Well, this is a good way to start the day: I opened my email this morning and there was a video from "toy-pop" composer Pascal Ayerbe. As with so much of this instrumental toy/everyday objects music being made lately, this tune is inventive, melodic and charming - sweet without being corny. But this revealing video shows us how the man actually goes about constructing this music, toy by toy. This song is from a forthcoming album, to be released this November.
France seems to be a hotbed for toypop and toy composers, e.g.: apart from Mr. Ayerbe, they've also produced Klimperei, and Pascal Comelade; the whimiscal constructions of Pierre Bastiens, and the "infantile naivety" of Thiaz Itch may not use toys, but share a similiar child-like aesthetic. (And La Rainbow Toy Orchestra are from nearby Spain.) I wonder if any of them have kids? "Daddy, I wanna play with my toy piano!" "No, can't you see I'm working, get outta here!" "WAAAAHHH!"
"Heart Of Stone," a 6-song free download ep by 19-year-old Australian rapper Justin Lampson aka J-Rocc, is one of the most amazing things I've heard lately. Anyone with the slightest interest in outsider music will want to take an immediate listen. After all, you don't hear someone with cerebral palsy rapping too often. J-Rocc (not to be confused with the similiarly-named Beat Junkies dj) speaks and raps slowly, and with great difficulty. I didn't even understand much of what he said at first. Not until the second song was I able to pick up on his lyrics. But he genuinly does have more flow then some rappers I've heard. And he has something to say, kickin' straight positivity, even as he faces some harsh realities. No bitches 'n' bling here. The Syndey hip-hop scene really came thru - the beats are fresh, and the guest emcees who join him on a few songs don't make a big deal about his condition. With a refeshing lack of well-meaning, but ultimately condescending cheerleading/pitying, they simply treat him like he's one of the gang.
That's Tjupurru posing with J in the pic. We wrote about his odd excursions into avant-funk didgeridoo music a while back.
Here's some real "underground music," har har! Put on your lantern helmet and repel with me down into Luray Caverns, Virginia, where an
engineer named Leland Sprinkle noticed that striking the cave's rock formations
produced musical tones. So, in 1954, he conceived of an organ with little
hammers that strike a hollow rock when the organ's keys are depressed. It's
quite musical, though with a limited sonic palette. Rather then the usual pipe
organ bombast, the Stalacpipe Organ ("The World's Largest Musical Instrument!") is quiet, ghostly. The reverberating splashes of dripping water
in the background sounds like sporadic electronic percussion, adding to the ambient feel.
In 2001, United States Naval Academy chapel organist Monte Maxwell recorded a cd full of popular, classical, gospel, and American patriotic standards played on the Organ. Four-and-a-half years ago, when the album was still in print, I posted one song from it, but as it has apparently fallen into a deep cave, here's the whole dang deal:
Last year I posted 10 albums, one a week, by the late, great Los Angeles loony Zoogz Rift and his Amazing Shitheads. Our best-est new pal in the world myxsoma has sent us eight, count 'em, EIGHT more albums from the mad genius, including some tracks from his hopelessly rare (and awesome) first album.
Tho he's usually considered to be a disciple of Zappa and Beefheart, Rift himself has said that it's more complicated then that: throw in The Bonzo Dog Band, punk, free jazz, retarded novelty records, avant-classical, etc., etc. The hilarious, crazed, uninhibited nature of His Zoogzness can't readily be compared to anyone else.
WARNING: some tracks are missing from the earlier albums. These are not all complete, at least not the first two or three albums. And it's all 128kbps. But I'm not complaining at all - it's still a whopping 6 hours of music, and it all rules. Some of these were cassette-only releases that Zoogz didn't want to re-issue when he went big time (by indie standards) signing to SST Records. I have no idea why. It's all really, really good, with every album flying off into myriad, highly original directions - from blues played on xylophones, to crazed rants, to atmospheric instrumentals. Some individual songs, however, were rescued from these tapes for his more high-profile album releases, so there are a few (but not a lot of) duplicates if you downloaded all those other albums.
Zoogz1: INTERIM RESURGENCE (1985), VILLAGERS (1992) Zoogz2: from WITH NO APPARENT REASON (1976), MUSIC SUCKS (1982) Zoogz3: FIVE BILLION PINHEADS CAN'T BE WRONG (1996), SCHOOL OF THE CRIMINALLY INSANE (1999) Zoogz4: BOHEMIAN BUDDHA (2000)
Zoogz5: BORN IN THE WRONG UNIVERSE (2003) + a 45 minute long track from "school of the criminally insane" that I couldn't fit onto 'Zoogz3.'
Much thanks to myxsoma - go check out his lovely music, videosfor his music, his nutty YouTube channel, and dig the video (right) he posted of Zoogz' song "Bowl of Gregmar" featuring a photo autographed by the man himself.
Got some exciting Bob Vido news: a cache of paintings and other personal items of this legendary Los Angeles outsider musican/artist/writer/ philospher has been discovered in a storage facility, and YOU can be the proud owner of one of his paintings. Who wouldn't want a painting of a sofa by the composer of "Girls Delight"? But I'll let Ric tell the story:
Provenance: I had never heard of Bob Vido. This was found art. Of interest to fans of Vido’s music, there also was a bound notebook entitled "Bob Vido Songbook" "All songs Old and Original" dated August 04, 1977, with the names of 15 of songs on the front: Felicia, No Squeeze Banana, Josephina, El PWA, Great Caballero, Oh Babe, etc etc. but unfortunately the pages inside had been removed.
I also found a hand-made sign advertising a Bob Vido show, admission price one dollar, “Vidofilm, with music, Lecture-Discussion, Vidology, Rhizology, Astrology, Technology & Ecology!" And while it is apparently the subject of debate as to whether he ever performed his music to a live audience, it would appear that he intended to put on a show with music, though it is unknown to me if the show ever took place.
I have enjoyed learning something of the history of the man and his art and music. The art is currently for sale on eBay. I hope that there is some interest in these items. thanks, Ric
Unfortunately, the songs listed above appear to have been lost - their are no songs by those names on his album. And the painting of a girl with a third eye in her forehead entitled "Venusian Girl" (!?!) has been sold. Also, sadly, the excellent bobvido.com website appears to have bitten the dust.
Ric sent me pictures of his haul, and I saw the flyer for his performance mentioned above. Zooming in on it I see that the address where this stupendous event was to have taken place was 924 1/2 N. Serrano here in L.A., which I'm guessing was the small Hollywood bungalow where Vido lived for most of his life. If he did in fact perform, it must have been for a very small crowd. If there's ever a MusicForManiacs roadtrip one day, that'll certainly be on the itinerary...
UPDATE 6/19/12: Jonathan Ward, Vido's discoverer and the man behind the now-dormant bobvido.com site, tells us that "I have Vido paintings of both of the two women shown in the paintings that this fellow's auctioning. I would imagine that he was copying them from photos, or using them as examples of his talent" and that he knows of only two copies of Vido's album: "...mine, and one overseas. And a guy in Florida found a 1-sided version of the LP with a similar (but slightly different) cover, indicating that Bob did multiple pressings of his masterwork." He also hopes to put up a new 'n' improved Vido website one of these days.
I don't know what happened to my downloaded copy of the Vido album (on some old hard drive somewhere, I hope) but here's a couple mp3s of his classics, courtesy of WFMU's old Incorrect Music show, and Otis Fodder's 365 Project:
"The Mad Musical World Of Mel Henke" reads the cover of this classic bit of Space Age Bachelor Pad Music. 'Mad' is putting it politely - the blaring jazz, leering lyrics, rude sound effects, and general 'Playboy' Party Jokes feel to the whole thing makes it as far out as you could get for 1962 without crossing over into Lenny Bruce territory.
Needless to say, it's a wildly entertaining album, with futuristic hi-fi sounds bouncing all over your stereo system. Henke knew how to get your attention - he made his name in advertising, composing snappy jingles like "See The USA In Your Chevrolet." You may now be saying, "Yo Fab, if this album's so great, why haven't other blogs posted it?" They have, my cyber-chums, they have! But not with the bonus tracks from the Scamp Records 1997 re-issue. See, that's why I rule and they drool I felt that it was okay to post my copy here.
Weirdly enough, that's not Henke pictured on the album cover - it's actually San Francisco radio dj Tom Donahue. According to the liner notes by Brother Cleve of Combustible Edison (hey, remember them?), it was a "bizarre marketing move...undoubtedly hoping for airplay in return."
Mel Henke - " La Dolce Henke" After clicking the above link, scroll down for a choice of downloading options.
You may have to wait a few secs.] 1. The Lively Ones 2. Walkin' My Baby Back Home 3. The Twisters 4. Let's Put Out The Lights 5. Open The Door, Richard 6. Farmer John 7. Last Night On The Back Porch 8. It's So Nice To Have A Man Around The House 9. All That Meat 10. You're Driving Me Crazy (What Did I Do?) 11. Baby, It's Cold Outside 12. Woman In Space [dig the "ethereal sound of Elliot Fischer's electric violin"] BONUS TRACKS: 13. William Tell On The Hoof 14. Old McDonald Had A Girl 15. Exotic Adventure 16. See The USA In Your Chevrolet [instrumental version; check Dinah Shore singing in the vid below]
Another odd bit of musical obscurity...I've been using this pic for a background for a while:
not really knowing what that large, strange stringed musical instument was. But thanks to valuable info submitted to us byOutaspaceman, I can tell you that it's a bass banjo, and that there used to be groups like Raymond and His Famous Banjo Band, a seven-banjo (!) British combofeatured in this video of a 1937 performance:
HERE's another video of the group that, to my surprise, did not play bluegrass, but rather, some peppy marches. The banjo was a black American instrument, based on African stringed things like the kora, and was adopted by white hillbilly musicians. I had no idea that, at some point, it made it's way over to the UK and joined the music-hall scene, being utilized in ways utterly apart from American traditions. Learn something new every day, eh, what?
This 1995 album, the second by American experimental composer David Shea, is constructed entirely out of samples played live. Yep, no computer mashups here - he would trigger the samples on a keyboard, and could actually perform these pieces in concert. The sources are mostly instrumental, and range from classical orchestras to Indonesian folk jams. And that's just the first track.
The two tracks that use classic cartoon sound effects and music, "Screwy Squirrel," and "Tex" (named for animator Tex Avery), are what really made me want to seek out this album back when I read about it, but really, I was looking for any sound collage music. It was hard to find in that period between The Great Copyright Clampdown of the early '90s and the turn-of-the-century post-Napster free-for-all. I would tape hip-hop dj mixes off the radio, or send away for John Oswald and Tape Beatles mail order cassettes. (Ah, the lure of forbidden fruit!) I don't recognize much of these samples, tho, so maybe that's how Shea was able to get away with releasing this.
But to give you idea of what's going on here, the track "Trio III," for example, features what sounds like traditional Middle Eastern chanting being brought startlingly up-to-date by a pounding techno drum beat. Then it gets all groovy '60s organ-a-go-go on us, before a jazz band crashes in, all honking sax and walking bass, and takes us to a tropical lagoon with some Martin Denny-ish exotica. And so it goes. Pretty dense, ADD-riddled stuff.
A song written by an old conservative politician called "America Rocks"? Sung by a bunch of unknowns riding on the coattails of their famous older relatives? A "rock" song as slickly produced as an advertising jingle? How can it miss?!? Happy Election Day, America!
Jens Peterson Berger of the great Swedish bandOriginalljudethas built a crazy contraption that puts a new spin on the term "drum machine" - this ain't no TR-808, folks, but a large robotic acoustic drum playing thingie (I want!), as demonstrated here:
Which is then joined by an orchestra for some lovely robo-classical musics:
Another fine example of human musicians jamming with homemade gizmos, a la Frank Pahl, and Pierre Bastien.
The first "Cover The Earth" collection we posted here a couple of weeks ago has been quite the success - twice as many downloads as usual for these parts. And since some of you nice maniacs out there have been emailing me mp3s and suggestions for other foreign/ethnic cover tunes, I was inspired to dig thru my cd archives and come up another volume. And this batch is really nuts, more out-there then Vol. 1, I'd say, sometimes veering pretty far from the originals. The versions of "Love Is Like An Itching In My Heart" and "Imagine," in particular, are especially retarded.
Ingredients: a version of The Champs' "Tequila" by an out-of-control Indian wedding brass band; "Rock Around The Clock" played on a Spike Jones-like honk-horn novelty instrument (pictured right); two salsa artists (Celia Cruz, Manny Manuel) who start off fairly faithful to the originals, apart from singing in Spanish, before pushing the songs into Afro-Latin territory that has nothing to do with the original songs; a Frenchy version of "Witchy Woman" on musical saw (just about the only way I can take The Eagles); lots of Beatles, inc. a small taste of the zillions of Beatles covers recorded by Jamaican reggae artists in the Sixties; more Tuvan throat-singing; an early-'80s Dutch track (RTC) that would have fit on one of my "New Wave Covers" collections; and "Purple Haze" on bagpipes. What more could you ask for?!
Tho I've writtenaboutErgoPhizmiz numerous times in the past, I can't even begin to fully immerse myself in the brilliant British eccentric's ouvre: the guy seemingly releases an album a month. I don't know if even he's heard all of his albums. So forgive me if I'm a little late to this party, tho I am familiar with some tracks off this 2010 collection - some of the songs, like the catchy opening ode to the scaly anteater "Pangolin", were from a collection he did with performer/scientist Irene Moon.. Yeah, I remember that one, good stuff.
Singing about scaly anteaters - that should give you some insight into Ergo's world. Many of these songs meet your basic pop music requirements - short, catchy, sometimes even sing-along-able. But they are experimental, of no known genre, and loaded with British whimsy. Banjos and kazoos merrily carouse with electronics, and old sampled records do the cha-cha with cartoonish sound effects. On "Daruckatekarte," glass bottles are struck to sound like gamelan over a head-nodding beat. The title of "Rock Me With Your Love" might sound like a bad '80s hair-metal song, but it's actually a sorta-bhangra banger with quoteably silly lyrics. It's followed by a lovely song for overdubbed violins, a kind of crude garage take on '60s baroque pop, a la The Left Banke. "Valse for Lydia" throws Groucho Marx samples over classical music, mixed with noisey beats. "Fuck The Free World" is downright funk-ay, even as it samples the voice of a woman talking about the voices in her head. And on and on...
Get your FREE download album here, courtesy of the wombnet label:
Does what it says on the tin: Beatles songs played only on toy instruments. You may find this charming, or cloying and annoying. Maybe both. I actually have another "Snoopy's Classiks On Toys" album by the same culprits behind this, an all-instrumental Christmas album, but I haven't posted it here - it's kinda bland. Nothing like having the occasional off-key moppets screeching, as this one does, to wake things up.
Yeah, it's those same Beatles songs you've heard a million times - but it's toys! None of this has anything to do with Charlie Brown & Co., near as I can tell. Just a marketing angle, I guess. The cats behind this are French-Candian composers who have actually done some fairly serious classical-type stuff. Tho this is probably just a commercial "rent gig" to pay the bills, it can work nicely, e.g.: "Here Comes The Sun"s arrangement for toy piano, xylophone, and chimes, among other sounds.
1. Intro 2. Do You Want To Know A Secret? (Vocals) 3. Blackbird 4. Yesterday 5. When I'm Sixty-Four 6. Penny Lane 7. Here Comes The Sun 8. She Loves You (Vocals) 9. Fool On The Hill 10. Here, There, Everywhere 11. Help! 12. A Hard Day's Night 13. Yellow Submarine (Vocals)
British comic Mike Belgrave has an entertaining series of short videos about outsider and strange musics. Even if you know all about this stuff, they're worth watching for the presentation - he's quite enthusiastic, and throws in funny visuals. Stop what you're doing and feast your eyeballs on these, you'll love 'em. Episode one is the basic background, and mentions Wesley Willis, Irwin Chusid, and misguided sitar covers:
Thanks to RadioClash for the tip, and thanks (?) to VideoPate for sending this atrocity our way: an elderly Xian hippie/Santa Claus type in Ventura County, CA, in an amazingly slickly-produced video (where'd he get the money?) repeatedly asking "What's happening in the world today?" and, not getting an answer, keeps asking for five agonizing minutes. Catchy tune, and hey, dig those kazoo solos! John David Orvis is his name and apparently there's a whole album of his out there.
But it doesn't get much better/worse then this bit of jaw-dropping horror, dumped on the world only last week. I think the title of this song says it all: "Thank You, Facebook."
"I'm tagging you, you're tagging me, we're making history."
As an addendum to the "Cover The Earth" post of bizarre international versions of your favorite oldies, here are various rock remakes recorded over the years by The Ukrainians. Peter Solowka, one of the members of the popular '80s/'90s British combo The Wedding Present, is of Ukrainian descent, and picked up on the music from his father. He hooked up with musicians from the old country to play Ukrainian folk music, but then threw in some covers relevant to his present condition as a rocker living in the UK. And it is some crazy stuff. No wimpy hippie folk music here, thanks to the occasional addition of some of Solowka's old Wedding Present buddies injecting some rock'n'roll energy into the mandolin-and-fiddle based tunes. By the early '90s, Solowka had quit the Wedding Present to make the Ukrainians his full-time gig.
Included here: the entirety of the "Pisni Iz The Smiths (Songs Of The Smiths)" ep from 1992, Sex Pistols and Velvet Underground covers from a 1993 live album, a 1996 Kraftwerk cover commemorating the 10th anniversary of the Chernobyl disaster, and two Pistols covers from a 2002 single. (They also have a 3 song single of Prince covers that I haven't found a copy of yet. Anyone?)
*smacks head* Ah, durn! I forget to include Googoosh's berserk Iranian assault on Otis Redding/Aretha Franklins' "Respect" on the first "Cover The Earth." So here 'tis, as a most thoroughly non-Ukrainian bonus.
1. Batyar (The Smiths - 'Bigmouth Strikes Again')
2. Koroleva Ne Polerma (The Smiths - 'The Queen Is Dead')
3. M'yaso Ubivstvo (The Smiths - 'Meat Is Murder')
4. Spivaye Solovey (The Smiths - 'What Difference Does It Make?')
5. Anarkhiya (Sex Pistols - 'Anarchy In The UK')
6. God Save The Queen(Sex Pistols) 7. Pretty Vacant (Sex Pistols) 8. Chekannya (Velvet Underground - 'Venus in Furs')
9. Radioactivity [Orthodox mix] (Kraftwerk)
BONUS:
10. Googoosh: Respect
There are lots of foreign-language covers out there, but what really intruiges me is when non-Anglo/Americans approach the material from their own ethnic/cultural background. Sometimes it's kinda clueless, like the South African group who sound like they really don't know their rockabilly (tho I'm sure they know rock better then most Americans know mbaqanga), while others are clearly going for a cross-over audience, e.g. the "chutney" version of Arrow's soca classic "Feelin' Hot Hot Hot": East Indians go to the West Indies. I'm pretty sure the Bappi Lahiri track was no more then the prolific Bollywood composer finding himself short on material and thinking no-one would notice if he ripped-off some Western oldies, but Tuva's Yat-Kha, on the other hand, apparently is a big fan of Western pop, and performing it in his "throat-singing" style seemed like the natural way to go - a tribute to his boyhood favorites. And Panta Siklja Nafta might be the first reported sighting of Serbian outsider music.
Plenty here were done simply to cash in on the teen rock market that emerged across the world by the 1960s. Jah Division, and The Ramones bossa, and steel pan covers are just good old-fashioned gimmicks, but fun ones, and The Dragons have even been accused of being somewhat of a hoax - their release, covering the likes of The Sex Pistols and the Rolling Stones - was supposedly smuggled out of China after the band overheard Western music on Hong Kong radio, but some have levied the accusation that they were, in fact, Chinese folks living in France at the time, and a smart-aleck record label put them up to the task. Who knows - the Pistols on traditional Chinese instruments sound amazing, and that's all I care about.
"My friend and I decided to try to make a band where all the songs were about specific horror movies. We named ourselves after an Ed Wood movie and decided to record everything in one take, almost always making everything up after the record button was hit. In the spirit of Ed Wood, "Second take? Why?" By the third record we were incorporating our own movie ideas into the lyrics."
Two free albums that sound good played at the same time:
Dr. SETI (aka Dr. H. Paul Shuch) sings songs about his namesake and day job, the Search For Extra-Terrestrial Intelligence. Book him for your next party! He considers himself a singing ambassador for the hunt for little green men, and his acoustic folk tunes, some parodies of oldies like Patsy Cline's "Crazy" or John Denver's "Take Me Home Country Roads," are brimming over with not only his deep faith in the existence of aliens, but with endearing enthusiasm, and an endless parade of hopelessly obscure inside references.
Id Loom's newly released album "Sonic Bungalow" is fascinating aural sculpture, a 19 track exploration of haunted abstract electronica with no beats, lyrics (except for a sampled voice on the last track), or traditional song structures. The "song" for sampled doorbells is particularly brilliant. We first mentioned Id Loom when we included a track from a different album here.
Although both collections stand on their own, I thought that they sounded like a natural pair when played together - songs about outer space accompanied by appropriately spacey sounds.
Just in time for Cinco de Mayo, here's a few tracks from L.A. bands playing...punk mariachi? How is such a thing possible? One style is electric, fast 2/4 or 4/4 beats, hard drumming, modern, angry and cynical, and originally sung in English; the other is seemingly the complete opposite: acoustic, slow, in 3/4 time, no drums, traditional, and sentimental. Well, you may be a rock'n'roller, but if you've grown up in Los Angeles, you're part Mexican, even if you're not. (Like how Lenny Bruce said that everyone in New York is Jewish, even if you're not.)
L.A. rock has pretty much always been influenced by Mexican folk music. Apart from actual Latino acts (Richie Valens, El Chicano, Los Lobos, etc), non-Latino rockers have sported south-of-the-border influences since at least the days of The Champs' "Tequila" and beach-party bands like The Surfaris, whose "Latin Beat" is one of my faves; Dick Dale plays a mean mariachi trumpet when he isn't guitar shredding. And it's gone from the '60s (Love's "Alone Again Or"), the '70s (War), the '80s (The Minutemen's "Corona") right up to this loco bunch:
- Carne Asada "Cielito Lindo": White punks on jokes; this is their (piss-)take on the most famous mariachi standard, "Ay Ay Ay;" from their album "Full Contact Mariachi." Muy silly!
- Mariachi El Bronx: "Litigation," & "Clown Powder;" two from actual hardcore band The Bronx (Angelenos despite their name) who made a sincere transformation into mariachi, replacing electric guitars with horns; even tho they've retained drums and English lyrics, it's still hard to believe that these moving songs are by the same guys I saw convincingly play Black Flag in the Darby Crash/Germs bio-pic "What We Do Is Secret."
- Los Super Elegantes "Por Que te Vas": this co-ed crew was the first band I heard use the term "punk mariachi," but in a tongue-in-cheek way, I'd say - it's more like bilingual indie pop. Mi mucho gusto this tune.
- Metalachi "Breaking The Law": I wrote about these heavy metal pranksters back in 2010.
- Mariachi Rock-o "Ben": This isn't rock, this isn't even really mariachi; it is pure kitsch; from their ridiculous album "Sonidos de Jalisco," featuring remakes of classics by Bowie, John Lennon, the Eagles, Marvin Gaye, and this cover of Michael Jackson's touching ode to a killer rat.
"Chaos Atlantis is a real-time sonification engine, a program that converts ocean-marine data into sound. It is currently using data generated by NOAA buoy 46059 located off the coast of Northern California. This buoy measures several variables including water temperature, air temperature, wave height, wind speed, and much more. These numbers are used to control the parameters of Chaos Atlantis. For example...wave periods determine which synthesizers are used to make sound. The speed at which new sounds are created (tempo) is controlled by the wind speed. The frequency or pitch of a tone is controlled by the water and/or air temperature. The many permutations of these variables create an ever changing soundscape that is both fascinating and unpredictable. An excerpt [for listening or downloading - ed.] is posted at my soundcloud page here:"
So writes Missoula, Montanta's Ed Wrzesien about this intriguing project that doesn't sound particularly oceanic, but does sound plenty lovely, in a sci-fi ambient electronica kinda way. John Cage used to talk about removing the composer's ego from the music, to let music be itself, and on this, the 100th anniversary year of his birth, I like to think that he would have really enjoyed this, and the Sun Boxes we wrote about last November, as this is music not hemmed in by human time constraints or rigid formats, but music that just drifts unpredictably along. As long as there's an ocean with waves, you could potentially listen to this forever (you can listen live on the above-linked Chaos Atlantis site). The "composer" sets the parameters, and lets nature do the rest. And, let's face it, nature is usually a much greater artist than us puny mortals. Other tracks on Wrzesien's Soundcloud page include a piece described as "...a sonification of data representing ice flow over the Ross Ice Shelf in Antarctica" that does indeed sound rather chilly, and a toe-tapper made entirely of sampled sounds of the Large Hedron Collider. Science can be fun!