MOG - Bartleby's Posts

Intermission

Bartleby — Mon, 23 Jun 2008 23:32:26 GMT

It's time to withdraw behind the curtains and let life step onto the forestage.

I'd like to thank you all for the music and the kind comments you've offered me during the time I spent scribbling on this virtual blackboard.

This Is Not a Post

Bartleby — Tue, 17 Jun 2008 20:26:57 GMT

This Is Not a Comment Box (my hick's homage to Magritte)

Let's Wrestle is a London based-trio who write "shambolic pop songs about sniffing glue, pissing on cars and hating girls. Their tough talking is tempered by them looking like smiley twelve-year-olds. And the violent challenge their name implies is also misleading. They're actually comic nerds who named themselves after a book of David Shrigley drawings."

More info here. — Non-post: copy-paste of this.

Note: The song should be 2 minutes 39 long

Mambo with Gustavo

Bartleby — Sun, 15 Jun 2008 09:30:15 GMT

If Mick Jagger had been a conductor, he would have been someone like Gustavo Dudamel. Yes, the reverse comparison is intentional. This 27-year-old Venezuelan has taken the classical world by storm. Blogs are touting the future Music Director of the Los Angeles Philharmonic as an ultra-charismatic "and hottest — and youngest — conducting property around."

I would normally distrust such hype if it weren't for the BBC Proms Concert he gave at the Albert Hall in 2007 with the Simón Bolívar Youth Orchestra of Venezuela. The program was ambitious enough for any classical ensemble let alone such young musicians: Shostakovich's "Symphony No 10 in E Minor" ("monumental" was Verity Sharp's qualifier of choice) and Bernstein's "West Side Story - Symphonic Dances." But youth knows no inhibition, as the saying goes, and the orchestra proves it with brio.

Just to show you an example of their gusto, here is the second encore. The whole orchestra have put on a jacket sporting the colours of their countries proudly.

To me, this is what joy in music sounds like. — Have a lovely Sunday.

Sexy Coffee and Tea (with a bit of Bootie too)

Bartleby — Fri, 13 Jun 2008 12:55:53 GMT

[Tony Alvon & The Belairs - Sexy Coffee Pot / 2:28]

According to a Dutch proverb, coffee has two virtues: it is wet and warm. It seems to me that the Dutch have forgotten about the brewer too hastily. So if you don't mind, I would like to compose a short panegyric to my cafeinated barista.

A few months ago following a discussion on Spanky Wilson, I happened to hear about a very exclusive compilation called "Funk My Balls." After sampling some incredible grooves off it, I expressed my wish to have "my gonads funked." (The full chatter can be found here). An URL was exchanged but upon hearing that my connection was not good enough for a proper spheric "funkification," my funky sister suggested she would send the globes by post.

Little did I suspect when I accepted her generous offer that I would get 4 CDs filled to the brim with the most incredible grooves this side of the I-net. To ease the operation on the balls, the discs were encased in a handmade digipack covered with the most sensuous sable velvet: "Funk My Balls - Gold Edition" emblasoned in gold letters! — I'm sorry I don't have any picture to post.

That was two months and I did not have the chance to convey my thanks to my funky sister. Now is the time to redeem myself. Hopefully with this clumsy thank you e-note.

I would have loved to show you a picture of a "sexy coffee pot" to go along the high-energy-cafeinated breaks and the Πmp-rolling riffs of Philly's funkiest outfits Tony Alvon & The Belairs (available on "Funk My Balls Vol.4") but I'm sure Bloodtea would have preferred some beauteous bootie instead. [Click here for the excellent entry of Funky16Corners blog on Tony Alvon & The Belairs]

Charles Maurice de Talleyrand-Perrigord once exclaimed about coffee:Obrigado!

Jazzophobia

Bartleby — Thu, 12 Jun 2008 00:59:16 GMT

"How do I loathe thee? Let me count the ways..." could be the title for all the rambling diatribes against jazz offered by my friend D. whenever our conversations turn to the subject of music that I like. (It so happens that I'm quite fond of the music of Satchmo)

To start with, D. doesn't like the straw-hatted-clarinet-and-horn-blowing music which he says must have been the classic form of the genre. — He seems to forget that jazz is not confined within New-Orleans or any precise geography for that matter. But let's not interrupt him while he's "rhapsodising."

D. isn't keen on the celerity of the notes played by each musician trying to outdo his bandmates. What's the fun in a musical joust for brilliance and virtuosity on chord variations if the result is some tangential nowhere? Really, jazz could be more purposeful. He's not against improvisation per se but would rather know where everyone stands (like in classical music for instance?).

D. doesn't care much for fusion or experimentation either. How can you expect people to like your music if you go on and on for 20, 30 minutes or even more? Haven't the Sun Ra, Mahavishnu Orchestra, Pharoah Sanders ever heard of the average attention span? Haven't you realised this is era of instant gratification? — It's an MTV world, give us music clips. We don't want any Panorama!

D. is not particular enthused by singing jazz either. They all sound like bad pop, too much emphasis on melodies not enough on the songs! Also, most singers are too old for anyone to identify with them. Granted, you may have Norah Jones or Jamie Cullum who are young and hip but their music is not "real jazz," is it?...

Believe it or not, I've always found D.'s objections hard to comprehend. If you like music, why would you dislike jazz? – You know they say it's difficult to explain love. Well, I say it is also impossible to understand a person's aversion to the very same thing which you enjoy. I'm aware that his jazzophobia may be very well justified.

Let's face it jazz is not an easily likeable genre. Most of the standards lack a recognisable melody, something easy to hum or whistle — which results in the lack of air time, creating a vicious circle or a jazz ghetto. It is also true that it is a more demanding genre than your average pop music (but aren't the rewards all the greater for it?). Nowadays if at all consumed, instrumental music is also preferred as background music. Strident and/or sudden changes of chord hardly make the best accompaniment to dinners and cocktail parties.

There are many more factors which could help explain D.'s jazzophobia. Key among them is the elitist views on jazz. For instance, mention the name of Michael Bublé. You'll be immediately frowned upon by jazzophiles who'd never call it jazz. "It's not real jazz!" would be their retort. — There's a book entitled "Girls Don't Like Real Jazz" by Walter Kolosky.

Jazz, it seems, has become the preserve of the happy few, who truly understand music. Those who can quote the different musicians on each of the 36 versions of "My Favorite Things" recorded by Coltrane by heart. Being a dilettante, I'm not bothered with such distinctions. I'm glad that people buy Norah Jones's discs because I believe the true music lovers will seek out more about the origins of her songs and the genre in which they're inscribed.

People often make the mistake of wanting to feel the music and then will blame jazz for failing to give them any sensations. They forget that listening is an active act requiring their participation. Only when they commit to it by actively making it theirs will they be able to "feel" the music. There must be an initial spark within for the kindling to burn.

Most of the time, I refrain from counting the ways in which I love jazz as nothing can disgust more than over-enthusiasm. While I appreciate the erudition available on such and such records (recording date, number of takes, musicians and so on), I don't forget these details can also awfully tedious. — I prefer letting the music do the talking. To be more precise, I'll let Thelonious Monk speak for me.

I sincerely believe that "l'appétit vient en mangeant:" by listening to jazz one cannot fail to feel the sound, the sensuousness, the sheer beauty of it and eventually come to enjoy the music. This is the optimistic view on jazzophobia: that someone's tastes can change provided they're curious enough.

If you're so inclined, perhaps will you perceive how Monk plays on his very own beat, "subdividing in so many different ways that where he actually chooses to place the note is played against the implied rhythm." You may also want to check out his solo: a quirky improvisation at times noisy but sparkling throughout. If you prefer, you can also enjoy how Charlie Rouse's sax keeps up with Monk's idiosyncratic metronome...

Now, I will understand if your jazzophobia has grown even stronger after reading this inane screed of mine. I won't blame you. Please do not let my clumsy wording stop from listening to the music. If Monk's "Bright Mississippi" is still unpalatable why not try some Duke Ellington & John Coltrane (in the comments)?

Note:
Thelonious Monk: piano
Charlie Rouse: tenor sax
John Ore: bass
Frankie Dunlop: drums
Recorded 11 Jan. 1962 at the Columbia 30th Street Studio, NY

(PS: For comfort when reading, please view this post on my MOG-page)

Polymeric Montag

Bartleby — Mon, 09 Jun 2008 21:38:03 GMT

[Montag - Softness, I Forgot Your Name / 2:13]

Under normal circumstances, I'm more than reluctant to post up two entries within 24 hours. However when MOG's Minx Maxima says: "I showed you mine, now show me yours! :)" I gladly comply and exhibit my multi-talented Canadian: Montag.

If you don't mind, I will also shamelessly copy her cut-up montage as best as I can

► Montag is German for Monday as in "just another manic Monday" or "I don't care if Monday's blue"
► Montag is Antoine Bédard, a solo French-Canadian musician based in Vancouver, Canada or a Montrealer in Vancouver as per his MySpace page.
► Montag's got the most impressive roster of indie rock assists this side of Dntel (see track list in comments)
► His 3rd album to date, "Going Places" was entirely self-recorded and self-engineered at Montags home studio, Micro Ohne Studio 3 in Vancouver. Adding to his solo-project, Montag assembled an all-star line-up of guest artists including long-time collaborators and friends Anthony Gonzales of M83, Amy Millan of Stars, and Québécois hip-hop artist, Ghislain Poirier.
► Owen Pallett of Final Fantasy provided not the only vocals but also his orchestral sensitivities on "Softness, I Forgot Your Name."
► Blending his voice with Bédard's to create a pillow-soft texture with a cathedral's reverberations, Gonzales also adds his characteristic spacey keyboards to the an acoustic guitar-heavy mix. The blending of natural and electronic instruments, along with the lush soundstage, call to mind Air, though of course it doesn't come over like it was mixed and mastered in a high-end studio. Still, "I Have Sound" holds its own as a sonic treat, and Gonzales' contributions are key.

[Montag - I Have Sound / 4:28] (sorry for the oversized red-button)

More info here and here
You can find a PopMatters review of "Going Places" here and download 2 free tracks off it here

Piano Rose: a Favourite Sound

Bartleby — Mon, 09 Jun 2008 00:03:38 GMT

[Johannes Brahms - Capriccio Nr. 2 in B Minor / 3:14]

Of all the wonders that surround us, it's always the littlest that set me waxing lyrical. Thus, the first rose that bloomed in our garden, or the first rays of sunshine after days of rain never fail to enrapture me. (Apologies for the preciousness)

So there I was, sitting in the sun-soaked garden this morning when from my neighbours' windows notes from a piano came trilling down in my direction. There was something essentially elating about these crotchets and quavers fluttering above me. It is indescribable.

In his self-interview, to the question "What are some sounds you like?" Tom Waits answered among other things: "Piano lessons coming from an apartment window." I can certainly understand why.

I don't have an apartment window to offer you or even a piano lesson for that matter. All I have is this little piece by Brahms and this video from YT (the closest thing to a piano lesson)

Perhaps this would have worked better in the morning...

Selfish Gilrs Stay Thin...

Bartleby — Fri, 06 Jun 2008 14:44:49 GMT

[Fakesensations - Selfish Girls Stay Thin / 3:48]

...discuss.

I know asking you to discuss the obsession for the pre-summer-day dieting may be a bit too much. So those of you who don't feel like starving themselves can win 3 B-Babble Points™ by guessing the name of the plump beauty above. Hint: it's a painting.

Sininen ja Harmaa: Blue and Grey of Water and Sky

Bartleby — Thu, 05 Jun 2008 01:01:21 GMT

[Jean Sibelius - Lemminkäinen in Tuonela (Lemminkäinen Suite, Op.22) / 17:41]

If you ever visit the land of the Finns, you will find it almost impossible not to succumb to the infinite hues of blue that will greet your eyes.

Look up (if the sky is clear) you will see the purest azure. Walk a bit further down that wooded path and you will marvel at the cerulean water of a lake floating in front of you. The colour "sininen" embraces you.

Likewise, it is impossible not to feel the tender folds of nature in Finland. As cliché as it may sound, nature pervades all aspects of life and no other musician has conveyed this symbiosis better than Sibelius.

For the fourth series of our "Suomalainen Kevät,"¤ I will not however invite you to listen to the ode to his country "Finlandia" or his poem to nature "Tapiola." Instead, I propose we listen to what makes Sibelius so special. Let's listen to how he uses sharp motifs, increasing the tension with his ostinatos. How he overlaps rhythmical layers often "alien" to one another to make up his own nature, as it were. Let's listen to the legend of "Lemminkäinen in Tuonela."

While you follow the adventures of Lemminkäinen, you may also want to read about the "Lake Keitele" painted by Akseli Gallen-Kallela, presented above. Click right this way.

(¤ Suomalainen Kevät: Series #1; Series #2; Series #3)

Consequences: a Game of Songs and Titles

Bartleby — Mon, 02 Jun 2008 23:32:26 GMT

[Stereolab - Vodiak / 3:19]

Back in March of this year, a group of musicians (including Beth Ditto, Richard Ashcroft, Sugababes, the Enemy and Pearl Lowe) teamed up to make a musical version of the "consequences game" in aid of the homeless charity Crisis. Each artists would pick up a composition from where the previous ended. (Read more about it here)

I would like to invite you to play the same game but with songs and following the rules below (adapted from these)
Instead of pen and paper, each person picks a song whose title can fit into the "quotes marks" to make a short story the following basic outline:
"Boy's name"
Met"Girl's name"
In/At/On"Place"
He said "What he said"
She said "What she said"
He did "What he did"
She did "What she did"
The consequences were "What the consequences were"

You can either attach your track of choice in the comments below or do a fresh post tagging it "consequences." This means that only the first seven persons can play. However, if you feel like starting your own "consequences" I'll be delighted to join in provided all player's seats have not been taken. As I am the instigator, I will start with Vodiak..

If you're kind enough to accept my invitation, I'll do my best to compile the resulting mix-tape and make it available to everyone.

For the most playful, the painting above is also a riddle. Seven B-Babble Points™ for anyone who can tell me:
—the name of the painter (2 B-Babble Points™)
—the name of the piece (1 B-Babble Point™)
—total number of animals present in the painting (2 B-Babble Points™)
—total number of nuts shown in the picture (1 B-Babble Point™)
—the real sleight of hand (1 B-Babble Point™)
Click here for a higher resolution

Dimanche sous la couette

Bartleby — Sun, 01 Jun 2008 12:57:33 GMT

[Etienne Daho - Mon manège à moi / 3:52]

cover: (slang) a version of a song, esp. one that has become popular in a particular recording, as performed or recorded in imitation of the original or with a fresh interpretation

Here's Etienne Daho's rendition of a classic chanson française created by Edit Piaf for our "dimanche sous les reprises."

Brief info for those who are unfamiliar with the man:
Etienne Daho was a passionate music fan in his teens, listening to records by the French 60's star Françoise Hardy as well as alternative American bands such as Lou Reed's Velvet Underground. Inspired by his musical idols, it was not long before the talented young singer/songwriter from Rennes went on to become a major star in his own right. In the early 80's Daho established himself as the undisputed King of French Pop with catchy modern, melodies such as his classic "Week-end à Rome". (taken from his bio on RFI Musique)
(Photo by gadl © all rights reserved)

Vappu or how to alienate your Finnish friends

Bartleby — Thu, 29 May 2008 22:57:40 GMT

[Leningrad Cowboys - Sauna / 2:08]

From my previous entries¤ on "Suomalainen Kevät" or "Finnish Spring," you may have concluded that musically Finland only deals in broody atmosphere and sullen spirits. That is only one facet of the country's production.

Finland is also the land of 1,000 tangos and other merrymaking such as Vappu on 1st May. It is an occasion for Finns to show their true festive coats and caps. (Read about this tradition here)

Which brings me to one the most playful bands in the world: the Leningrad Cowboys. These two words will suffice to alienate any Finnish friends you may have. Looked down if not loathed by their fellow countrymen, these lads play their rocked up covers of classics with a devil-may-care flair.
Look away now if you don't like "taking the piss."

Leningrad Cowboys - Pretty Fly For A White Guy

(¤ Suomalainen Kevät: Series #1; Series#2)

A Summering Song

Bartleby — Tue, 27 May 2008 15:47:19 GMT

[Addys D'Mercedes - Afro D'Mercedes / 6:12]

Bear with me.

I have a confession to make. It must be said that small talk has always been a tall order to me. — For me chats about the weather mean the conversationalists have reached a point where they have nothing to say to each other (any longer).
Perhaps will you forgive me if you hear the sensuous flow of Addys D'Mercedes's vocals and her rhythmical romps. Her songs are so perfect for those summery saunters or better yet the lazy lounging the Italians in their epicurean wisdom have called dolce far niente.

Perhaps we should better talk about Addys and leave our reclining chairs for a moment. Miss D'Mercedes is a Cuban born singer-songwriter. Currently living in Düsseldorf, she has released a couple of albums which you can stream and buy on her website. What about her sound? Well, I'll let you judge it for yourself.

I don't know about you but I'm considering "summering" in Germany this year. What about you, any summering song in your ears?

All That Shines

Bartleby — Sun, 25 May 2008 23:23:08 GMT

[Au - All Myself / 5:40]

On the periodic table of elements you will find "Au" (aurum Latin for gold) in group number 11 and period 6. Its atomic number 79 (i.e. each gold atom has 79 protons).

On MOG/Rhapsody tags, you will find them as "AU" (see here). On my SteveJobsian turntable, you will find "Au" — pronounce ay-you — under the label "magnetic Melopoeia."

On a map you will find Au in Portland, Oregon (USofA), centred around Luke Wyland. As a matter of fact, it is a collaborative vehicle of trundling troubadours who have created an intoxicating album called "Verbs."

The first leaf I will present to you is a mini concerto for voice and wind instruments entitled "All Myself." It opens with a placid piano providing the bearings for a shaman's voice calling forth the wind of the clarinet at approximately 1'10"... Then ever so gently, the incantation rises and the oboe and tuba enter....

But let me be silent and leave you to listen to the fields of gold of Au.

Kevät Suomessa: Paavoharju

Bartleby — Thu, 15 May 2008 13:04:41 GMT

[Paavoharju - PaavoharHän teki minut autioksi / 4:05]

Spring thaws not only the minds but also the hundreds of thousands of lakes in Finland. The light changes make the air quiver with the soaring sap.

Through the woods, gliding over water lilting murmurs can be heard out of the sylvan silence. This breathing music is the sound that I would like to introduce you to.

Hailing from the castle city of Savonlinna, surrounded by lakes Paavoharju centres around brothers Olli & Lauri Ainala and Jenni Koivistoinen, assisted by members/collaborators Toni Kähkönen, Joose Keskitalo, Johannes Pitkänen, Emmi Uimonen, Jussi Lahti, Lari Lätti, Gabriel Ainala.—I was immediately subjugated by their sonic mixture of "atmospherica" and esoterica when I heard their demo "Hän teki minut autioksi" back in 2003.

Little did I suspect that their witch's whispers would evolve to encompass all influences from folk to Bollywood music and church hymns to dream pop and even musique concrète. Their press book states: "Paavoharju's music is the outcome of long time, intense study of art and literature, dreams, religious despair and living in dark abandoned places."

This syncretism however does not preclude a strong sense of place. Like great Nordic artists, Paavoharju "dig where they stand."
More info here and here.

(Series #1 from my selection of Finnish music can be found here)

Prisencolinensinainciusol

Bartleby — Tue, 13 May 2008 22:26:59 GMT

Sometimes it seems that nonsense is the only possible response to the absurd (hint)

When it comes to balderdash, no one is more qualified than Professore Celentano. Listen to his lesson in inanity

Girl: Listen, Professore.
Professore: Yes, tell me.
Girl: Why did you write a song with strange words which don't mean anything...?

Please forgive my very rusty Italian.

Mistaken For Rihanna (repost)

Bartleby — Tue, 13 May 2008 11:00:01 GMT

[Rhianna - Word Love (4hero remix)/ 4:08]

I met Rhianna on the sullen summer of 2002. I was immediately drawn to her silky vocals which made my dog days seem like spring and dewy grass.

Three years later, a young and very faint voice caught my attention under the overpounding beats of "Pon de Replay." Hearing the familiar name, I thought: "That's an unexpected change of direction. From sultry R&B to über-dancehall."

I was pleased to hear about Rhianna's success until I realised that wasn't her. It was Rihanna, a hyper-glamorised-overnubile lassie mass-marketed by the Citizen Kane of hip-pop Jay-Z.

I never heard of her since that day.
So who's that girl? -- Rhianna (h before i) is native of Leeds and enjoyed a twee success in the UK. (More about her on Wiki). The other Rihanna (i before h) overshadowed her under her infamous "umbrella."

Sometimes, spelling makes the selling?

Mistaken for Rihanna

Bartleby — Sun, 11 May 2008 13:59:36 GMT

[Rhianna - Word Love (4hero remix)/ 4:08]

I met Rhianna in the sullen summer of 2002. I was immediately drawn to her silky vocals which made my dog days seem like spring and dewy grass.

I was pleased to hear about Rhianna's success until I realised that wasn't her. It was Rihanna, a hyper-glamorised nubile lassie mass-marketed by the Citizen Kane of hip-pop Jay-Z.

I never heard of her since that day.
But who was that girl? -- Rhianna (h before i) was native of Leeds and enjoyed a twee success in the UK. (More about her on Wiki). The other Rihanna (i before h) overshadowed her under her infamous umbrella.

Suomalainen Kevät

Bartleby — Fri, 09 May 2008 00:35:45 GMT

[Shogun Kunitoki - Leivonen / 5:08]

Some people rave about spring in Tuscany or summer in Brittany. I for one would gladly give up primavera and été for a sprout of spring in Finland with its lush azure and its iridescent green studded with the zebra white of birch trees.

In this series, I'd like to invite you to a tour of my limited selection of music from Suomi.
First call: Shogun Kunitoki. Hailing from Helsinki, SK is an instrumentalist quartet founded in the late 1990s, basing their music on hypnotic loops and drones made on their Commodore 64.—Their name comes a game on this same computer. Those ever changing experiments came to fruition in 2006 with their début album "Tasankokaiku."

Their music is a kaleidoscopic assemblage of electronic phrases, psychedelic influences and minimalistic extrapolations. The album itself contains 7 tracks intricately making up a fractal soundscape which recalls both Terry Riley and Steve Reich. There is also an orchestral sense for the atmospheric reminiscent of the Finn par excellence, Sibelius. Each piece presents a perfect demonstration of their credo: To make electronic organic.

Above for your aural consideration a first track—which to me sounds like small buds bursting with the new sap. A second track will be found in the comments.

More info here and here
A professional review of "Tasankokaiku" can be found here

The Diamond and the Pen

Bartleby — Wed, 07 May 2008 23:35:27 GMT

[John Coltrane - Olé / 18:14]

If per chance you were to meet a stranger on a moonless night would you think much of his telling you: The moon does not shine, it merely reflects? Now picture yourself reading the following review by the same stranger: "Foals’ sonics dominate the senses. But they alone don’t make an open-and-shut case for Antidotes." While you would have looked askance at the former, you are most likely to want to ponder on the short sentences of the latter.

The difference between spoken and written words does not totally account for your attitude. You have consciously waived your suspicions at the word "review." And indeed for a critique to work, you need to suspend your mistrust as you would your disbelief when reading a novel. No other form of criticism requires such "pre-faith" than the popular review, especially that of popular music. Doesn't Lester Bangs say that the reader must be willing to trust him?
Of course citing Bangs is already admitting that (rock and its declinations) reviews have their own legitimacy. Professional critics are endorsed not only by their readers but also by those who employ them and publish their words. An artist's view (or commentary) on another artist's work is easily accepted as it is tradesmen speaking of their common trade, as it were. The only credit a popular reviewer has is what his reader is willing to offer: trust.

For his troth what does the reader gain? In most cases, he will get a fairly descriptive account as well as an evaluation of an album. After all, that is what we expect more or less from perusing such critiques.—Admittedly, the synonymy between the two terms may be well overstretched.—The word itself comes from the French "revue" i.e. re-examination. The prefix assumes that the reader is already aware of the work being discussed. Which is seldom the case.
So what is the use of an album review when the reader has yet to listen to the music? Well, the obvious never fails to comfort: to present an artist's work to its potential public. Therein lies the crux of the matter, for how do you transcribe a sound. Other popular art forms (cinema, theatre etc.) have a plot, a script, actions all of which can be overlapped by using words. But music is already a language of its own. If "music is thinking noise," how would you make noise into words?

Of course, songs offer an anchor for commentaries as they deal with the same medium. But what about instrumental music? Take this piece by John Coltrane for instance. It starts monaurally with Reggie Workman's bass opening the "tercio de varas." Then McCoy Tyner joins in with his piano as the drums of Elvin Jones kick in. Coltrane's soprano sax calls up Freddie Hubbard's trumpet for entering the "arena." George Lane awaits behind the doors which open on his flute at around 1'51". Lane and Hubbard are Coltrane's "bandelliros."Thus begins the first stage of Olé. (Art Davis will join in later into the theme). This lazy metaphor no matter how evocative cannot describe the intricate interplays within the opening sequence of "Olé."
Another way to describe "Olé" is to stress its musical kinship to bop jazz, its rhythmic pattern (3/4) and the burgeoning modal scheme in which Coltrane's band improvises. But that would be jargon from which I'm not sure even professional can hear anything but a cacophonous and verbose assemblage.

Sound doesn't abide words. The popular reviews are thus condemned to impressionistic metaphors. If lyrics provide a glimpse of the substance, the style and manner will always slip the reviewer by.—That is if they don't want to sound pretentious or worse jabberwocky.

So what is the use of popular reviews? What is the use of the pen if it cannot tell anything the diamond plays? To me they make up the agora of music, a Speaker’s Corner where opinions rather than evaluation are exchanged.—Notes and stars kill all possible discussions.
Spontaneous music commentaries are a sort of ghettoblaster of the aficionados: to take away with you and shout out your likes and dislikes in the most civilised manner for the world to hear. So thank you for putting up with this boombox of a review of reviews.

Season music for a spring barbecue

Bartleby — Tue, 06 May 2008 00:20:08 GMT

[Delinquent Habits - Tres Delinquentes / 4:17]

As everybody knows seasons no longer exist but in Vivaldi's famed concerti... So today, bank holiday was spent barbecuing and dining alfresco as if it were summer.

The weather was clement. The food was perfectly fresh and lovely. The people were gay and sprightly. There were all the ingredients of a fine merrymaking, except for the music.

Would you go with the track above? Or perhaps could you suggest some season music for a dinner in the garden?

No booty grooving, today's titty shaking

Bartleby — Fri, 02 May 2008 20:44:07 GMT

[Teddy and The Rough Riders - Money and Gold / 2:30]

(Listener's discretion: contains nudity)
There will be no booty or funk-fu fight today as minha irmã got off the train at the previous station.

Instead of bootiliciousness, I'd like to introduce you to a genre a friend of mine smuggled through an attachment to his e-mail: tittyshaker music. (If you must know, he's also introduced me to the soundtrack of "Deep Throat")

And what may a "tittyshaker" record be? say you. Well, following the link enclosed in the e-mail I found this:
The sound? Well fundamentally it is as the name implies, any form of music that makes you want to tear off your shirt and shake your titties, spinning the nipple tassels you are naturally wearing underneath your garments like the blades on a helicopter. Typically you will be grinding to the frantic beat doing the ‘Monkey’ or the ‘Dog' or the 'Shing-a-ling' or the 'Push and Pull' ... whatever dance steps that takes you really.—read the full article "Mommy, What's a Tittyshaker?" by Martin Lawrie here.

Yes, it's all about self-indulgent sleaze and crrrazy cavorting. Listening to Teddy and his Rough Riders, I can't help seeing the scene in "The Asphalt Jungle" where Doc Erwin Riedenschneider give a girl some jukebox money just to see her dance him to his arrest.

I must warn you: The excellent and exquisitely sleazy Tittyshakers.com may not only cause your untimely ruin–like the poor Doc–but also ignite an insane interest for nipple tassels. Try not to oggle...

If your ears still work after all the blood in your body went to your Big-Wolf's eyes, you might also want to check out the "Fool's Paradise...with Rex" on WFMU for more tittyshaker sounds.

Note: Those of you who are wondering what a titty tassel is can check this guide on "How to wear nipple tassels"

Indiecency: Series 1 - Yellow Fever

Bartleby — Tue, 29 Apr 2008 23:32:57 GMT

[Yellow Fever - Hellfire / 3:22]

Indiecency (also indie-cency):
Behaviour displayed by hipsters who keep telling you about such and such bands/artists you should have heard about aeons ago but which for some reasons (MySpace does not exist in your world) still sound like they could be Chinese to you. The obscenity lies in the name dropping (the more obscure, the more arousing) which has our hipsters literally frothing.

In this series my attitude will be that precisely. I'm going to be indiecent and obnoxious.

The first time I heard about Yellow Fever was through my budding interest for Voxtrot in which Jennifer Moore was singing backing vocals and playing the tambourine. (Note the name dropping already!)

Further investigation (mainly Googling) allowed me to discover a sympathetic trio whose music is somewhere between ingenious lo-fi rock and minimalist punk. What inoculated the Yellow Fever virus in me was their quirky and nonchalant vocals, the deft harmonising of Jennifer and Isabel Martin. The heartfelt riffs also played their parts.

The band has released a couple of EPs since their inception in 2006. Above is an excerpt of their second one "Cats and Rats" in reference to Syd Barrett's "Rats."—It seems that the trio is now a duo. Still I shall keep them on my radar.

More info here and here.

The Other Shadow Puppets of Lotte Reiniger

Bartleby — Sun, 27 Apr 2008 23:46:17 GMT

It is always a delicate matter to add one's words to what your eyes have already told you so meaningfully. The paraphrase risks being even more long-winded when it comes to Lotte Reiniger's silhouette animated films.

Indeed, how could I describe to you the deft traits of her cut-out characters? How could I translate to you the magic of her technique? The best perhaps is to give you a brief context of her works.

Lotte Reiniger had always been fascinated with shadow theatre and shadow puppetry since she was a child. She was also attracted by the creative possibilities of cinema. All this would come to fruition in the form of silhouette films.

A silhouette film is a cross between shadow theatre and what we know as animated cartoon without being neither. Lotte Reiniger would first cut out her characters, with different variation of postures and sizes. Then she would place against a black-lit board with different backgrounds. Each scene was thus photographed frame by frame (24 per second) with slight variations in the cut-out figures. The result was dark silhouettes which were moving against back-lit panes.

Using this rather rudimentary technique and simple tools (cissors, back-lit boards and a photographic camera), Lotte Reiniger with the help of her husband and producer Carl Koch made a dozen films between 1920 and 1930—mostly short features.

During this period she wrote, designed and directed her first feature-length silhouette: "The Adventures of Prince Achmed." The story of Achmed riding the flying horse of his most fearful enemy, the African sorcerer , lands in the faraway country of Wak Wak and falls in love with the beautiful princess Pari-Banu. They decide to elope. Thus begins a great adventure...

"The Adventures of Prince Achmed" is in many ways characteristic Reiniger's inspiration and direction. Most of her silhouette films are indeed drawn from folklore and fairy tales. Hers however are original recreation far from Walt Disney and Hollywood's syrupy (read debilitating) adaptations. In her "Carmen" for example, the cigar-maker is shown as self-sufficient and proud woman and much smarter and stronger than her pursuers.

The fantasy of the artist is aplenty in all her films: talking animals, majestic princesses, unfailing love stories... Her inventiveness is relentless: her characters are not mere silhouettes but expressively fleshed-out personages.

Her work though admired by many avant-garde artists was meant for children. To them Lotte Reiniger directed the fancy and candour of her magic which laid in the prime place she reserved for their imagination: somewhere between their own perception and her own creation.

Note: all pictures are scenes taken from "Die Abenteuer des Prinzen Achmed" (1926), original German title
More info:
Lotte Reiniger by William Moritz
Wiki Lotte Reiniger
The International Animated Film Society has two excellent articles on:
The Adventures of Prince Achmed
Her life and works

Calling all Callipygians

Bartleby — Sat, 26 Apr 2008 00:02:55 GMT

[The Highlighters Band - Funky 16 Corners / 5:16]

callipygian (also callipygean)—cal·li·pyg·ian
adjective (literary): having well-shaped buttocks
—origin: Greek kallipygos fr kallos, beauty + pygē, buttocks

If you recognise yourself in the definition above, please bring the booty back. Because after all, it is Funky Friday (albeit a bit belated).

I must confess I know very little about The Highlighters Band and their members. Here's however AMG has this to say about them:
The Highlighters are celebrated in deep funk collectors' circles for their 1969 underground classic "The Funky 16 Corners." Formed at Indianapolis' Crispus Attucks High School in 1963, the original lineup of saxophonist Cliff Palmer, trumpeter Clifford Ratliff, organist Richard "Boola" Ball, bassist Richard Corbin, and drummer James "Porkchop" Edwards drew their initial inspiration from modern jazz, but quickly evolved into an R&B outfit. (full bio here)
Here's also an interview of James Bell whose voice can be heard on the callipygian cut.

Some Lusophone music for my imagination

Bartleby — Fri, 25 Apr 2008 01:24:17 GMT

[Madredeus - Alfama / 3:27]

Lusitania and her colonies have not only brought me many a dream but also provided the musical score to accompany my sleepless nights

Madredeus hails from Lisbon. The band was founded in the vicinity of the church of Madre de Deus, east of the famed Alfama quarter.

"Os Dias de Madredeus" was the first time their music entered my consciousness. And more than a mix of folk and fado, theirs was the score of my waking dreams

Here's a snippet of one of their earlier concert ("A Cidade" from the aforementioned album)

Thank you to Baudolino for inspiring this close-to-oniric remininiscing.

Let The Father Avenge My Sister (Funk-Fu, anyone?)

Bartleby — Fri, 18 Apr 2008 11:56:37 GMT

[Rufus Thomas - Funky Mississippi / 2:58]

In the previous /episode, our heroic funk-fu fighters returned to the front stage to avenge a father.

In this one, a father will right the wrongs done to my Sister. Lost in her rehearsals, she hasn't noticed how her wits were dearly missed.

So without further ado here's Rufus Thomas, father of Carla, inviting us to his funky Mississippi.

Let Funk-Fu booty up your Friday (with or without hippies).

Two voices for a sunny spring afternoon

Bartleby — Tue, 15 Apr 2008 21:53:54 GMT

[Stacey Kent - It Might As Well Be Spring / 4:39]

(Warning: The following is unashamedly treacly and may not be suitable for under 25)

If like me you don't dislike the odd musical from time to time, you must know Rodgers & Hammerstein are the Fred Astaire and Ginger Rogers of "music and lyrics." The pair was responsible for some of the most memorable and horrible musicals with unforgettable songs but also - let's be honest - the most voracious earworms.

The song I'm proposing to play for you is taken from one their less advertised adaptation of "State Fair" even though the film won them their first and only Oscar. - I'm saying less advertised because as far as I know there hasn't been any re-issue or stage revival of the film.

The first version is by New-York native Stacey Kent from "In Love Again." Her album released in 2002 is a homage to the dual talent R&H. (It's quite fun to listen to and remember which film/musical you heard a song the first time)

The second needs no introduction and will be found in the comments. Over 40 years separates the two voices. - Which echo of spring do you prefer?

Because We've Ended As Ex-Lovers

Bartleby — Mon, 14 Apr 2008 23:16:57 GMT

[Jeff Beck - Cause We've Ended As Lovers / 5:42]

If there was a beginning, I can't seem to remember. 'Cause we've ended as ex-lovers. (Words spray-painted on a wall in Shoreditch)

Vilhelm Hammershøi

This is a mini-mix inspired in part by the sentence above and Lucystarlight's excellent playlists.

1- El Perro del Mar - I Can't Talk About It
find it on "El Perro Del Mar" (2006)
2- TV On The Radio - I Was A Lover
find it on "Return To Cookie Mountain" (2006)
3- The Clientele - Somebody Changed
find it on "God Save The Clientele" (2007)
4- Stars - Your Ex-Lover Is Dead
find it on "Set Yourself On Fire" (2004)
5- Jeff Beck - Cause We've Ended As Lovers
find it on "Blow By Blow" (1975)
6- Asobi Seksu - I'm Happy But You Don't Like Me
find it on "Asobi Seksu" (2004)

(This one's for you, V.)

Something for the (open-space) office worker

Bartleby — Mon, 14 Apr 2008 14:59:11 GMT

[Belle & Sebastian - Step Into My Office, Baby / 4:14]

Here's something for those who need to prove their productivity while doing nothing.

Wouldn't work be so much more interesting if one were paid for making charts and presentations - pie and other tarts- like the ones below?

Because all work and no play makes Jack a dull boy let's play, shall we. -- Can you name the songs represented by the graphs below?

You can find more graphs and charts on the Song Chart pool (Flickr)

You're Such A Pea-Wey-Tea, Let's Stay Under the Covers, U 'n I

Bartleby — Sun, 13 Apr 2008 11:00:38 GMT

[Get Cape. Wear Cape. Fly - D.A.N.C.E / 3:57]

What makes a good cover depends on the listener. I must confess I really enjoy cross-genre experiments, as my previous post showed you.

Here's a cross-pollination conducted by a young man from Southend, England.

Let's get out from under that D.U.V.E.T and D.A.N.C.E.

The Return Of The Funk-Fu Fighters

Bartleby — Fri, 11 Apr 2008 09:45:31 GMT

[Baby Charles - I Bet You Look Good On The Dancefloor / 4:27]

In a time not so far away, two aspiring disciples of Funk-Fu started on a mission to bring ThaFunk to the MOG-world.

Stepping out from the vaults of the Mothership, they used their mixing fists and borrowed others' bombastic booties to bring as many as possible to form One Nation Under A Groove.

Today, the legend of Funk-Fu continues as this grasshopper here wants to take you on the dancefloor. Just follow the ladies.

(Click here to see how funk-fu you look on the dancefloor)

Edit: Bloodtea is also enticing us to party our booty here. -- A second track by Baby Charles can be heard in this comment.

Silence is a moveable music

Bartleby — Wed, 09 Apr 2008 17:17:17 GMT

[Jeanne Moreau - Le Tourbillon de la Vie / 1:59]

A month ago or so, my outside world went silent. - No, nothing dramatic happened. I wasn't affected with any ototoxicity or other conditions which could have affected my hearing. Simply my portable mp3 player designed by Jonathan Ive and marketed by Steve Jobs had lived its last wheel-click. Overnight, my perambulatory experience went not so much mute but amusical.

Yes, I'm one of those who use their commuting time to catch up on more recent productions and revisit some older favourites. So, without the conspicuous white buds in my ears I was at once deaf and hearing again. I took in the sound of the city but also alas bits of random conversation (most of them addressed to an invisible someone on their mobile).

Bridge of Aspiration - Floral Street, London

Gradually though, music slipped back into my cochlea. I began to hear bits of Maurice Jarre, Mozart, John Coltrane, Bernstein and Tchaikovsky. The music of "Doctor Zhivago" was ringing with every pace I made (even though I didn't like the film). One of the 36 versions of "My Favorite Things" flourished on my pursed lips. I also heard the "Jets' Song." Those tunes rose like bubbles of notes from the depth my musical memory. My mental jukebox didn't play many songs though. There ofen were repeats and the only vocals I heard must have been "Le Tourbillon de la Vie" - why not let MOG play it for you too.

Funny that it's never occurred to me before: silence is the first mobile music. And I surprise myself wondering what songs are playing in your head when there is nothing but the hum of the hum-drum quotidian.

Confessions Of A Funk-Fu Faker

Bartleby — Fri, 29 Feb 2008 17:35:53 GMT

[Many Dibango - New Bell / 6:50]

Forgive me Funkster for I have faked. I have made bold statements about the extent of my funk-fu mastery and led my fellow F-parliamentaries into F-forgery.

It all began with the intimation of going to war for the Funk. Funkalised by the rallying cry of the West against the East, I enrolled when I was but a semi-ignorant F-dragon.

True, I was fairly educated in soul and RnB but Funk-Fu was more of a pastime than a vocation. So I faked and feigned, copying my moves/groves from other people who knew more and better.

In the midst this treachery however, a peculiar thing happened. As I simulated and passed for a Funkster, the Mothership took me in and converted me. I found out through my homework that Funk has many a shape. It is so generous that one cannot not feel the grooves.

In fact, Funk-Fu is a universal art form: From New York to Timbuktu, from Paris to Adelaide, from Canada to Cameroon, people pledge allegiance to the funk, the whole funk, and nothing but the funk...

Please click on the "New Bell" as it is my act of contrition. (That and the booty above)

Tracksmission

Bartleby — Thu, 28 Feb 2008 01:18:14 GMT

[Creedence Clearwater Revival - Who'll Stop The Rain / 2:29]

Along with certain mannerisms, music is definitely one of the most evident things we take after our parents.

I will not go Freudian and talk about Ego and Super Ego but will instead let you click "play" to listen to the track which I inherited from my father.

Now that you've played some CCR, why not listen to some VU

The Velvet Underground - Rock & Roll (Full Length Version) / 4:49

Which brings us to "Inheritance Tracks" on Radio 4. It works thus: The person in question chooses a track which they have inherited from their parents and one which they would like to pass on to their children. - So what are yours?

Take Me Out!

Bartleby — Tue, 26 Feb 2008 01:46:42 GMT

[Hercules & Love Affair - Hercules's Theme / 4:29]

Week-ending seldom rhymes with body-bending - at least not any more. In lieu of booty shaking and other substance abuse, mine was spent listening to "neo-disco" by Hercules & Love Affair

If you're a wanna-be hipster like myself and rely on The Hype Machine, Elbows and other music blogs, you'll surely read things like this: "Hercules & Love Affair is a side project of Antony Hegarty" or "Take away his Johnsons and you'll find that Antony has an infectious strain of disco tinged tunes..." - All right, I confess that the last part was entirely mine. Mea culpa, mea maxima culpa.

No doubt, the Greek mythology geeks out there have already recognised the subtle reference to the apocryphal romance between Heracles and Hylas which would lead to the Etruscan's untimely demise (yes I'm aware of mixing up two mythologies, the Greek and the Roman ). Poetic licence aside, H&LA is a protean project of Brooklyn-based DJ and producer Andy Butler with collaborations by Antony Hegarty, and NYC scenesters Kim Ann Foxtan and Nomi working under one creed: "Dance and the world will dance with you."

Truth be told, it's not so much the "danceability" of H&LA which appeals to me over the week-end but rather a certain elegiac feeling one gets from listening to Hegarty's vocals seamlessly weaved together with the vibes of golden time disco.

To illustrate this, I'll leave you with "Hercules' Theme" whose horns just reverberate infinitely for accrued aural pleasure and the carousel wistful dance of "Time Will."

The Lady Flings the Funk

Bartleby — Fri, 22 Feb 2008 17:46:13 GMT

[Nina Simone - Funkier Than A Mosquito's Tweeter / 5:18]

If you are crazy enough to peruse his words and lend your ears to the scrivener, you have surely noticed I have a tender fondness for this lady. No, not Chloé above but this one.

Her voice has ensnared me for quite a while. And now, she flings her funky net to capture all of your mosquitoes buzzing around her like in a tropical mist.

The funky lady was last seen the scrivener's practice here and also here.

Love's Labour Is Loss

Bartleby — Wed, 20 Feb 2008 00:49:05 GMT

[Marvin Gaye - Anger (Extended Mix, Alternate Take with Marcus Miller) / 5:55]

There is a bird that sings only when its love is lost. The echo of distress serves as a beacon for the loved one to find its way back.

Edward Hopper, Room In New York, 1932 - Sheldon Memorial Art Gallery

Falling in or falling out, love is such a dangerous feeling that it inevitably causes pain and suffering. While some people will collapse and wallow in self-pity, the artist has this ability to sublimate their break-ups and heartaches.

In 1882, there was a young singer was at the Kassel Operhaus where Gustav Mahler was the director. Her name was Johanna Richter. He fell for her. The same ardour and his penchant for romantic pessimism which doomed their relationship also spurred his creativity. Mahler started to write poems about his love malaise. Poems which became part of his "Lieder eines fahrenden Gesellen." (Listen to his cry "happiness can never bloom" performed by Fischer-Dieskau YT video-here)

In 1976, Marvin Gaye and Anna (Berry's sister) Gordy got divorced. Because times had changed since the days of imperial opera houses, Mrs Anna demanded not so much poems but one million dollars in settlement. Marvin did clearly not have the means to settle and so instead agreed to a compromise: Anna would get the advance Marvin received for his next album and $295,000 from its future profits. Marvin Gaye came up with "Here, My Dear."

However, what was supposed to be a spiteful collection of songs became a work of redemption. Self-pity and acrimony yielded to music and love of life. Marvin's genius turned the venom of resentment into inspiration and made melodies out of heartaches.

Break-up albums/music mark those times when only darkness will bring out the light. Bob Dylan's Blood On The Tracks (1975) rank among the most accomplished record recounting the end of a love story.

Richard & Linda Thompson's Shoot Out The Lights (1982) is yet another fine example of a couple's wrench. In 1997, Nick Cave released twelve love songs on The Boatman's Call (1997) - falling out with PJ can be ever so inspiring. Beck, the mathematical tune maker, showed that even him was not immune to the straitened ends of love in Sea Changes (2002). Closer to us, Money Mark's Brand New By Tomorrow (2007) showed "that something beautiful can grow from suffering."

In "The End of the Affair," Bendix proclaims: "This is a record of hate far more than of love." --These do not deal with spite but rather with the fragile tenderness which makes up our lives, however. They are records about love far more than about hate.

Edit: Apologies to any potential readers. MOG refuses to display my line breaks and paragraphs - For an easier read may I suggest you peruse my MOG-page

Nobody Knows I'm Blushing In The Dark

Bartleby — Tue, 19 Feb 2008 02:03:56 GMT

[Jeff Beck - Nadia (Nitin Sawhney Cover) / 3:50]

Darkness possesses a world of sensuousness which only nightfall can bring.

A random playlist:

1- Jeff Beck - Nadia
find it on "You Had It Coming" (2001)
2- Six Organs of Admittance - Words For Two
find it on "School of the Flower" (2005)
3- Erykah Badu - Orange Moon
find it on "Mama's Gun" (2000)
4- Bonnie 'Prince' Billy - After I Made Love To You
find it on "Ease Down The Road" (2001)
5- Brazilian Girls - Lazy Lover
find it on "Brazilian Girls EP" (2005)
6 - Goldfrapp - Deep Honey
find it on "Black Cherry" (2003)
7 - Nina Simone - I Want A Little Sugar In My Bowl
find it on "The Very Best Of - Sugar In My Bowl 1967-1972" (1998)

Funk-Fu Manchu

Bartleby — Fri, 15 Feb 2008 16:35:14 GMT

[Exit 9 - Miss Funky Fox / 3:38]

Here is a question for all the funk-fu masters of MOG (and elsewhere): Does one boogie better with facial hair?

Just take a look the members of Exit 9...Dr Funkenstein himself sported a rather formidable beard. Bootsy is the original Funk-Fu Manchu.

If you worry about seeing a picture of a cave-man funkster, Vera - I think - will swiftly ease your dread

(Some clothes to offset the high "skin" level of our funk-fu fighting)

Edit: Booty boogie by Bloodtea

Heel Erg Bedankt

Bartleby — Thu, 14 Feb 2008 21:32:55 GMT

[Amy Winehouse - Back To Black (BBC Live Sessions) / 3:52]

One does not always travel to the sound of music but one does come home with memories of songs and people.

And so it was for your humble servant when visiting Amsterdam. Amidst the excess of beer and cheers (can anyone have too much mirth?) shared with friends, a song stuck with me like those seeds which you bring home nilly-willy.

Café 't Molentje

It came slowly and with the familiarity of an old pal...At first, I didn't notice the voice then slowly, the full face emerged in her raspy suaveness. Yes, the song was "Back To Black."

As our clique was the only patrons there and then, I dared ask the lovely waitresses if they had "Wake Up Alone." They kindly obliged.

To Remie and Roos and to the city of Amsterdam, I'd like to say: "Dankjewel."

A Quick Funk While He's Away

Bartleby — Fri, 08 Feb 2008 07:12:00 GMT

[The Bacao Rhythm & Steel Band - Look-A Py Py / 2:55]

Funk-fu can also be about fun and loving, not fighting. I'll leave you with some hot steel funk - balmy island style - and Tyra - Wahine flower style

(Hope this wee hour funk-fu will wake up you the right way)

Edit: Freudian slip/typo - sorry. It should read "quick funk" – Re-edit: Apologies to everyone who received notification "fµck" and saw "funk"

Welcoming the Year of the Rat

Bartleby — Wed, 06 Feb 2008 23:12:16 GMT

[China Dub Soundsystem - Mostly Hulosi / 4:19]

Tomorrow, we shall be stepping into the Year the Rat in China and other significant parts of Asia.

"The Rat was welcomed in ancient times as a protector and bringer of material prosperity."

What better than music to mark this auspicious coming?

You can either click play to hear something in the spirit of our times or perhaps take some time and watch this YT video

Flute, Banjo, Citer and Erhu performed by Lu Chunling, Li Yi, Xu Fengxia and Zhang Zhenfang in Amsterdam - 4:18

Bethel Park near Pittsburgh, PA

Bartleby — Wed, 06 Feb 2008 00:19:52 GMT

[Lou Reed/John Cale - Small Town / 2:04]

The first creation of an artist is themselves as Warhol proved through his life.

I must confess I know little about Andrew Warhola's childhood, or if you prefer calling him POP Art Pope, Andy Warhol. One can only imagine that as a sickly and pale-looking child growing up in a small suburb of Pittsburgh, young Andrew could not have really cared much for his birth place.

If "dying is the most embarrassing thing that can ever happen to you (because someone's got to take care of all your details") it must also be the greatest irony of all.

Entrance to the Andy Warhol Museum - Pittsburgh, PA

What would have Andy Warhol thought of the Andy Warhol Museum or the Andy Warhol Bridge, both in Pittsburgh? – I think he would have loved the canonisation, as it were.

(About "Small Town:" "The piano on it conjures up images of old-fashioned "physical culture" demonstrations , callisthenics, muscle men, that sort of thing. Damned if I can say exactly why. Must be an old, old TV cliché. All things Andy would appreciate." - AA Coppertop)

Under The Diamond: Feb '08 Issue

Bartleby — Tue, 05 Feb 2008 00:07:38 GMT

[Kalyanji & Anandji V. Shay - The Great Gambler / 3:17]

This month's issue of UTD is about freak music and mixes

Clockwise from top left: Songs for Drella, Filles de Kilimanjaro, The Mighty Mellow, Birdwatcher, Closer, Six Suiten für Cello Solo, Citrus, Not On Top, for b.y (click here for a closer look)

As the keen observer that you are has already noticed among those album artworks, there is one disc which you'll very unlikely find anywhere.

You will however find an excerpt above. Click play and you will be hit with the salacious funk(?) of Kalyanji & Anandji V. Shay (Bollywood style).

Words fail me to describe the excitement and thrilling astonishment this cut gave me when I first put the CD-mix on the laser beam. The mix itself comprises of 21 tracks, ingeniously assembled by a then stranger and now most enlightening friend on MOG.

Truth be told, I must confess than I was only familiar with perhaps one third of the artists on the mix. But what a delight to make their aquaintance through the generosity of the man from Ivyland.

I have often quipped that mixtapes are a act of "selfish sharing." At least, it is so me. Indeed we try to share what we like hoping (not so secretly) that the receiver/listener will come to like what we hold so dear. I'm not so sure of myself any more after listening to the incredible musical generosity which the mix holds.

Whatever a mixtape may mean to you, to us, this much I know: no one's ever made a mix without tenderness. - Thank you Bill.

Sunshine Under My Covers (a Chá de Sangue)

Bartleby — Sun, 03 Feb 2008 12:33:28 GMT

[Spanky Wilson - Sunshine Of Your Love / 3:45]

Thanks to a tea sipping sister of mine, I've come to rediscover one of the most overlooked lady in soul and funk.

The lady is Spanky Wilson, of whom I must confess I don't know much. A quick search on the I-web revealed to me the abyss of my omission.

Indeed, Miss Wilson has not only one the most soulful voices I've ever heard but also possesses a rare (and coruscating) modesty whether in her jazzy performances or more upbeat tunes.

Given that she recorded with the likes of Marvin Gaye, Sammy Davis Jr., Lalo Shifrin (just to name a few), you'll think the world ought to have asked more of her... For some reasons I can't quite explain, Spanky Wilson is only appreciated by a few music cognoscenti.

This is unfair especially for the rest of us. So, I urge you to check her records and listen to this scrumptious rendition of Cream's "Sunshine of Your Love."

Please visit Spanky Wilson's official website: Spanky-Wilson.com
You can read her bio on a1artists.com
For more aural rejoicing, you can stream her music on her MySpace.

(This is dedicated to the one who calls herself Chá de Sangue because funk is about love and not only fierce funk-fu fighting)

Faces and Names: Memories From An Exhibition

Bartleby — Sun, 03 Feb 2008 00:46:10 GMT

[Lou Reed/John Cale - Faces And Names / 4:12]

From 11th October 2007 to 20th January 2008, the National Portrait Gallery in London hosted an exhibition called "Pop Art Portrait."

The exhibition itself was very and perhaps even too didactic showing some 50 works (including paintings, video projection, sculptures) by artists from Richard Hamilton to Andy Warhol, through to Peter Blake and Robert Indiana and Pauline Boty.

Looking at all the portraits especially those by the POPicons Lichtenstein and Warhol one gets an odd, and I must confess, disappointing feeling of déjà-vu. Indeed, Pop Art has become now so ubiquitous (from Apple ads to Flickr groups) that it has most of its insolence.

Andy Warhold, Self-Portrait, 1967. Silkscreen ink on synthetic polymer paint on canvas, 1867 x 1867 x 52mm

However, why should I have been so surprised to see so many familiar faces and quaint stances? After all isn't what Pop Art is about: brand/name recognition?

Here's what Andy Warhol said in POPism: "To be successful as an artist, you have to have your work shown by a good gallery for the same reason, say, that Dior never sold his originals from a counter in Woolworth's. It's a matter of marketing, among other things. If a guy has, say, a few thousand dollars to spend on a painting . . . He wants to buy something that's going to go up and up in value, and the only way that can happen is with a good gallery, one that looks out for the artist, promotes him, and sees to it that his work is shown in the right way to the right people. Because if the artist were to fade away, so would this guy's investment ... No matter how good you are, if you are not promoted right, you won't be one of those remembered names."

What connection could there possibly between a cultural movement originated the end of 1950s and music today? I hear you say. Just think about the concept of hype and the reality of our references... More than ever, today's bands and labels use the same technique as that recommended by Warhol to promote their names. The difference is the distinction between Woolworth's and Macy's is irrelevant as we are all in our own way the tools and agents of this hype... What with our blogs, personal podcasts, MySpace and so and so forth. We give names and faces to the industry. Or do we?

Groovy Tiger, Funky Dragon (part 2)

Bartleby — Fri, 01 Feb 2008 21:46:13 GMT

[Ike & Tina Turner - Bold Soul Sister / 2:35]

In Funk the Fu #2, Sister Blootea warns us: "My friends, we're neglecting the true essence of music..."

The earnest M. would have abided by such wise words but Bartleby is a knave...

So grease with me...

Enters the Dragon Thandie

Groovy Tiger, Funky Dragon

Bartleby — Fri, 01 Feb 2008 09:28:44 GMT

[Herbie Hancock - Hang Up Your Hang Ups / 7:31]

Previously on Funk-Fu Fighting Friday opposing two funk-shal warriors: the redoubtable Bloodtea and the disreputable Bartleby:
1- Funkin' Da Tea v Bringing Funk-Fu Friday
2- Funk-Fu Friday #2 v Funkin' Da Tea (part 2)

The epic funk-fu fight continues with the feistiness of a feline.

Here's hoping Anna will tame all of you, tigers.

Edit: This is why Bloodtea is called the Redoubtable: Funk the Fu Haah!

A frail touching Woelv

Bartleby — Wed, 30 Jan 2008 23:27:35 GMT

[Woelv - La Mort et Le Chien Obère / 2:32]

"La musique, c'est du bruit qui pense" or "music is thinking noise" - Victor Hugo.

Artwork by Geneviève Castrée

Woelv's "La Mort et le Chien" offers an echo to this aphoristic definition by Hugo. Its primal rhythm and sylvan vocals are a call of the wild to our latent animality.

This is what this French-Canadian poet, artist, singer/songwriter says about her album: "Tout Seul dans la Forêt en Plein Jour, Avez-Vous Peur? is my own private version of a work which wants to regroup humans who share the same fears. I put myself in the position of characters[...]"

Official website: opaon.ca
"Tout seul dans la forêt..." is released on K Records

(PS: For a brilliant discussion on rhythm see Kristiana's "Got Rhythm?")

Whence? A question of regionalism?

Bartleby — Tue, 29 Jan 2008 01:04:57 GMT

[Lhasa - Floricanto / 4:20]

(Disclaimer: the following is an entirely improvised pseudo cogitation. – If the big Latin words haven't already scared you off , why not click "play.")

Diego Rivera, "La Molendera", 1924

Whence is a question that's been on my mind since I had a very brief conversation via posts and comments with my friend Ivylander. It all started with his excellent series on the Mysterious Music of the Caribbean (Part I: Haitian Compas; Part II: Cuba Plus Colombia)

In his dual introduction, there is no explicit mention of regionalism even though the origins are clearly stated: Haiti and Cuba. Listening to the tracks, you can distinctively feel the colours of each piece.

Being of a literary bent, I'd venture a quick definition of what regionalism could be in music – borrowed from literary criticism. Just like regional writings, musical regionalism could be characterised as follows: a piece of music which focuses and stresses on on the characters, dialect, customs, instruments, topography, and other features particular to a specific region.

Granted, unless you're a trained musicologist, it's almost impossible to find in one piece the specifics or tropism of a song or tune. However, one can easily intuit what makes such and such orchestration of a local colour (see Ivylander's aforementioned posts and Max Load's on Sam Mangwana to hear their respective hues).

In each case, the rhythms and instrumentation denote enough idiosyncrasies for us to recognise the vernacular of a region without even heeding the language of the lyrics.

Then came along Lhasa de Sela and her "La Llorana" (or "Weeper"). Listening to this album, you experience the equivalent of optical illusions in music. All colours are blended, all kinds of vernacular musical traditions are mingled, different instruments are mixed. Depending on what you're hanging on to, the topography (the record was made in Montreal), the national origins (Lhasa is a Mexican-Canadian), the language (Spanish), you can land on an entirely different shore.

Still, the result is a consistent picture which works remarkably well, with its amalgam of colours and textures ultimately revealing an artist's sensitivity and her sincerity.

(My apologies to all those who'd have preferred to have all tracks discussed in this one post – the fact is I didn't want to discuss regionalism as such but rather suggest some possible ideas regarding music in this McLuhanian world and MOG in particular).

Good night, Sweet Princes and Princesses

Bartleby — Sun, 27 Jan 2008 02:28:11 GMT

[Syd Matters - Love & Sleep / 2:42]

Here's a palindrome for my sleepless nights...

Scene from Princes & Princesses by Michel Ocelot

Funkin' da tea (part 2)

Bartleby — Sat, 26 Jan 2008 02:22:00 GMT

[Sound Experience - Boogie Woogie / 6:30]

Funk-fu is a demanding art. One must abide by its discipline of the groove and rules of the cool.

Following Curtis Mayfield's teaching to Get Down (with Bloodtea), I shall stand up and boogie.

(This is round 2 of a first funk-fu fight. Come back next week for more ass-kicking cuts)

Funkin' da tea

Bartleby — Fri, 25 Jan 2008 09:09:40 GMT

[The Pointer Sisters - Don't It Drive You Crazy / 6:22]

All is funk in war and love, I tell thee.

I wouldn't call this series a war, rather a joust. Instead of weapons, I'll try tactical coaxing just to drive you crazy.

(Inspired by Bloodtea's "bring it on" challenge)

Genial Suspects (in London)

Bartleby — Mon, 21 Jan 2008 00:08:30 GMT

[Shivaree - Don't Stop 'Til You Get Enough / 4:01]

Soho, London was the scene of a most peculiar and remarkable meeting last Friday. Remarkable because there were some of the most genial people of MOG and peculiar because yours truly was also sitting at the round table.

Genial Suspects: Wanted for incredible generosity and immense amiability
Not only are those people astonishingly knowledgeable in music (and everything else really) but they're also the most skilful punters I've had the chance to meet. Proof: when I arrived an hour late at the Endurance I was astounded to see a group of people comfortably sitting at a table in the crowded pub. Now, if you're familiar with London on Friday nights, you must know how artful one must be to secure a large table as the one those genial MOGGERS had.
My lateness meant that I only had a few words with Jonh Ingham and Ivylander . Both had to leave early. – I guess I can only curse myself now. Gentlemen, I hope you'll give me the opportunity to make amends. However, the other MOGGERS were kind enough to include me in their conversations which at some point took a turn to "vomiting incidents."
The music in the pub was quite loud and I couldn't make out any proper songs. It didn't stop Queenofhell's mental DJ-ing though. (What was the track list again?). In the meantime, Lizziegreeneyes was discussing the different of crisps (or chips) that she had tasted with Max Load. (Did I really introduce her to Walkers Sensations: Thai Sweet Chili?)
Crisps often come with pints which appeared on our table brought by our MOGGERS' incredibly generously hands (We need another MOG-meet if only to allow me to buy a round!!!). 1234chainsaw was kind enough to share some tips on the tasting of bitters with me while we were waiting for Neill.
Have I mentioned that Anna was sporting a bat and bunny ears which added to the pleasant surrealism of the meeting? At closing time, the MOG troika led by our own Persephone went to another bar where some of us indulged in petty crimes. There was also a proper scrap but none of our MOGGERS were involved.
It was past 1am when the party broke up. I wish somebody had frozen time then so no one would have gone their separate ways. Alas, the smell of fried onions and the songs of hot-dog vendors reminded us that the night was ending...
All endings are sad (despite what Disney may say) especially when you have to say good bye to such a likeable company. My only solace is the memories of this first MOG meet of mine and the binary E-musings of my newly met friends.
So, I'll read you and see you soon.
Sas efharisto for everything, Anna. Kiitos paljon, 1234chainsaw. See you soon.
Thank you ever so much Ivylander for your incredible mix.
Jonh, I hope we'll sit down soon and have a proper chat.
Max, my stamp is completely washed out.
Queenofhell, meeting you was a true enchantment.
Lizzie, thank you for "cracking" me up.
Neill, you're a true gentleman. Cheers, mate.
To all, thank you so much for putting up with my quirks and idiosyncrasies. Happy New Week
(I haven't forgotten it's Sunday: here's Shivaree under the cover)

Funk In Your Tea

Bartleby — Fri, 18 Jan 2008 01:44:54 GMT

[Don Julian - Shorty The Pimp / 5:38]

It's not how you talk, brother. It's what you put in it.

(I was hoping to compete with Bloodtea and her super minxes but I couldn't think of any contender)

Daunting

Bartleby — Thu, 17 Jan 2008 00:47:31 GMT

[Cave - Hunt Like Devil / 9:46]

Lately, I've found the act of writing and talking about music more daunting than ever. Words seem to eschew me. The sense of music seem to abandon me whilst I thirst for ever more pungent musicality...

All this is a load of tripe and I'm just too lazy to care anyway. (Or am I?)

Let's copy and paste ad nauseam:
CAVE exists (also on MySpace) primarily as a means of channeling different states of intoxication into a musical form. CAVE also dabbles in telepathic communication. CAVE believes in no things, just states. Inspiration is derived from the environment, both physical and psychological. CAVE would not exist if it was not necessary for CAVE to exist. CAVE is not interested in where you ended up, only how you got there. CAVE is rock.

A Band and a Brothel

Bartleby — Mon, 14 Jan 2008 00:24:36 GMT

[La Maison Tellier - Killing In The Name / 3:54]

Guy de Maupassant (born August 5, 1850, Château de Miromesnil?, near Dieppe, France - died July 6, 1893, Paris) was a French author of the naturalistic school who is generally considered the greatest French short story writer.

La Maison Tellier born at the end of 2003, is a French band hailing from Rouen (in Normandy not far from Dieppe) and pitches four half-brothers together: Alexandre, Leon, Raoul and Helmut Tellier. They create a folk music of their own, sometimes in French, sometimes in English.

What links two? say you. Well, it so happens that "La Maison Tellier" is the name of a brothel and the title of one of Maupassant's most praised short stories. (It was also adapted by Max Ophuls in "Le Plaisir" in 1952)

I've Got Songs To Remember

Bartleby — Fri, 11 Jan 2008 01:20:24 GMT

[Otis Redding - Cigarettes & Coffee / 3:59]

What is the first name which comes to mind when you hear "Stax?"

Otis Ray Redding, Jr. (Macon, September 9, 1941 –Lake Monona, December 10, 1967)
"When Otis came into the picture, life became more than just sound. [...] His intent was so strong and so powerful when we were recording, it translated to more than the music. I'd never been with anybody that had that much desire to express emotion. It's the longing. It translates to the listener and anyone who hears it, and when that happens, millions of people listen."
To me, those words by Booker T. Jones sum up (almost) all the magic of Otis's music – singing would be too restrictive. Before Otis came to Stax, the label only achieved 8 hits in the pop charts. During his meteoric career, they got 75. So millions of people did listen...
We all know how the legend came around the Stax studio carrying clothes and food for Johnny Jenkins. We also know too well how it ended in early December 1967. But in between, we will never forget the soul, the rhythm and the generosity of an artist who raised Stax on the firmament of stellar popular culture.
We'll have his songs to remember and above all feel his emotions.
(...see also how he shakes and stirs the public.)

Freaking out!

Bartleby — Wed, 09 Jan 2008 00:15:44 GMT

[The Mothers Of Invention - Help, I'm A Rock / 4:42]

freak out v. (slang):
1. to experience, esp. in an extreme way, the mental reactions, hallucinations, etc. induced by a psychedelic drug
2. to make or become very excited, distressed, disorganized, etc.
[from yourdictionary.com]
I live for those moments when the right word hits me with all the immediacy of death. (Stop here if you find the last sentence too glum - just enjoy the music).
There are also moments when I actively seek out the perfect music to paint my moods - to spray my thoughts out on those six elementary notes. This is just what The Mothers of Invention does for me.

If there ever was a band that epitomises "quirky," The Mothers would be that group. Don't be drawn into or deceived by my depressive introduction, this band is full of spunk and spontaneity.
I won't spoil the idiosyncrasy of their music with a lengthy biography (that's what Google, Wiki, and AMG are for). Suffice it to say, they took on that name (originally "The Mothers) because it was Mother's Day.
(second serving in the comments)

God Bless The Child (under the cover)

Bartleby — Sun, 06 Jan 2008 22:41:08 GMT

[Blood, Sweat & Tears - God Bless The Child / 5:54]

Domenico Ghirlandaio, Old Man and Child, Musée du Louvre (1490-1493)
"God Bless The Child" is arguably one of the most poignant and personal songs in Billie Holiday's repertoire. Written in 1941 with Arthur Herzog following a row with her mother, this song tells not only the story of despondency which was Billie's early life but also her hope in a child's strength to survive injustice.
You can therefore imagine that covering such a powerful song is no easy task but Dick Halligan's arrangement managed to conjure up its own wistfulness, with the help of David Clayton-Thomas's voice.
For those who'd like to re-listen to Billie's voice, it's available in the comments.

Friday Stax...

Bartleby — Sat, 05 Jan 2008 00:11:26 GMT

[Linda Lyndell - What A Man - 2:42 - 1969]

(To really enjoy this post, it is recommended that you hit "play," open a new tab/window and listen to the track without reading what follows)
Like music, Stax did not have any colour though its sound had a distinctive hue. Jim Stewart and co were not colour-blind (how could not you be aware of racism when your home town is Memphis, TN), they lived only by sound not by sight.
Inside the studios on 926 East McLemore Avenue, you could see on any day black and white musicians working together in harmony (pun intended) barely aware of their exceptional integration amidst segregation and discrimination. – I am not saying that those people were oblivious of history or civil rights. They only decided these were not relevant to their tasks at hand.
Listening to Linda Lyndell, there were more than one person who would hear her voice in black. (Truth be told, to me her voice is more reminiscent of Mahalia Jackson than Doris Day.) Through Otis Redding's recommendation Linda was introduced to Isaac Hayes and David Porter. The latter recorded this track "What A Man" turning the young Floridian into a Billboard sensation.

Looking at her picture above, I can't help but laugh at my ears that showed her to me in black. Perhaps, therein lies the beauty of Stax: mixing all tints so that there is only the colour of music left.
Now if you'll excuse me, I'll go and put my funky boots on.

[Edit: MOG and Rhapsody are messing up my tags thinking they know better. This track comes from The Complete Stax-Volt Singles Vol. 3 (1968-1971). I don't care that Rhapsody says it's on Stax Soul Sisters]

There are no signs, no stars aligned

Bartleby — Thu, 03 Jan 2008 01:02:26 GMT

[St. Vincent - All My Stars Aligned - 3:47]

I read the signs
I got all my stars aligned
My amulets, my charms
I set all my false alarms So I'll be someone
Who won't be forgotten
I've got a question
And you've got the answer.
I'll do a dance to make the rain come
Smile to keep the sky from falling down down down down
Collect the love that I've been given
Build a nest for us to sleep in here
You know it's real.
I check my palms
The cracks in the side walk
My visions and my dreams
I cross all my fingers
That you'll be someone
That won't be forgotten
What was your question I've got the answer.
I'll do a dance to make the rain come
Smile to keep the sky from falling down down down down
Collect the love that I've been given
Build a nest for us to sleep in here
You know it's real.
There are no signs
There are no stars aligned
No amulets no charms
To bring you back to my arms
There's just this human heart
That's built with this human flaw
What was your question
Love is the answer.
I'll do a dance to make the rain come
Smile to keep the sky from falling down down down down
Collect the love that I've been given
Build a nest for us to sleep in here
You know it's real.

Forgive me trusted readers for posting this personal note.
(I needed this song to silence a spectre. I wanted to scare off a ghost walking in my waking hours, breathing in my bed and dwelling in my dreams. The living ghosts are not easily exorcised, you know.)