friends in the Zither Sound

Yeah, yeah, I know: everybody plays air-zither along with their favorite 'zither heroes,' they even play the Zither Hero video game, the zither-bass-drum lineup has been the standard for decades, and yet here we are again, posting another zither album.  We're so damn trendy. I apologize, because I realize that our culture's obsessions with the zither has made so many other stringed instruments unfairly obscure. Perhaps other instruments have potential, but no-one knows because they're considered uncool? Like the "guitar," a six-stringed instrument of Spanish origin, whose strings are strummed or plucked by hand. Since it's held in the hands instead of being laid out on a table like the zither, it's sure to draw guffaws from the too-hip. Who knows, maybe in some bizarro-world alternate universe, it's the guitar that's the most popular. Nevertheless, this album of fun, peppy, all-instrumental Euro-cheese is another example of why all peoples of the world hail the zither as the King of All Instruments. Zesty percussion, accordion, sleazy electric organ and cool vibraphones add to the belated Oktoberfest (Decemberfest?) festivities.

Peter Schwarz - "Alte Bekannte im Zither-Klang"

A1 Ramona
A2 Down By the Riverside - the familiar hand-clappin' American gospel song
A3 Schöner Gigolo - hey, it's that Louis Prima song, "Just A Gigolo"
A4 Tanze mit mir in den Morgen - love this Latin-a-gogo groover
A5 Bye Bye Blues - one of my fave ol' Tin Pan Alley standards
A6 Estrellita
A7 Wochenend und Sonnenschein
B1 Winke winke
B2 In einer Nacht im Mai
B3 La Paloma
B4 Kann denn Liebe Sünde sein
B5 Das machen nur die Beine von Dolores - Great hotel lounge psuedo-calypso
B6 Das alte Spinnrad
B7 Du schwarzer Zigeuner
B8 Good Night, Ladies

Danke to herr Gene M!

 


Friday, April 05, 2013

I'm Pretty Sure This Blog Posts More Zither Music Than Most...

Gene M., one of our super-swell readers who contributed the lost files of Ruth Welcome's "Zither Magic" album recently, has gifted us with another album called "Zither Magic" that couldn't be more different. In contrast to Welcome's minimal one-(wo)man-band arrangements, old-world folkiness and classy '50s cocktail lounge feel, Karl Swoboda's "Zither Magic" is a big, brassy, fully orchestrated, swingin' Sixties album that reduces the role of the zither to a kind of almost surf-y lead guitar over twist/swim/frug-able versions of hit pop songs.


Don't dread yet another version of "Yesterday" - this one swings like a rusty gate, dad, played at a breakneck tempo that Mr. McCartney probably never envisioned. "Theme From A Summer Place" could be a Dean Martin backing track. A beautifully dreamy "Ebb Tide" takes a break from the craziness to take us on a stroll down a lonely beach. "The In-Crowd" is wild enough to get Twiggy workin' that mini-skirt. Outta sight!

Karl Swoboda - "Zither Magic"

Thanks Gene!

Monday, March 25, 2013

HI-FI ZITHER!

"Zombie Jamboree" has been re-upped, by request. And speaking of requests: I hate to keep asking, but does anyone have the Ruth Welcome "Zither Magic" album I posted here a few years ago? Frequent contributor windy sent me another of her albums, and my review for "Zither Magic" can pretty much be repeated here: 

"Did you know that it was once possible to be a pop star without having to play the guitar? Or with electronic production? You could get a major label deal by playing, say, a zither. Exhibit A: Ruth Welcome, whose 1950s zither albums for Capital Records display remarkable virtuosity...there are no other instruments. She's a one-(wo)man band.

On this album, the bended notes suggest Hawaiian guitars or exotica without actually being exotica or Hawaii
an music. But there is a foreign, if not other-worldly feel to these instros."

This was her first album, and it reflects her then-current status as a hotel lounge performer, essentially making background music.  Not as dynamic as "Zither Magic," but it's still quite lovely, boasting some ace tunes (always liked "Moulin Rouge"), and, in any case, it's an entire album of zither music. A hi-fi zither album, at that. And when was the last time you listened to one of those, eh, eh?! 

Ruth Welcome "HI-FI ZITHER!"


(Thanks to the zither-iffic windy!)

Monday, October 10, 2011

While My Pencilina Gently Weeps


"The pencilina is an electric board zither played primarily by striking the strings with sticks; also by plucking and bowing." And musical instrument inventor/singer-songwriter Bradford Reed is, so far as I know, the world's only performer on this nifty instrument. It's a credit to his songwriting that I didn't know anything about this instrument when I first heard his music - I just liked the song.

Of this 1996 album, the Brooklynite writes, "A strictly live pencilina album. For better or worse I used to have a very purist approach to recording- It must be live. A 50/50 split of instrumental and vocal tunes." Yup, no other instruments - just the one-man-band doing his eccentric thing. Songs range from slightly dissonant,
possibly micro-tonal, plinkety-plunking, to actual catchy tunes. The slightly rough, unaffected singing makes Reed appear to be some sort of indie-rock Harry Partch.

Bradford Reed - "Live! At Home"

This album's going out of print, but he's got more for sale on his site. I recommend "Solo Live Songs" if, for no other reason, the excellent "She's A Rocket." And I can't believe I'm writing about someone from Brooklyn. I'm so trendy! Please forgive.


Friday, July 22, 2011

TOYS VS ROBOTS: THE MAD GENIUS OF FRANK PAHL

UPDATE 7/25/11: album back on line

Frank Pahl is one of the most criminally underrated composers/mad scientists at work today.
And while I still maintain that "We Who Live On L
and," the album he recorded with The Scavenger Quartet that I wrote about a couple years ago, is one of the best albums of the '00s, I do thoroughly enjoy a more recent album of his, "Elementary," with the trio Little Bang Theory.

"Elementary" is performed entirely on toy instruments. It's all instrumental, and
wanders over a fairly wide emotional range - no cute kiddie stuff here (not that I mind cuteness). The song writing is pretty ambitious, with some fairly lengthy "suites", tho with toy instruments you inevitably have a built-in nostalgic sweetness that keeps pretensions at bay. Utterly wonderful stuff, but it's in print, available from his site and elsewhere, so not gonna post it, but I did included a couple songs off it as BONUS! tracks, included with this other excellent Frank Pahl album that doesn't seem to be for sale anywhere.

Frank Pahl and Klimperei "Music For Desserts"

Pahl sez about this 2001 release: "What can I say? This is my favorite. All tracks began with home made automatic instruments. [French group] Klimperei laid down their sympathetic magic and I mixed."

And that's something I didn't realize when I first reviewed
The Scavenger Quartet album: how many hand-built robot instruments are featured in Pahl's music, mixed in with all the strange, often antiquated human-played instruments. Da man plays: "Piano, Piano [Prepared, Prepared Barrel], Organ [Binary Air Quartet, Microcontrolled Air Quartet, Hohner Organette], Clarinet, Tipple, Marimba [Toy], Cello, Guitar [Tenor], Harmonium, Euphonium, Harp [Peacock, African], Flute [Bulgarian], Trombone [Toy], Trumpet [Toy], Bass Drum, Whistle, Ukulele, Ukulele [Automatic, Buzzsaw, Binary Quartet, Family], Zither, Zither [Automatic], Percussion, Percussion [Automatic], Performer [Autoglock, Binary Doorbell Quartet, Washing Machine, Jason Ortega's Auto Chime, Double String Trio, Virtual Pet: Gerbil, Humming Choir Loop, Shrutti Box]." No, I'm not entirely sure what all that means either, but it does give you an idea of how unique this music is, without losing a melodic approachability.

Sunday, December 27, 2009

MUSEUM OF OBSOLETE INTRUMENTS: THE ZITHER

Because: 1) it's the holidays 2) I'll be getting a new computer/internet provider soon; which provider I don't know yet, so I've got that to sort out. 3) Baby Fab will be born in month or so; my life will be a little topsy-turvy for a bit, I imagine.

Did you know that it was once possible to be a pop star without having to play the guitar? Or with electronic production? You could get a major label deal by playing, say, a zither. Exhibit A: Ruth Welcome, whose 1950s zither albums for Capital Records display remarkable virtuosity. Listening to her "Zither Magic" album, one might be surprised to realize that there are no other instruments. She's a one-(wo)man band.

On this album, the bended notes suggest Hawaiian guitars or exotica without actually being exotica or Hawaii
an music. But there is a foreign, if not other-worldly feel to these instros. The zither is played with plenty of energy, but there's still a mellow feel to this album, perfect for holiday cooling-out with a glass of warmed spiked eggnog. And none of it sounds like "The Third Man" theme.

Ruth Welcome: "Zither Magic"

Featuring "It Might As Well Be Spring," "Hawaiian Wedding Song," "Vaya Con Dios," "I Talk To The Trees," and the Dean Martin classic "Memories Are Made of This."

You may not get many groupies playing arena rock with a zither, but at least one contemporary pop combo uses one: Taxi Taxi!, two 19-year-old
Scandanavian sisters on zither and accordian. They have a new version of the American folk standard "My Darling Clementine" featuring their dad on pedal steel guitar that is being used to promote a Swedish clementine fruit drink. Quite lovely, reminds me of The Cowboy Junkies, if anyone remembers them.

Taxi Taxi! "
My Darling Clementine" d

Tuesday, August 18, 2009

THE NEW OLD

I didn't invent the term "antique-garde," but I sure use it a lot lately to describe some of the best new experimental sounds out there. And by "new" I mean "old": inspired by obsolete, forgotten styles and instruments. Case in point: a combo led by veteran Detroit oddball Frank Pahl called the Scavenger Quartet. Pahl plays on such junkshop refugees as the Farfisa organ, banjo, ukulele, euphonium, zither, toys (piano, popcorn maker), and occasionally resorts to digital technology so that he can sample that old circus music maker, the calliope. And doorbells. Yes, doorbells. They're honestly quite mellifluous in Pahl's hands. His fellow band members add horns, reeds, guitar, and all manner of percussion. A high school marching band appears on one song. Not only that, but some of Pahl's mechanical musical automatons are featured here as well.

Which is all well and good, but this would be mere
gimmickry without quality songwriting. Fortunately, the Quartet's got such grand tunesmithery that their addictive second album, "We Who Live On Land," has not left my CD player in weeks. The unusual sounds suggest Harry Partch or Tom Waits, but with an identity all their own, sometimes sweetly nostalgic, sometimes cartoonishly crazy.

Scavenger Quartet: "We Who Live On Land"

The album's artwork and song titles were inspired by another antiquity: a century-old book about sea life.

1. Marvelous Argonaut
2. Crimson Jellyfish
3. Wonderful Nautilus
4. Elegant Mermaiden
5. Fine-Haired Medusae
6. Excitable Sea Porcupine
7. Shy Polyps
8. Savage Sawfish
9. Sea Mirage
10. Gummy Stickleback
11. 6,000 Mureys of Julius Caesar
12. Dreaded Cuttlefish
13. Curious Barnacles
14. Brittle Starfish



Thursday, June 28, 2007

THE HISTORY OF POPCORN

No-one really knows how the song known to millions as "Popcorn" originated. Yes, ancient people, but which ones? Even native American Indians who have performed the song for ages admit that the Great Elders brought them the song. Who were these Great Elders? Indian ancestors? An ancient, forgotten race? Some have even interpreted this to mean that space aliens gave mankind the tune, claiming that no human artistry could produce a song so catchy. In any case, when Western settlers first arrived in America, they heard a version that sounded something like this:

Cab City Combo - Indiancorn

Explorers quickly took the song back to Europe, where it became a drawing-room favorite. The song was known by many names at first, but the phrase "Popcorn," a phonetic version of the Indian words, become the most commonly used.

Trios corpo di Bacco: "Popcorn" (European folk version)

Meanwhile, rural American musicians, upon hearing the Indian versions, started performing the song on folk instruments. It became a hillbilly standard.

Tom Adams "Popcorn" (banjo version)
GlasBlasSing Quintett: "Popcorn" (jug-band version, excerpt)

In Europe, it was spreading from the drawing rooms to the most elegant ballrooms and concert halls. The king of Luxembourg demanded it played at all royal festivals.

Boston Pops: "Popcorn" (orchestral version)

As the 20th Century dawned, New Orleans-based musicians playing a new style called "jazz" adopted it for trumpet. Supposedly, Louis Armstrong would play it, but only after smoking far too many reefers.

Vincent Malone: "Popcorn" (very retarded trumpet version)

Performances of the song were getting increasingly upbeat and danceable. In the Big Band era, it was an a oft-requested dance orchestra number, one of those "songs that got us through World War II."

Tokyo Kosei Wind Orchestra: "Popcorn"

By now, a snack (made from corn kernels) named after the song was becoming popular, and in the '50s and '60s, the youth were going mad for a new hard-driving style called "rock'n'roll." Once again, "Popcorn" was said to be the driving influence behind the movement. Even as greasy-haired rockers proclaimed "Popcorn is the MOST, daddy-o," politicians were investigating the song's powerful hold. Some even declared it to be a Communist plot. But that didn't stop it from being the soundtrack to countless beach parties, toga parties, hullabaloos, and shindigs.

Treble Spankers: "Popcorn" (surf version)

The invention of the synthesizer brought the song a new burst of popularity in the late '60s and early '70s. One electronic music pioneer, Gershon Kingsely, even gave himself writing credit when the song appeared on albums by his First Moog Quartet. Previously, it had been considered folkloric, "traditional."

First Moog Quartet: "Popcorn" (Moog version)

The '80s and '90s brought r'n'b, rap, techno, and reggae dancehall into the clubs. Not surprisingly, "Popcorn" was considered the inspiration: Afrika Bambatta insisted that "Popcorn" was the blueprint for hip-hop. In Chicago, clubs would play the song over and over for as long as six hours each night, waiting for house music to be invented.

RIAA: "Here Comes The Hot Butter" (Ini Kamoze's "Here Comes The Hot Stepper" vs Hot Butter's electro version of "Popcorn")

Even Britney Spears has the song to thank for one of her biggest hits:

Master Cylinder: "Oh Baby, More Popcorn"

"Popcorn" is, of course, still poppin' to this day. This was only a very rough sketch of the song's development. Hopefully, the recently announced Harvard University Department of Popcorn Studies will shed further light on the immortal tune.

(The preceding work of fiction was inspired by the amazingly thorough Popcorn-Song website, which details everything you need to know about the song. WFMU's Popcorn page doesn't have much info, but it does have alot of mp3s.)