Stevie Wonder - Live PBS Soul! 1972

  Part 1

Part 2

#Stevie Wonder #Motown #soul #R&B #pop soul #funk #rock #gospel #jazz #progressive soul #1970s #PBS TV broadcast #music video

Introduced by smooth-talking host Gerry B, Stevie Wonder's 50-minute 1972 live set for PSB show Soul! was never broadcast in the UK. It documents a period when Wonder's creativity was so rampant that nothing Soul!'s producers threw at him could crush it: not a contemporary dance interpretation of You And I, nor a surfeit of low-budget psychedelic effects, nor the deadly patter of Gerry B ("You used to be Little Stevie Wonder. What was it like being Little Stevie Wonder?"). He shifts between My Cherie Amour and Dylan's Blowin' in the Wind with breathtaking slickness, interpolates Superwoman with passages of intricate afro-funk and ends a frantic Uptight with a wall of dive-bombing synthesized noise. Meanwhile the studio audience provide delightful period detail: when Wonder plays a vocorder, they gasp in awe, as if he's just donned a jet pack and flown around the studio.  From: https://www.theguardian.com/film/2005/sep/30/dvdreviews.popandrock

Oh boy. It just doesn’t get much better than this. Stevie Wonder at the height of his powers playing on the PBS show Soul! with his band Wonderlove. The episode was broadcast on December 20, 1972, just two months after his landmark album Talking Book was released. One month later, “Supersitious” would be the number one song in the country. As you watch this footage, try to wrap your brain around the fact that the man was all of 22 years old. From all indications Soul! was a wonderful show indeed. Produced by Ellis Haizlip, it ran from 1968 to 1973 and featured a wide array of incredible black performers and personalities, including Al Green, Kool and the Gang, the Staple Singers, Richie Havens, Earth, Wind, and Fire, Herbie Hancock, and Gladys Knight and the Pips as well as fascinating individuals like James Baldwin, Imamu Amiri Baraka, Louis Farrakhan, Nikki Giovanni, James Earl Jones, Melvin Van Peebles, and Stokely Carmichael. On occasion people like Curtis Mayfield or Wilson Pickett would take over the hosting duties. Nobody can say they put on a dull program. There’s so much astounding stuff in this video. Stevie sings a chunk on “My Cherie Amour” in Italian, while “You and I” is accompanied by a fully choreographed ballet. Stevie covers Marvin Gaye’s “What’s Going On,” Bob Dylan’s “Blowin’ in the Wind,” and the Temptations’ “Papa Was a Rollin’ Stone”—on this last number, Stevie uses a vocoder to arresting effect. There’s a brief, amusing interview with host Gerry Bledsoe. Like any good show, things heat up steadily, and by the end things are well-nigh out of control, up to and including the kaleidoscopic video effects (which actually make use of a kaleidoscope).

Track listing:
For Once in My Life
If You Really Love Me
Superwoman (Where Were You When I Needed You)
You and I (We Can Conquer the World)
What’s Going On/My Cherie Amour
Blowin’ in the Wind
With a Child’s Heart
Love Having You Around
Signed, Sealed, Delivered I’m Yours/Papa Was a Rollin’ Stone
Superstition
Maybe Your Baby/Superstition Outro
Uptight (Everything’s Alright)

From: https://dangerousminds.net/comments/higher_ground_transcendent_stevie_wonder_pbs_tv_special_from_1972

Today we take it for granted that Black culture is mainstream American culture. But, before the age of hip-hop, cable TV, the internet, streaming, and mobile phones, African Americans basically had to crowdsource their own entertainment guide. Forget about Black stories being told — so few Black artists were even accepted on TV that the African American community found out via word of mouth when a beloved performer would make a guest appearance on a sitcom, drama, or talk show. One appearance was treated as an important event. During the Civil Rights Era, negative representations of violence were easy to find on the nightly news, but positive portrayals of Black culture were hard to come by. Just one movie, TV episode, or live appearance was treasured. Sammy Davis Jr. starred in a 1967 TV war thriller, The Enemy, where he figures out that a fellow GI is really a German soldier and kills him before he can sabotage American troops. Audiences were shocked; Black audiences were shocked in a very good way.
As seen in the Mr. SOUL! documentary, that was the landscape that Ellis Haizlip wanted to change with his groundbreaking, often thrilling, public television series SOUL! (exclamation point included!) SOUL! showed the Black community in a positive, highly diverse light. Haizlip did not represent the Black artistic community as a monolith but as a mosaic with only excellence and originality as the connecting threads. That community could be classically trained or church-taught, rural or urban, come with exact theatrical diction or speak with a Spanish accent.
Starting in September of 1968, Haizlip produced and eventually presented, the very best of Black art, from dance and poetry to cultural icons and thought leaders. But the glue that held Haizlip’s venture together was music. Haizlip selected R&B sax legend King Curtis as the show’s musical director and even stepped aside to have soul legends Jerry Butler and Curtis Mayfield present a number of episodes. Like its namesake, SOUL! featured the greatest R&B artists of the day — many of them the greatest artists of all time. Caught right at the start of his career, the unstoppable vocal talent of future Grammy Lifetime Achievement Award-winner Al Green just bursts out of the screen. The same can be said for Patti Labelle, who performed on SOUL! a rendition of “Somewhere Over the Rainbow” that shows how naturally the Hollywood standard fit into the Civil Rights movement.
Ellis Haizlip, a black, openly gay intellectual, may have been a theatrical producer but he could spot musical talent a mile away. The songwriting team Ashford & Simpson had just scored a huge hit for Diana Ross with “Reach Out and Touch (Somebody’s Hand)” but Haizlip asked them to perform the song on his show. SOUL! features the duo’s very first performance and they knock it out of the park. Ashford & Simpson became stars while some artists on the series never broke through. Watching Novella Nelson’s searing rendition of “Cold Water Flat” may have you scratching your head as to why she didn’t become a household name.
The single greatest performance on SOUL! may just be Stevie Wonder’s marathon version of “Superstition.” Wonder was so thrilled to be on the series, and the audience was so into it, that Stevie would not stop playing. They literally ran out of tape - not film, tape! - and had to change cassettes to keep capturing Wonder in motion. As seen in the Mr. SOUL! documentary, when Questlove mentions the joy of watching the studio audience watching Stevie Wonder perform for them. They knew magic was being created in front of them.  From: https://www.pbs.org/independentlens/blog/listen-up-music-was-heart-of-soul/

 

Bent Knee - Leak Water

 #Bent Knee #progressive rock #art rock #industrial #baroque pop #avant-garde #music video

Boston’s Bent Knee proudly occupy the grey area where baroque pop, rock, and the avant-garde meet, but even they are sometimes caught off guard by their intricately woven, surrealist stylings. The element of surprise and desire to fuse disparate sounds was felt throughout their sophomore record, 2014’s well-received Shiny Eyed Babies. It shines through even brighter on follow-up album Say So, due out May 20th through new label home Cuneiform. A press release dubs the forthcoming LP a “thrilling, aural roller-coaster ride with arrangements designed to make listeners throw their arms up in wild abandon.” Surveying Say So’s heady yet meta subject matter, it’s easy to see how such a varied sort of record could come about. Along with “the emergence of personal demons,” the new full-length sees Bent Knee digging into the abstract, specifically “looking at the bigger picture and figuring out where we as individuals stand, and how we carve out meaning in this giant universe,” according to violinist Chris Baum.
While complex, contrasting compositions might be in Bent Knee’s DNA, much of the “surprise” in Say So can likely also be attributed to the unconventional space in which it was recorded. “A friend of ours pointed us to an empty, unlocked, million-square foot industrial complex in Boston,” says frontwoman/keyboardist Courtney Swain. “It felt like zombies were going to jump out anytime. It was a foreboding locale and gave the session a distinctly dark vibe.” As a first look at the album, the band has unveiled a new song called Leak Water. It’s a relatively straightforward number compared to their past releases, as Bent Knee note; still, a potent sense of urgency tingles in the air. In a statement to Consequence of Sound, guitarist Ben Levin explains the track’s backstory and how it’s captured in the corresponding official video: “‘Leak Water’ is written from the perspective of a little girl whose mother is pulling her through a painful morning beauty ritual. With this in mind, for the music video we wanted to feature a little girl singing the lyrics while being thrown around in some way. The video was directed by Greg Bowen, who also created the album art for Say So. Greg makes amazing art in just about any medium you can imagine, and we decided to take advantage of his range by stylizing this video like a collage.”  From: https://consequence.net/2016/04/bent-knee-announce-new-album-say-so-premiere-leak-water-songvideo-watch/

Fairport Convention - Time Will Show The Wiser

 #Fairport Convention #Ian Matthews #Ashley Hutchings #Richard Thompson #folk rock #British folk rock #electric folk #British folk #psychedelic folk rock #1960s #music video

Fairport Convention’s wonderful performance from the French TV Show "Bouton Rouge" was broadcast live on 27 April 1968 and features the original Fairport Line up of Judy Dyble, Iain Matthews, Simon Nicol, Tyger Hutchings, Richard Thompson, and the late Martin Lamble playing Morning Glory, Time Will Show The Wiser and a simply awe-inspiring mind-melting performance of Reno, Nevada. At this time Fairport had just released their first album and were very influenced by American folk rock and psychedelic groups like Jefferson Airplane, Bob Dylan and The Byrds. The sound, look and name of the band led many to think that either they were an American band or at best just a British version of Jefferson Airplane. The star of the show is definitely Richard Thompson who is seen here in mega guitar hero role. After a fairly muscular solo in Morning Glory he delivers an astonishing perfectly paced 4 and a half minute six string marathon in Reno Nevada - so full of power, invention, imagination that the solo seems to run away with itself. Is Richard playing the guitar or is the guitar playing Richard? For the duration of this nearly 5 minute solo they are no longer the British Jefferson Airplane copying their heroes but arguably go beyond anything the Airplane, Grateful Dead or other San Francisco bands were doing in early '68 (although it must be said that the Dead would start to achieve similar high levels of  jazz inspired improv syncopation before the year was out but that is another story and post). And to top it all the band just look so damned cool. As the solo finishes Judy Dyble slowly gets up and wanders back to the microphone and the whole band just have a look of “Hey, this is nothing special. We are this shit hot every night.” After this performance they signed with Island Records, Judy Dyble left the band to be replaced by Sandy Denny and they went off to reinvent British folk rock.  From: http://strangerthanknown.blogspot.com/2013/01/fairport-convention-bouton-rouge.html

IC3PEAK - Kiss Of Death

 #IC3PEAK #experimental rock #electronic rock #witch house #industrial rock #electro-metal #political #subversive #Russian #music video

You have followers in a society, the sheep, and you have those who stand up against the herd mentality and show their middle finger to oppression. One of those bands is the Russian electronic band IC3PEAK. They saw their VK page (the biggest media in Russia) banned because of our anti-war statements. Their concerts are also officially prohibited by the Russian government. Instead of remaining silent, they unleashed the video “Kiss Of Death” (the title track of their most recent album) which is “dedicated to the Russian police state which tries to censor us all but is doomed to fail.” The band is also collecting funds to support Ukrainian humanitarian aid.
IC3PEAK is the duo Anastasia Kreslina and Nikolay Kostilev. They formed the band in 2013 and released the English sung EP “Substances” the following year. Shortly after, they released the video for the song “Ether”. In 2017, IC3PEAK released their first album (in Russian), “Sladkaya zhizn” (“Sweet life”). The duo released another Russian-language album, “Skazka” (“Fairy Tale”), in 2018. The band’s third album in Russian was #Do Svidaniya” (“Goodbye”) and was released on April 24, 2020. By then they were already under political scrutiny, especially because of the video for the song “Smerti bolshe net” which was considered as an insult to law enforcement structures and to the Russian authorities. There were also accusations that the video would be promoting suicide, which, according to the authorities, could have an impact on the duo’s underage fans. What followed was targeted harassment, threats, and intimidation from the Russian security forces. Concert venues throughout Russia were told not to program them or cancel shows. The performance in Novosibirsk on 1 December 2018 became the peak of that confrontation. On that day, the members of IC3PEAK and the local concert organizers were detained while exiting the train at Novosibirsk Central Railway Station. The concert took place at an alternative venue.  From: https://www.side-line.com/russian-band-ic3peak-gets-banned-on-vk-for-anti-war-comments-their-reaction-an-anti-putin-video/

Mark Stoermer - Blood and Guts (The Anatomy Lesson)

 #Mark Stoermer #ex-The Killers #alternative rock #indie rock #post-punk revival #psychedelic rock #pop rock #heavy metal #music video

Mark Stoermer, bassist of The Killers, has released a surreal, bloody new video for “Blood & Guts”. The video is a mini psychedelic rock opera based on the Rembrandt painting “The Anatomy Lesson” featuring Adan Jodorowsky and directed by Ghost of a Saber Tooth Tiger’s Charlotte Kemp Muhl, which sees Stoermer portraying a crazed conductor hell bent on destruction. “It is a theatrical journey that juxtaposes sex and death, the material and the spiritual, the sacred and the profane, the grotesque and the beautiful, the somber and the silly. It is a celebration of life in the face of our mortality, while paying tribute to the forces of creation, preservation, destruction and resurrection,” Stoermer said of the video.  
Dark Arts, Stoermer’s second solo album, comprises a mosaic of sixties-induced psychedelia, bluesy desert rock swagger, plaintive lyrical poetry, and lithe and lush cinematic orchestration. Co-produced by David Hopkins of Bombay Heavy and recorded at The Killers‘ Las Vegas headquarters Battle Born Studios and Studio at The Palms, Dark Arts weaves together a twisting and turning trip through a myriad of styles.  From: https://ventsmagazine.com/2016/10/25/mark-stoermer-releases-nsfw-blood-guts-video/

Mark Stoermer is an American musician and songwriter. He is best known as the bassist for the rock band the Killers, with whom he has recorded six studio albums. In addition to his work with the Killers, Stoermer has released three solo albums, Another Life in 2011, Dark Arts in 2016, and Filthy Apes and Lions in 2017. Stoermer also joined the Smashing Pumpkins to tour in support of the band's ninth studio album, Monuments to an Elegy (2014), and produced Howling Bells' third studio album The Loudest Engine (2011).
Stoermer mainly plays with a pick. He says "I love the punch and grit of a pick. I do a lot of unconscious palm muting. I love how you can instantly get that clunky tone with shorter notes. It's a great sound." He tries to play the bass as a "half percussive, half melodic instrument". Stoermer feels that "You can add to a song's melodic side without taking away from the vocals. That's my favorite kind of bass playing." His signature bass playing is featured prominently in the Killers' debut and sophomore albums. While his aggressive playing was a focal point in the Killers' first two albums, Stoermer's playing became more funk-driven in Day & Age, and much more reserved and subtle in Battle Born. His style of playing has influenced many other bands and even a genre of music in bass-driven New Wave-synth rock.  From: https://en.wikipedia.org/wiki/Mark_Stoermer

The BellRays - Infection

 #The BellRays #garage rock #soul #punk rock #punk funk #rock & soul #R&B

Blues is the teacher. Punk is the Preacher. It’s all about emotion and energy. Experience and raw talent, spirit and intellect. Exciting things happen when these things collide. Bob Vennum and Lisa Kekaula made The BellRays happen in 1990 in Riverside, California but they weren’t really thinking about any of this then. They wanted to play music and they wanted it to feel good. They wanted people to want to get up, to need to get up and check out what was going on. Form an opinion. React. So they took everything they knew about; the Beatles, Stevie Wonder, the Who, the Ramones Billie Holiday, Lou Rawls, Hank Williams, the DB’s, Jimmy Reed, and Led Zeppelin (to name a very few to whom “blues is the teacher”) and pressed it into service.
Those bands and artists have since become “buzz words”, things to imitate and sound like. That was never The BellRays intention. The BellRays were never about coming up with a “sound”, or fitting in with a scene. It was about the energy that made all that music so irresistible. The BellRays’ influences learned from the Blues and then learned how to to make it their own. The Beatles wanted to play R&B, converted that energy and invented “Rubber Soul”. The Ramones were trying to be Del Shannon or Neil Sedaka and out came “Rocket to Russia”.
The BellRays believe combining Rock and Soul is not meant to be a conscious effort. You shouldn’t have to force them together because they’ve never really been separated in the first place. It’s an organic trail that flows through Bob and Lisa and the current rhythm section of Bernard Yin (Fur Dixon, Par Avion) on bass and Dusty Watson (the Sonics, Dick Dale) on drums, and comes out honest and urgent. You will learn and you will feel. Blues is always teaching and Punk is always preaching. The BellRays are always listening.  From: https://first-avenue.com/performer/the-bellrays/

Jorma Kaukonen - Genesis

 #Jorma Kaukonen #ex-Jefferson Airplane #ex-Hot Tuna #folk rock #blues rock #acoustic blues #singer-songwriter #1970s

Genesis, the opening song on Jefferson Airplane guitarist Jorma Kaukonen’s first solo album from 1974, has always been a favorite of mine. It details his plea toward a new beginning that was needed in his relationship with his wife, due to some typical thoughtless indulgence that frequents the lives of traveling musicians. In the liner notes of the re-release we read the following:
Although a wistful romantic ode on its surface. what many apparently don’t realize is that the song is a confessional. Says Jorma, “It’s about a guy who cheated on his wife and got caught. I was living the rock and roll life and one thing led to another and I was forced to fess up. The good news is I got a good song out of it. The bad news is I don’t even remember who it was that caused the song to be written. “At the time,” he continues, “my wife Margareta and I realized we were really miserable and we were trying to be happier together. I was writing a lot of true love songs—true love almost always gone wrong but saved at the last moment. Some people have suggested that wouldn’t it be nice if you could write songs like ‘Genesis’ all the time, and I always say, “Yeah, it would be, but it would be great not to have to be in the place I was when I wrote it.’ Many of the best songs get written in a state of abject misery. I prefer to write fewer songs and have less cataclysmic events in my life.”
Thus, “Genesis” is one of those songs that is ultimately both sad yet beautiful. Sad in it’s potentially cataclysmic origination yet beautiful in its expression of a new beginning. The “flying angel” cover art used for the album called “Quah” was created by his wife. Jorma dedicated the re-issue of the album to the memory of Margareta.  From: https://manifestpropensity.wordpress.com/2014/01/25/genesis-by-jorma-kaukonen-a-song-born-from-the-cataclysmic/

Jorma Kaukonen's 50 plus year career began in his hometown of Washington DC when he and friend Jack Casady formed their first band, the Triumphs. Later, attending Antioch college, Kaukonen learned the fingerpicking style of guitar playing and got his introduction to the music of the Reverend Gary Davis which became an integral part of his performances. Moving on to northern California, Kaukonen enrolled at Santa Clara University where he played in coffee houses and accompanied Janis Joplin on some acoustic demos. From there Kaukonen helped form Jefferson Airplane, followed by Hot Tuna and when that band broke up, he continued a solo career he began when Hot Tuna was still active. Jorma Kaukonen has continued his solo career and work with Hot Tuna over the decades. His career has also been marked by numerous collaborations, from working with Jaco Pastorius to collaborating with former members of the Grateful Dead.  From: https://wnrn.org/decade-of-difference-jorma-kaukonen-2/

Mellow Candle - The Poet And The Witch

 #Mellow Candle #folk rock #progressive folk #acid folk #Celtic folk #1970s #Irish

Although they are anything but a household name today, in their time, Irish folk-rock band Mellow Candle were frequently mentioned in the same breath as more enduring names from the Emerald Isle's late-'60s generation of rock bands, such as Steeleye Span, The Chieftains, Thin Lizzy, Horslips, et al. The origins of Mellow Candle can be traced back to 1963, when precocious young ladies Clodagh Simonds, Alison Bools, and Maria White formed a vocal trio named the Gatecrashers while enrolled at Dublin's Holy Child Convent. After several years of impromptu performances, covering hits of the period inside the school walls, 14-year-olds Simonds and Bools (White had already left) sent a demo to Radio Luxembourg DJ Colin Nichol, who in turn brought it to respected producer Simon Napier-Bell, then manager for the likes of The Yardbirds and John’s Children, among others. Napier-Bell was duly impressed and soon arranged for a recording session from which emerged the 1968 single "Feeling High" b/w "Tea with the Sun," released through his own short-lived SNB label imprint and credited to the already renamed Mellow Candle.
The single's poorly rendered approximation of psychedelic girl group sounds failed to chart, however, and Simonds' parents strategically intervened by shipping her off to school in Italy, while Bools began attending art college back in Ireland and singing with local covers group Blue Tint. This paired her with guitarist and future husband David Williams, so that, with the addition of bassist Pat Morris and Simonds' return from Italy, Mellow Candle were relaunched in 1970, making their debut performance in support of The Chieftans. Numerous concerts and festival appearances alongside fellow rising Irish acts such as Horslips, Taste, and Thin Lizzy helped build the band's public profile over the next year, and Simonds even contributed harpsichord and Mellotron to Thin Lizzy’s Shades of a Blue Orphanage LP. By the time this was released, Mellow Candle were already hard at work on their own debut album for Deram Records, having replaced the unsuitably straight-laced Morris with former Creatures bassist Frank Boylan and augmented their formation with a drummer for the first time in ex-Kevin Ayers man William Murray. That debut album, Swaddling Songs, was produced by David Hitchcock (Genesis, Caravan, etc.) and released in April 1972 -- a month that also saw Mellow Candle supporting Steeleye Span at Dublin's National Stadium.
But this reputable concert booking unfortunately did not reflect the public reaction to Swaddling Songs, which, for reasons unknown, was generally either ignored or dismissed by critics of the time (the NME famously calling it a "tax loss"), only to subsequently transform into a paradigm of overlooked British folk-rock in the decades that followed. In fact, come the 1990s, its magical musical amalgam of Celtic folk, progressive, goth, psych, and rock, topped with Simonds and Williams' otherworldly vocals (honed to telepathic interaction over years of partnership), was being hailed as a lost masterpiece, and exchanging collectors' hands for hundreds of dollars until long overdue CD reissues began covering some of the demand. All too late to save Mellow Candle, of course, which had initially weathered Swaddling Songs' commercial failure with tours alongside Genesis and Curved Air, then briefly changed their name to Grace Before Space, but ultimately crumbled altogether and went their separate ways toward the end of 1973.  From: https://open.spotify.com/artist/4wbGwhI4lo3t4mpQt727o4

 

 

Andy M. Stewart - By the Hush

 #Andy M. Stewart #ex-Silly Wizard #Scottish folk #Irish folk #traditional #singer-songwriter

Andy M. Stewart was a Scots singer and songwriter who was at the forefront of a resurgent contemporary Scottish folk scene in the 1970s as the voice of the Edinburgh-formed group Silly Wizard. In their early days the band held a residency at the small but popular Triangle Folk Club in the city, a Saturday night haunt which typified Edinburgh’s rich folk scene of the time alongside venues like the Crown and Edinburgh Folk Club; at the height of their popularity they toured to great appreciation in Europe and the United States – and sold out an annual engagement at the Playhouse during the Edinburgh Festival. The reasons for Silly Wizard’s success were many, but easy to broadly sum up: on the one hand, the striking musical virtuosity of the prodigiously talented young brothers Johnny and Phil Cunningham from Portobello, on the other the marvelously soft but powerful vocal ability of Stewart, and in between the skills of key prime-era members Gordon Jones and Martin Hadden.
A well-spoken raconteur on the live stage, whose ability to introduce his songs informatively and with genuine humor enhanced the experience of hearing them, Stewart wrote music and lyrics which are – particularly in the case of his ballads – rich and still freshly emotive. A skilled banjo player who used his middle initial to distinguish himself from the elder Scots singer who shared his name, Stewart’s skills lay in interpreting Scottish folk standards and in writing additions to the canon which were at once traditional and modern. His songs ran a range of emotions from the delicate romance of The Queen of Argyll to the knowing humor of The Ramblin’ Rover.  From: https://www.scotsman.com/news/obituaries/obituary-andy-m-stewart-singer-and-songwriter-1997406

By the Hush / Paddy's Lamentation

O.J. Abbott from Hull, Quebec, sang the emigrant and Civil War song By the Hush, Me Boys in a 1957 field recording made by Edith Fowke. It was included in 1961 on his Folkways album Irish and British Songs from the Ottawa Valley, and in 1975 on the Leader album Far Canadian Fields, which was offered as the acoustic companion to Fowke's Penguin Book of Canadian Folk Songs. She noted in the Leader album's booklet:
Although this song obviously came out of the American Civil War it seems to be unknown in the United States. O.J. Abbott learned it from Mrs. O'Malley, the wife of an Ottawa valley farmer, for whom he worked back in the 1880s. We can only surmise that she must have heard it from some Irish-American who wandered up to Canada after the Civil War.
This is an interesting combination of two themes common in many Irish songs: that of emigrating, and of becoming involved in other countries' wars. Of course thousands of Irish emigrants did ‘fight for Lincoln’, and the ‘General Mahar’ mentioned was probably General Thomas Francis Meagher, commander of the famous Irish Brigade that distinguished itself on the heights of Fredericksburg and in the battle of Richmond. His promise of a pension ‘if you get shot or lose your head’ is a fine example of Irish graveyard humour.

Edith Fowke collected this song, also known as Paddy's Lamentation, in 1957, from O.J. Abbott (1872-1962) who was born in Enfield, England, and came across to work in Ontario lumber camps. It has been found in print as a broadside ballad called Pat in America, but it appears that Abbott's version might be the only one collected in oral tradition. The realisation that Irish immigrants were essentially drafted off the ships into the Union Army during the Civil War provides the distressing backdrop for this song. General Meagher led the renowned Irish-American Sixty-Ninth Brigade from New York.

Will Finn and Rosie Calvert sang Paddy's Lamentation in 2018 on their Haystack album Beneath This Place. They noted: A song from the Irish Diaspora, this story was unfortunately true for millions of Irish immigrants who fled terrible conditions in Ireland for the promise of a new start in America, only to be conscripted into a civil war that they had no stake in.

More Maids sang By the Hush on their 2021 CD Fourmaids. They noted: This song is among the first ones Barbara Coerdt learnt when she started getting interested in Irish Music, and she is very grateful to have come across it on Andy M. Stewart's epic solo recording. It is one of the saddest emigrant songs as it tells the story of a man who gets no chance to start a new life but is drawn into the American Civil War, loses his leg and is denied the pension he was promised. In the end he only wishes to be back home, poor in “dear old Erin”—“dear old Ireland”.

From: https://mainlynorfolk.info/folk/songs/bythehush.html

Tokyo Jihen - 秘密 (Secret)

 #Tokyo Jihen #Shiina Ringo #experimental rock #avant-pop #acid jazz #alternative rock #progressive J-Rock #Japanese

Tokyo Jihen started as Ringo Sheena's backing band at first for her last concert tour before ending the first half of her solo career. Sheena was contemplating working with a band while working on her last solo album, Kalk Samen Kuri no Hana. She began looking for members of her backing band to support her solo tour "Sugoroku Ecstasy" in the Autumn of 2003. The tour band was introduced as Tokyo Jihen during the tour for the first time, featuring guitarist Mikio Hirama, pianist H Zett M, drummer Toshiki Hata, and familiar bassist Seiji Kameda. The musicians she selected became the core of what would become Tokyo Jihen. After the tour, she announced that she would stop her solo career to join Tokyo Jihen as a full-fledged member.

Ringo Sheena (椎名 林檎, Shiina Ringo)
Instruments: Lead vocals, Electric guitar, Acoustic guitar, Piano, Electronic keyboards, Melodica, Kazoo
Real name: Yumiko Shiina (椎名 裕美子, Shiina Yumiko)
Sheena is an acclaimed singer-songwriter who has enjoyed enormous popularity since her debut at the age of 18. She is the founder and the leader of the group, and initially wrote almost all their songs, but later shared songwriting duties with the other band members.

Seiji Kameda (亀田 誠治, Kameda Seiji)
Instruments: Bass guitar, Upright bass, Electric upright bass
Kameda is a music producer and music arranger for many Japanese musicians. Kameda is also a famous session bassist. He participates in many musicians' recording, or plays a bass as a member of various solo singers' backing band. Kameda knew Ringo Sheena before her debut, and he has supported her since then. Ringo Sheena calls him "Shisho", meaning master or teacher. He rose to fame along with her and became a famous producer, but he concentrates on playing a bass guitar in Tokyo Jihen.

Toshiki Hata (刄田 綴色, Hata Toshiki)
Instruments: Drums, Percussion
Real name: Toshiki Hata (畑 利樹, Hata Toshiki)
Hata had drummed as session musician and tour musician for various artists, including Mika Nakashima, Dreams Come True, and Fujifabric. He was also a member of a band headed by Junpei Shiina (椎名 純平, Shiina Junpei), Sheena's elder brother. Hata frequently plays as a support member of his former band Scoop, as well as forming the band Kotoho (コトホ) with Hideaki Yamazaki, another ex-Scoop member and current bassist for School Food Punishment.

Ukigumo (浮雲, The Drifting Cloud)
Instruments: Electric guitar, Acoustic guitar, Backing vocals, Rapping
Real name: Ryosuke Nagaoka (長岡 亮介, Nagaoka Ryosuke)
Ukigumo is an old friend of Sheena's. He has also played music with Junpei Shiina before, as well as Hata and Tabu Zombie of Soil & "Pimp" Sessions; he also played on Sheena's fourth solo album, Sanmon Gossip. He gave Sheena advice when the former members of Tokyo Jihen left the band. He has his own band, Petrolz (ペトロールズ).

Ichiyō Izawa (伊澤 一葉, Izawa Ichiyō)
Instruments: Piano, Electronic keyboards, Electric guitar, Background Vocals
Real name: Keitaro Izawa (伊澤 啓太郎, Izawa Keitaro)
Izawa and former Tokyo Jihen pianist HZM are alumni of the Kunitachi College of Music, and have been in a band together before. He has his own band, Appa (あっぱ), and has more recently played with the band The Hiatus as a tour member.

H Zett M (H是都M, H ZETT M)
Instruments: Piano, Electronic keyboards, Background Vocals
Real name: Masayuki Hiizumi (ヒイズミ マサユ機, Hiizumi Masayuki)
HZM is a core member of the Japanese instrumental jazz band PE'Z, which made their major debut before the formation of Tokyo Jihen. After the release of Tokyo Jihen's first album, he decided to leave to devote himself to PE'Z full-time.

Mikio Hirama (ヒラマ ミキオ (晝海 幹音), Hirama Mikio)
Instruments: Guitars, Background Vocals
Real name: Mikio Hirama (平間 幹央, Hirama Mikio)
Hirama had released two mini-albums on indie labels as a solo musician, and was also in the band "Peppermints Kiss Cafe" as a guitarist at the time he joined Tokyo Jihen. Sheena had met him before at an audition, and subsequently searched for him in hopes of adding him to the band. After the release of Tokyo Jihen's first album, he decided to return to his career as a solo musician.

The real names of Hirama and Hata are 平間 幹央 and 畑 利樹 respectively, but, Ringo Sheena gave them stage names, using Kanji which is not usually used for their names, but as they are the phonetic equivalent, the pronunciation is not changed. Since Ryosuke Nagaoka always drifted unsteadily and nobody knew where he would go, Sheena named Nagaoka "Ukigumo" which means the drifting cloud. Sheena planned to give Keitaro Izawa a stage name, but he refused and chose one for himself, Ichiyō Izawa.

The band members have different writing styles. Sheena Ringo and Ichiyo Izawa write their songs using musical notation. Seiji Kameda uses different methods, recording himself humming, using musical instruments, or using a computer. Ukigumo, on the other hand, cannot write musical notation, Izawa or (less frequently) Sheena transcribe his tunes in the studio. Since Ukigumo writes music without considering a song, it is hard for Sheena to put the words to his music, so he often writes the lyrics to his own songs. Finally, Toshiki Hata stubbornly refused to write music, even declining to write lyrics when Sheena asked him to. He finally did contribute one song to the band's last EP before their split, Color Bars, and the first EP since their reunion.

From: https://www.wikiwand.com/en/Tokyo_Jihen

October Project - Live at The TLA Philadelphia 1996

Part 1

Part 2

 #October Project #Mary Fahl #folk rock #alternative rock #alternative folk rock #adult alternative #classical rock #progressive pop #1990s #music video

October Project's music is dominated by distinctive and powerful female lead vocals (nothing to do with waif-like, breathy whisperings). Indeed, Mary Fahl's deep voice has an earthy sensuality that looms larger than life on the band's two albums, both filled with superb chorus hooks and haunting melodies. October Project also features keyboardist/vocalist Marina Belica, guitarist David Sabatino, keyboardist Emil Adler (piano, keyboards and harmonium) as well as his wife Julie Flanders who, although not a musician per se, writes the band's lyrics. They released two fine albums in the mid '90's before getting dumped by their record company in 1996, at which point they simply broke off. Like an afterthought, some of the band members later resurfaced as the November Project but reverted back to their former name and released a self-produced E.P. in 2003. Deemed more pop than prog, the music of October Project is perhaps best described as 'vocal-dominated symphonic prog', something akin to Renaissance for the orchestral textures, although Mary Fahl does not sound at all like Annie Haslam. The band's first two albums, which focus primarily on her rich, sultry vocals, feature intense melancholy ballads that ride on a combination of lush keyboards, strings and guitars. Keyboards and acoustic guitar are emphasized on the eponymous "October Project" whereas on "Falling Farther In", an album of slightly more linear compositions with pared-down arrangements, the electric guitar is more prominent. The E.P. "Different Eyes", which features the late reunion of some of the band members (sans Mary Fahl), showcases some reworked material from the band's early days.  From: https://www.progarchives.com/artist.asp?id=2190

Mary Fahl’s parents weren’t musicians, but they liked listening to music at home in Stony Point, New York. And with one record player upstairs in the boys room, it was the music blaring from the big family console downstairs that seeped into Fahl’s skin and bones. That meant a lot of show tunes from Mary Martin and Ezio Pinza in South Pacific to My Fair Lady, with an original Broadway cast that included Julie Andrews and Rex Harrison. “Mary Martin had that big alto voice,” Fahl said. “Even the men that sang on that record, Ezio Pinza … I liked their voices. People in Broadway now don’t even sound like that. I miss those kinds of voices. They sounded like real people back then. Everybody sounds the same to me now. And I used to sing along with those things. And I think it built up my voice.”
Eventually, though, she was turned on to British folk by an older brother, and her tastes shifted from Joni Mitchell and Carole King to Sandy Denny (“There’s something so pure in that voice; it’s so emotional”), Richard and Linda Thompson, and June Tabor. Soul and R&B weren’t played either upstairs or downstairs so, for better or worse, those voices didn’t influence Fahl. “So many modern voices are so gospel-inflected,” Fahl said with a touch of disapproval. “There’s a lot of white girls out there that, they sound like they’re singing in church because those gospel-inflected singers are so great. And the black singers are fantastic.” But one hip and powerful American white chick named Grace Slick did get Fahl’s attention. “Everybody had ‘White Rabbit,’ ” she said. “Everybody had Jefferson Airplane. So I loved her, I loved those powerful alto voices. It’s funny, ’cause I really, I have to admit I don’t recognize a lot of people that are on Top 40 radio right now. To me, I can’t pick one out from the other. I just can’t. And then there’s sort of another branch that has gone off. It’s sort of Feist made a left turn and everybody followed her. And I like her. I think she’s great. But I didn’t grow up with that. That ain’t my voice.”
Raised in a Catholic family with more siblings than expendable outcome, Fahl was fortunate to be a natural-born singer. While never taking a voice lesson, she watched her cousins develop into “great instrumentalists. … Like prodigies. I was not that. I just sang all the time.” If she wanted to pursue a musical career, Fahl was on her own. Laughing at the memory, she remembered her mother saying, “Well, if you were really good, you would be like your cousin Alice. You wouldn’t need lessons. You could just pick it up and play it.” Instead, Fahl performed at holiday shows and plays in the Catholic schools she attended, entered an acting program at NYU for a year with the hope of going into musical theater, then left because “I felt like I was wasting my parents’ money. It was a big stretch for them.” Transferring to McGill University (with $800 a year tuition) in Montreal, she occasionally sang in little coffee houses or rock groups that weren’t much bigger.
Upon graduation, “I didn’t know what I was going to do, really,” she said. “I sort of floundered around and went to Europe and sang a little bit there.” Eventually returning to New York, destiny introduced her to Julie Flanders. “She was not happy and not working and not doing anything creative,” Fahl remembered. And she said, ‘You know, I really want to be a songwriter,’ and I said, ‘That’s funny, I want to be a singer.’ And then she introduced me to her boyfriend, who was working as a clerk at HBO or something like that.”
Flanders’ boyfriend (and future husband) was Emil Adler. And the three of them witnessed the birth of October Project. “We were all sort of that stage where we wanted to do something and we were old enough and serious enough that we just said, ‘Well, this is it. We’re gonna make this happen no matter what,’ ” Fahl recalled. “We really worked so hard and just left no stone unturned. You know, took it very, very seriously.” Within two years, they had a deal with Epic Records, then toured with the likes of Sarah McLachlan and Crash Test Dummies. In 1995, the Los Angeles Times proclaimed, “Mary Fahl is the voice that launched a single promising rock band, October Project.” Taking an artsy, classical approach to the rock genre, the band that also included Marina Belica and David Sabatino seemed like a perfect fit for Fahl’s golden pipes. But perhaps they were too serious for AM or FM radio, especially during the growing grunge era.  From: https://www.nodepression.com/after-becoming-pen-pals-musician-mary-fahl-and-author-anne-rice-form-an-everlasting-bond/

Norihiro Sekitani

As Cesar Cruz once said, “Art should disturb the comfortable and comfort the disturbed”. And personally, I’m pretty mentally deranged - at least, according to the average twitter tween. So, I think it goes without saying that I often find myself disappointed with many music videos created for my favorite hardcore music. It’s like - yeah, wow, cool, the artist is whipping his hair, or moving erratically. That’s cool and all, but the music without the video produces such an abstract brutality, that your crazy dances don’t really cut it. I could see crazier things if I went down the street and gave my local individual without a home five bucks and told him to dance. It’s for this reason that I was so enthralled with the abstract body horror of Cyriak when I was younger. I wanted to feel a fear that would never meet me in the physical realm - a horror existent within only the creative hellscape of the human mind. Later in life, I discovered music that evoked a similar visceral reaction to Cyriak’s art - and I couldn’t help but think, “what if we combined that aforementioned surrealism with hardcore music, and turned them both up to 11”? Welcome, to the beautifully twisted surrealism of the prolific Japanese mixed-media artist, Norihiro Sekitani. Norihiro Sekitani is a legendary visual artist when it comes to the Japanese ultra-hardcore scene. Hell, he’s even done some videos for hardcore breakcore metal. To give you an idea of his specialty, I’m just gonna read you the names of some bands he’s made visuals for: DJ Rainbow Ejaculation, Zombieflesheater, Maruosa, you probably get the picture. The Pink Tentacle blog described his work as, “medical book meets manga meets [suggestive material].”  From: https://www.youtube.com/watch?v=MFZU_E1R2iU

 

Maruosa - ACA

 

 

Zombieflesheater - Face Destroy

 

 

DJ Rainbow Ejaculation - At Numerous Discos On Any Given Night

 

Laboratorium Piesni - Lecieli Zurauli

 #Laboratorium Piesni #world music #European folk #Eastern European folk #traditional #polyphonic chant #Slavic folk music #a capella #white voice #Polish #music video

Laboratorium Piesni (polish: Song Laboratory) is a female-run collective music project, founded in Poland in 2013. The vast majority of their songs are from Polish and Eastern European folk traditions, though they also incorporate other sources. They also host workshops to help people develop their voice and “awaken the human musicality.” Laboratorium Piesni’s primary musical focus is polyphony (multiple voices with little to no musical accompaniment), which is the dominant form of ritual and folk music for animist cultures, also  surviving into Europe as a dominant form into the 1500’s. This music is also known as “a capella,” but many groups have moved away from this Christian label (“a capella” literally means, “in the way of the chapel”).  From: https://abeautifulresistance.org/pagan-music-list/2019/3/23/the-pagan-music-list-2

The band Laboratorium Pieśni can attest to the fact that local and indigenous culture is becoming more and more popular in the globalized world. Let the question of quantity not be an indicator of their quality, but the fact that the Facebook group is followed by over 80,000 people is telling and shows that such music arouses interest. Their white voice is interesting and very eloquent in the 21st century. Thanks to this, the eight-member band also serve as anthropologists who, traveling around various corners, bring various traditional songs into the workshop to present them in their own polyphonic interpretations.
Laboratorium Pieśni draws a vocal map of Central and Eastern Europe (Belarus, Poland, Ukraine), and also the Balkans, Georgia and Scandinavia. It seems that there are no limits, and the singers' heads are full of ideas and enthusiasm for finding songs from different cultures. Many of the songs are sung a capella, but some of them gain accompaniment in the form of subtly introduced shamanic drums, bells or percussions. Thanks to this, the vocals gain a multidimensional character and space. At the same time, they do not obscure the content, on which you can fully concentrate thanks to the simplicity prevailing here. "Rosna", the long-awaited album, collects all these interests on one release. It shows the band in more mystical songs, those taken straight from indigenous villages, but also more lively songs, such as the Finnish "Käppee", which breaks with its Slavic origin. Girls often choose love topics for the workshop, devoted to interpersonal relationships - the album comes with lyrics with translations, thanks to which the songs are more communicative and understandable. But even if we don't decipher them during the first listening, the music still sounds mysterious, shamanic and blunt. In the era of post-produced recordings and sound-packed tracks, such clean vocals, devoid of effects, are perfect hygiene for the ear, because they remind us that something seemingly simple can be complex and multi-threaded at the same time.  Translated from: http://noweidzieodmorza.com/pl/9212-laboratorium-piesni-rosna/

The Verve Pipe - Photograph

 #The Verve Pipe #alternative rock #post-grunge #indie rock #pop rock #1990s #music video

When Brian Vander Ark was a kid growing up in Grand Rapids, Michigan, he and his brothers often played a perverse game of “church,” with Brian as Jesus and his brothers as the congregation. Once, his brothers crucified him mid-sermon by strapping him to the backyard deck with belts and rope. Alone to atone, Brian wept as his brothers partied on. “After hours of screaming, they finally took me down,” recalls the Verve Pipe singer. “My brothers were relentlessly sadistic Christians.” Along with crucifixion anxiety, Vander Ark says his religious upbringing left him “ridden with guilt,” a subject that figures prominently on the Verve Pipe’s major-label debut album, Villains. Set to a hummable brand of workingman’s grunge, Vander Ark’s painfully earnest tales of regret have made the group this year’s dorm-room poster boys. Either their ascendancy is a sign that for every year there must be a grunge giant, or the scholastic set is more wary of irony than anyone could have imagined. “We appreciate the dynamics of grunge,” says drummer Donny Brown, brushing off charges that the Verve Pipe’s music can sound plainly derivative. “If the song feels heavy and it sounds better driving it, then we drive it. Make it grunge. Who cares?”
Brown and Vander Ark met in the early ’90s when they were both painting a Lee’s Famous Chicken Shack restaurant in Kalamazoo. Along with Vander Ark’s younger brother Brad on bass, the trio enlisted guitarist A.J. Dunning and keyboard player Doug Corella from Michigan-area alternative bands. The band soon found a home on the fertile fraternity circuit, where, says Vander Ark, “they’d still pay us, even after the cops pulled the plug.” Now, six years later, they’re in New York on “the biggest day of our lives,” taping Letterman and VH1 appearances, with the proud Vander Ark parents in tow. After a day of minimal hijinks—the Verve Pipe behave like scrupulous Midwesterners—Vander Ark kisses his parents goodbye and gets ready to head north for another gig. Still, he seems more like a frustrated choirboy than someone living out his rock’n’roll dreams. “I still believe in blasphemy,” Vander Ark admits. “Like that scene in The Exorcist where Linda Blair is masturbating with the cross. That absolutely bothers me. For the sake of the movie, it’s a fabulous scene. But it makes me squirm.”  From: https://www.spin.com/2017/04/the-verve-pipe-interview/ 

His Name is Alive - Can't Go Wrong Without You

 #His Name is Alive #experimental rock #dream pop #avant garde #alternative rock #indie rock #neo-psychedelia #art rock #Quay Brothers #animated music video #stop-motion

The ever-changing project of multi-instrumentalist/producer Warren Defever, His Name Is Alive have explored a veritable record store's worth of music during their decades-spanning career. In the early 1990s, they helped define the sound of the arty indie label 4AD with the experimental dream pop of albums such as 1991's Home Is in Your Head and 1993's Mouth by Mouth. As time went on, their rotating lineup mirrored their shifting sounds. Defever and company surveyed sunny, Beach Boys-tinged pop on 1996's Stars on ESP just as deftly as they channeled gospel and R&B on 2001's Someday My Blues Will Cover the Earth. A few years later, they fused their dream pop roots with African and Asian elements on 2007's Xmmer. His Name Is Alive entered a particularly creative period in the 2010s, combining the ambitious and heavy sounds of prog and metal with ethereal vocals on the concept albums Tecuciztecatl (2014) and Patterns of Light (2016). Later in the decade and into the 2020s, Defever revisited early ambient recordings on collections such as 2019's All the Mirrors in the House (Early Recordings 1979-1986) and reworked them on mixtapes including 2020's Ghost Tape EXP.  From: https://www.allmusic.com/artist/his-name-is-alive-mn0000681402/biography

Starting from the late 70s, US born/England based duo of identical twins Stephen and Timothy Quay produced a whole number of stop-motion animations and their unique style, in turn, influenced a whole number of other animators. Much of their work is based on the writings of Franz Kafka and Bruno Schulz, features little to no dialogue, and relies heavily on musical scores/soundtracks. Their connection with musical world became more pronounced as they directed music videos for His Name Is Alive, Michael Penn and 16 Horsepower. Some  incorrectly assume that they are responsible for creating videos for the band Tool (undoubtedly, very similar in style to Quay’s work, but created mostly by the band’s guitarist Adam Jones).
The two videos that the Brothers Quay directed for His Name Is Alive are “Can’t Go Wrong Without You” and “Are We Still Married.”  From: https://ihrtn.net/brothers-quay-his-name-is-alive/ 

Polecat Creek - Lyin' Man

 #Polecat Creek #bluegrass #Americana #folk #roots country #traditional #singer-songwriter

Most old-time string bands keep their repertoire routed in the classics, learned either from recordings from the 1920s thru 1940s or old master musicians. Polecat Creek, however, offers no less than fifteen original songs on Leaving Eden. Greensboro’s Polecat Creek presents an exceptional balance of traditional country sounds with new songs penned by musical partners Kari Sickenberger and Laurelyn Dossett. The latter’s “Come By Here,” the ninth title on Leaving Eden, won at MerleFest’s Chris Austin Songwriting Contest in 2004. That’s probably not even the best song on an album full of memorable songs. Sickenberger’s “The Past Ain’t Over Yet” reflects all of the hallmarks of the best honk-tonky of more than half-century ago. Yet it switches gender with the female voice into direct opposition to Kitty Wells’ “It Wasn’t God Who Made Honky-Tonk Angels.”
All told Kari wrote nine of the songs, with Laurelyn responsible for the other six. Just as important as the writing, the pair sing far more than effectively, delivering a full range of emotional communication. Not only are these their songs, they sing them as if telling their own life stories. That sets them apart from the old school, using the old-time form as a platform for two outstanding singer-songwriter.
The duo receives equally accomplished musical support. Regular collaborator Riley Bauguss, one of the most respected southern string band players of his generation, plays outrageous banjo throughout, along with some fiddle and guitar. Producer and frequent Tim O’Brien collaborator Dirk Powell of Balfa Toujours adds bass, accordion, mandolin, guitar, and fiddle. Former Good Ole Person Kevin Wimmer fiddles on four cuts.
Rather than recycle themes from nearly a century ago, Polecat Creek creates an original roots sound that draws from string band, brother duet, Cajun, bluegrass, and traditional country. Yet they do that without ever losing their spiritual connection to those who have gone before. That makes Leaving Eden one of the most delightful releases of 2004 in any form of country music.
From: https://artmenius.com/more-recent-publications/reviews-for-the-independent-2004-2005/

The Who - Rael

 #The Who #Pete Townshend #Roger Daltrey #hard rock #heavy blues rock #psychedelic rock #art pop #classic rock #1960s #1970s

Rael was Pete Townshend’s first rock opera. A lot of the themes in it were apparently recycled into Tommy and Lifehouse based on musical evidence. The story was set in 1999, where China was the world power. They were conquering lands and destroying the religious cultures in their conquest. China was overthrowing Israel and an Israeli hero travels back to his homeland on a mission against all odds to save his people. There isn't much more information than that as Pete hasn't release many notes or demos from the opera.
According to the book “Who Are You: The life of Pete Townshend” it was intended to be done with a full orchestra written as a genuine opera starring Arthur Brown in the lead. There were to be 20 scenes. We have a prelude song that's easily found on the internet called Motherland Feeling. Rael part 1 has the scene of him leaving on the boat, a storm scene (which is the sparks part) and the scene of him arriving. We also know there was an organ Fugue which may be the organ part of the demo. There is also a lyric floating around for a song called Party Piece from Rael where we learn that the hero’s wife had died years earlier and was buried in the homeland.
Following a visit to Caesarea, Israel in 1966 with his first wife, Karen Astley, and the subsequent outbreak of the Six-Day War, Townshend began work on Rael, a song cycle loosely based on Israel’s struggle to survive despite being massively outnumbered by its enemies. Rael — short for Israel — got sidetracked, partly due to the demands of the Who’s record company for faster delivery of more hit singles, and Rael was consigned to the shelf. The only song that has surfaced from that project is called Rael and appears on the late 1967 album, The Who Sell Out.
In recent years, Townshend’s thoughts have once again turned back toward the concerns he expressed in Rael. As he told an interviewer for Rolling Stone in 2006: Last week, I was reading about this book that’s just come out. It’s about the Polish Jews who got out of concentration camps and went back to their homes, which had been taken over by Christians who assumed the Jews weren’t coming back. What happened was another wave of anti-Semitism in which dozens were slaughtered by Christians in Warsaw. The premise for it was that there was witchcraft going on. The Jews, of course, drank the blood of children. Been there, done that. Fucking hell. And I asked myself, ‘Why am I so heated up about this fucking story?’ But it’s because, as a kid, my best friend, Mick Leiber, was a Jew. We grew up in a community that was about a third Polish. We lived in a house that divided in two, and in the top part lived a Jewish family who were quite devout. Polish Jews were the kids I played with. They were my people. I remember saying to my mother, ‘Aren’t Polish people from Poland?’ And she said, ‘Yes, they were Britain’s first ally in the war.’ I’d say, ‘But they’re not like foreigners. They’re just like we are.’ And she said, “Yes, they’re just like we are.”
From: https://www.reddit.com/r/TheWho/comments/slb4mo/can_somebody_explain_rael/ 

Steeleye Span - Long Lankin

 #Steeleye Span #Maddy Prior #Tim Hart #folk rock #British folk #British folk rock #traditional folk #electric folk #British roots rock

Long Lankin is based off a Northumbrian legend where Lankin (who was either a stonemason or robber, depending on the story) entered the hall of a rival lord, and with the help of a nursemaid murdered both the lord’s grandchild and daughter. Lankin is said to have hanged himself, while the nurse was burnt at the stake. Steeleye Span’s version of this traditional song omits the origin story of Long Lankin, instead portraying him as more of a cruel boogeyman.  From: https://genius.com/Steeleye-span-long-lankin-lyrics

"Lamkin" is an old ballad and probably one of the darkest. It gives an account of the murder of a woman and her infant son by a disgruntled mason. Versions of the ballad are found in Scotland, England, and the USA. In the most common version Lamkin, the stonemason, is hired by Lord Wearie to build him a castle. When it is complete, the Lord refuses to pay, saying he would have to sell his land to pay for the castle he had built on it. Wearie soon makes a trip across the sea, and Lamkin, with the aid of the Lord's nursemaid, takes his revenge on his family during his absence. He first attacks Lord Wearie's baby.

Then Lamkin a' tane a sharp knife,
That hang down by his gaire,
And he has gien the bonny babe
A deep wound and a sair.

This gets the attention of Lady Wearie, who offers gold and riches to Lamkin if he will spare her life. No rationale is ever given for the extreme measures Lamkin takes, nor why he refuses money at this stage, if his grievances were merely financial. It is speculated that some verses may be missing, although there is some evidence that the nurse may have had a long-standing personal grudge, and played a more active role in the killings.

"O sall I kill her, nourice,
Or sall I lat her be?"
"O kill her, kill her, Lamkin,
For she neer was good to me."

Lord Wearie returns months later to find his wife and son dead, and Lamkin gloating over the deed.

"And wha's blood is this' he says,
'That lies in my ha'?"
"It is your young son'd heart's blood;
'T is the clearest ava."

Lamkin is hanged for his crimes, as he must have known he would be, again giving him no motive but the cruelest revenge. In some later version, the nurse is burned at the stake, the punishment for petty treason. Other versions follow the same basic story, but the antagonist has many different names, among them "Balankin", "Lambert Linkin", "Rankin", "Long Lankyn", and "Lammikin". Later versions lose the opening of the story, which explains that Lamkin is a mason who has not been paid; in these, Lamkin becomes a sort of a bogeyman who dwells in the wild places; the lord, before leaving, warns against him:

Says milord to milady as he mounted his horse,
"Beware of Long Lankin that lives in the moss."
Says milord to milady as he went on his way,
"Beware of Long Lankin that lives in the hay."

These versions add peculiar incidents that add to the grisliness of the crime. Lamkin and the nursemaid collect the baby's blood in a basin, for no named purpose. This has led to speculation that Lamkin was a leper who sought to cure himself by bathing in the blood of an innocent.
The song has been recorded as "Long Lankin" on "But Two Came By" (1968) by Martin Carthy. Steeleye Span perhaps most famously recorded it as "Long Lankin" on Commoner's Crown (1975), and vocal trio The Devil's Interval also recorded it as Long Lankin on their debut album "Blood & Honey" (Wildgoose 2006). Dave Burland recorded "Lamkin" on his album You Can't Fool The Fat Man (1979) with Nic Jones. The Neofolk band Fire + Ice recorded "Long Lankin" on their album Gilded By The Sun (1992). The song has also given its title to Long Lankin, a collection of short stories by John Banville

From: https://www.last.fm/music/Steeleye+Span/_/Long+Lankin/+wiki

The Tokens - The Lion Sleeps Tonight

 

 

#The Tokens #vocal pop #rock & roll #doo-wop #1950s #1960s

The Lion Sleeps Tonight: A hunting song originally sung in Zulu in what is now Swaziland, the original title was "Mbube," which means lion. This was popularized in the 1930s by South African singer Solomon Linda, who recorded it in 1939 with his group, The Evening Birds. Apparently they were a bold bunch, and got the idea from when they used to chase lions who were going after the cattle owned by their families. Solomon Linda recorded the song in Johannesburg, South Africa after being discovered by a talent scout. The chanting was mostly improvised, but worked extraordinarily well. Released on the Gallo label, it became a huge hit across South Africa. Around 1948, Gallo sent a copy to Decca Records in the US, hoping to get it distributed there. Folk singer Pete Seeger got a hold of it and started working on an English version.
In the 1950s, Miriam Makeba recorded this with the Zulu lyrics, and Pete Seeger recorded it with his band, The Weavers (who dominated the charts with "Goodnight Irene"). The Weavers recorded the refrain of the song (no verses) and called it "Wimoweh." In 1957, it was included on The Weavers At Carnegie Hall, a very popular album in the world of folk music. Seeger thought they were saying "Wimoweh" on the original, and that's what he wrote down and how it was recorded in English. They were actually saying "Uyimbube," which means "You're a Lion." It was misheard for "Wimeoweh" because when pronounced, Uyimbube sounds like: oo-yim-bweh-beh.
Hank Medress, Jay Siegel, and Phil and Mitch Margo, who made up The Tokens, had a Top 15 hit "Tonight I Fell in Love" in 1960, but didn't have a record label in 1961. They auditioned for producers Hugo and Luigi (Peretti and Creatore) by singing "Wimoweh" to them. Hugh and Luigi were impressed by the performance but decided that the song needed new lyrics. With help from George Weiss, Hugo and Luigi rewrote the song, giving it the title "The Lion Sleeps Tonight." The Tokens thought this had been nothing more than an elaborate audition - "Who is gonna buy a song about a lion sleeping" was their general sentiment. They were so embarrassed with the new title and lyrics that they fought the release of the recording (it was scheduled to be the B-side of another "import," a Portuguese song that they recorded in the same May 1961 session, "Tina"). Influential disc jockey Murray the K pushed "Tina," but once a New England DJ started playing the B-side on the air, "The Lion Sleeps Tonight" started its climb to the #1 position, hitting the top of the charts in the Christmas holidays of 1961-62.
The Kingston Trio recorded this in 1959 on their Live From The Hungry i LP. When introducing the song, singer Dave Guard stated that "Mbube" was a song about a sleeping lion (he doesn't refer to the song by name: he gives the background of the song before the Trio sings it). Part of the translated lyrics, as given by Guard: "Hush! Hush! If we all be quiet, there will be lion meat for dinner."
From: https://www.songfacts.com/facts/the-tokens/the-lion-sleeps-tonight

Grandma’s Ashes - Spring Harvest

 #Grandma’s Ashes #alternative rock #progressive rock #stoner rock #prog metal #French

Grandma’s Ashes, can we get a bit of background on the band?

Myriam: I first met with Eva on the internet and joined her punk-rock/noise band and we played with different drummers before we eventually decided we wanted to play heavier music. We started over and found Edith online. We jammed, and her math-rock influences took us in a more progressive direction. That’s how we ended up mixing heavy riffs, progressive parts and powerful melodies. We’ve been playing together for three years now.

Are most of your songs a result of jamming, or do you work from structured ideas?

Myriam: One of us will usually come up with with a riff or melody that suits a particular emotion, then we’ll jam it around and end up with different parts that we’ll put together.

Eva: I write a lot of voice melodies when I’m at home, and often come to rehearsal with voice lines and simple bass lines, then Myriam will find something to do with it, bring heavy riffs before Edith comes with her complex rhythmics.

Are there any artists in particular that have inspired you two as players, or someone that encouraged you to pick up your instruments to begin with?

Myriam: My dad plays guitar and taught me the basics of blues with Muddy Waters and Buddy Guy when I was 9. However, it wasn’t until discovered Led Zeppelin at the age of 13 I became obsessed with the guitar. I’d say Jimmy Page, Eddie Van Halen and Matt Bellamy were my early inspirations as a teenager. I later discovered QOTSA and Frank Zappa, which inspired the tones I use with the band and the modal scales I sometimes use when I improvise.

Eva: My father was my first inspiration, he’s a multi-instrumentalist and was playing in different bands within different genres when I was growing up; jazz, rock, punk and blues. I was surrounded by instruments as a child and he’d teach me. When I was 11, I discovered The Stranglers and was instantly very interested by the incredible J.J Burnel’s heavy, slamming but fat bass sound! I started playing bass right after that. After that I discovered Flea, and Chris Squier from Yes, both with more complicated bass lines. That paired with my growing love for funk, I started to work on my sound because I wanted to achieve a mix between two iconic styles, the incisive and punk one, and the groovy, melodic tone of my prog rock idols.

From: https://orangeamps.com/articles/interview-grandmas-ashes/