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Archive for the ‘Photography’ Category

download (89)SOUNDTRACK: BORIS-Archive Volume Two “Drumless Shows” (2005/2020). 

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In early August, Boris digitally released six archival releases.  Volume Two is called “Drumless Shows” and that’s what it contains.

I tend to think of drummer Atsuo as the leader of the band–he’s the mouthpiece after all. Plus, he’s the most larger than life of the three.  And, his drum sound is huge.

To have 46 minutes of drummless Boris music is quite a change.  It is, as the blurb says, the beginning of Drone Metal history.

Originally released in 2005 from the US label “aRCHIVE”, limited to 600 copies which sold out immediately. Includes 2 songs recorded live from Boris’s 1998 studio album “Amplifier Worship” and 1 song from “Early Demo”, all arranged for a drumless performance. The beginning of Drone Metal history in 1997.
(Reissued as part of Archive 1 on March 5, 2014. Limited to 1,000 copies)

The first of two songs from Amplifier Worship is “Huge” which was also on Archive 1 (this version was recorded at Nagoya Music Farm 9th Aug 1997).  It is 17 minutes long and is very different sounding without the drums.  It’s all drone with one of the instruments sounding almost like a didgeridoo.  After ten minutes echoing screamed vocals comes in but the drone remains.

The final two songs were recorded at Koenji 20000V 8th Aug 1997.  “Mosquito” was also on Archive 1.  It was three minutes there, but it is stretched out to 17 minutes of slow pummeling chords and guttural noises from Atsuo (I assume).  After ten minutes Atsuo starts chanting slowly with the thumping chords.  The final chords echo and feedback as they segue into

“Vomitself” also from Amplifier.  This track is only 12 minutes of drone.  About six minutes in the melody changes briefly before reverting back to the original sound.  For the final two or so minutes, squealing feedback brings this archive to a close.

Takeshi: Bass & Vocal ; Wata: Guitar & Echo ; Atsuo: Drums & Vocal.

[READ: August 12, 2020] Peep Show

Thirteen years ago I read Braff’s The Unthinkable Thoughts of Jacob Green and really liked it.  Then I forgot all about him.

This book was nothing like his more whimsical first novel.

It is set in the mid 1970s.  The main character is David Arbus, a seventeen year old high school student in New Jersey.  His main interest is photography.  He has a younger sister, Debra, whom he loves very much.  But his parents are something else entirely.

David’s father owns “real estate” in New York City.  This means that he owns The Imperial, a burlesque theater where women strip for money.  But this is the 1970s and men don’t just want tame strip shows anymore–they want to see everything.  They want porn flicks.  They want peep show booths.  They want sex toys.

But David’s father doesn’t want any of that.  He wants his business to stay “classy,” even though all of his friends and partners think he’s crazy for passing up the opportunity to make a lot more money.

David is aware of his father’s business although Debra is not. (more…)

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SOUNDTRACK: THE FOUR LADS-“The Bus Stop Song (A Paper of Pins)” (1956).

Given the content of this book, I thought it might be fun to pick a song that was popular in Canada in, say 1956.

I was pretty fascinated to learn from the Canadian Music Blog:

National charts did not begin in Canada until the launch of RPM Magazine in 1964. Below, from Oh Canada What a Feeling A Musical Odyssey by Martin Melhuish are lists of popular songs in Canada through the 1950s. We have also included big hits by Canadian artists that made the year-end charts of U.S. Billboard Magazine with their year-end positions on the chart.

Some popular artists back then were

Guy Lombardo & His Royal Canadians: Enjoy Yourself, The Third Man Theme, Dearie, Our Little Ranch House, All My Love, Harbour Lights, Tennessee Waltz. (all 1950) If, Because of You (1951) Crazy Heart, Blue Tango, Auf Wiederseh’n Sweetheart, Half as Much (1952) Hernando’s Hideaway (1954)

The Four Lads: Moments to Remember (#17) (1955) My Little Angel, A House with Love In It, The Bus Stop Song (A Paper of Pins) (1956) Who Needs You, I Just Don’t Know, Put a Light in the Window (1957) There’s Only One of You, Enchanted Island, The Mocking Bird (1958)

The Crew-Cuts: Earth Angel, Ko Ko Mo, Don’t Be Angry, Chop Chop Boom, A Story Untold, Gum Drop, Angels in the Sky (1955) Mostly Martha, Seven Days (1956)

Paul Anka Diana (#24) (1957) You Are My Destiny, Crazy Love, Let the Bells Keep Ringing, The Teen Commandments (1958) Lonely Boy (#5) Put Your Head On My Shoulder (#12) My Heart Sings, I Miss You So, It’s Time to Cry (1959)

My dad was really into big band music of this ilk and he had records from Guy Lombardo and The Four Lads.  To me the switch from that kind of sound to the style of Paul Anka in 1957/1958 seems like a pretty big shift.  I feel like my dad didn’t like the kind of crooner-y music that Paul Anka sang.  It’s interesting that The Four Lads never rose above a chart position of 52 after 1958.

I chose this particular song because I know  The Four Tops a little.  But mostly because this song is very perplexing.  I had no idea what a “paper of pins” could be.  Turns out the lyrics are a traditional English children’s song.  A “paper of pins” is a sheet of paper with different size pins for sewing.  Why on earth would you give them as a sign of your love?

In the original, the song is a call and response, with the second verse being the rejection of the first verse.

I’ll give to you a paper of pins
And that’s the way our love begins
If you will marry me, me, me
If you will marry me

[The original verse two is :
I don’t want your paper of pins,
If that’s the way that love begins,
For I won’t marry,
Marry, marry, marry
I won’t marry you.]

[The original next verse is not a feathery bed but:
I’ll give to you a silver spoon,
Feed the baby in the afternoon]

I’ll give to you a feathery bed
With downy pillows for your head
If you will marry me, me, me
If you will marry me

After a few more verses, the Four Lads end:

But you don’t want my paper of pins
And you don’t want my feathery bed
You want my house and money instead
That is plain to see

Well, here they are take everything
My house, my money, my wedding ring
And in the bargain I’ll throw in me
If you will marry me

But in the original ends like this

If you give me the keys of the chest,
And all the money that you possess,
Then I will marry,
Marry, marry, marry,
I will marry you.

Ah ha ha, now I see,
You love my money but you don’t love me,
So I won’t marry,
Marry, marry, marry,
I won’t marry you.

So The Four Lads made this song kind of sweet, but also kind of pathetic.  Weird choices.

And why in the world is it called The Bus Stop Song?

[READ: November 17, 2019] The Canadians

This is a book of 79 photos taken from The Globe and Mail archives.  The are not art, they are not beautiful.  They are documentation.  Documentation of a specific time and place–Canada in the late 1950s and early 60s.

These are pictures of regular folks working, doing chores, meeting politicians.  There’s no posing, there’s no “beauty.”  It’s just grim reality.  I grabbed this book because Douglas Coupland wrote the introduction (I’m not sure who wrote the copy for the pictures–each picture has one line of information about it).  The collection was edited by Roger Hargreaves, Jill Offenbeck and Stefanie Petrilli.

I love Coupland’s take on these picture because he looks at things from such a different vantage point than I’m used to.  Like the way he opens the book.  He says that the Canada depicted here pretty much didn’t exist anymore by the time he was born.  He describes Canada then as “a country in which, it would seem, people were born, became teenagers, and then magically at the age of 21, turned into chain-smoking fifty year-olds with undiagnosed cancers.”

He observes that few people smiled and those that did had teeth riddled with nicotine stains.  This is by and large true.  The photos with politicians seem to have the biggest smiles although the young members of Chelecos and Lancers Motorcycle Club certainly mug for the camera. (more…)

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SOUNDTRACK: CELTIC GALES-“Sittin’ on Top of the World” (Moose: The Compilation, 1991).

Back in the 1990s, it was common to buy a compilation or soundtrack or even a band’s album based on one song.  Only to then find that you didn’t really like anything else on it.

Maybe that single sounded like nothing else on the album.  Maybe the movie was almost entirely one genre, but they had that one song that you liked over the credits.  Or maybe the compilation was for something but a song you really wanted was on it, too.

With streaming music that need not happen anymore.  Except in this case.

I bought this compilation, used, recently exclusively for one song, Rheostatics’ “Woodstuck.”  It’s a goofy song and this is the only place you can get the studio version.  The actual compilation was not well documented, so I didn’t know what the other bands on it might sound like.  It turns out to be a compilation for Ontario based Moose Records which specialized in Rock, Folk, World & Country.  They put out another compilation in 1992 and that’s all I can find out about them.

Celtic Gales was, apparently, a trio of Audrey, Linda and Wanda Vanderstoop.  I can’t find anything else about them.

This is a traditional song with some nice guitar work from Scott Rogers.  I rather enjoyed the introductory guitar playing and rather hoped it would be an instrumental.  Their vocals (even if the three part harmonies are lovely) are a little too country for my liking.  There’s the addition of a kona as an instrument on this song but I can’t tell what it is doing

[READ: July 1, 2019] “Clotho, Lachesis, Atropos”

The July/August issue of The Walrus is the Summer Reading issue. This year’s issue had two short stories, a memoir, three poems and a fifteen year reflection about a novel as special features.

This poem addresses several images. The first is Max Liebermann’s “The Flax Barn at Laren.”

He described it very powerfully.

He then mentions a photo of Walter Benjamin: (more…)

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SOUNDTRACK: DEVON GILFILLIAN-NonCOMM 2019 Free at Noon (May 15, 2019).

Devon Gilfillian has a fun name to say.  Beyond that I assumed he was an Irish singer-songwriter.  But in fact, he is Philadelphia-bred, and Nashville-based and he plays soul and hard rock.

WXPN has been mentioning him a lot and I see that he is just about to release his debut album.  He has a powerful voice and commands attention

Gilfillian never wasted a moment on stage, and he never shied away from showmanship either; by the time he reached the second chorus in the opener, “Unchained,” he was already belting in his strongest range. The singer’s voice shook the room, rich, full-bodied, and gorgeous.

I love the way this song seemed pretty big during the verse but took off during the chorus and took off even more in the second chorus.

“Get Out and Get It” sounds like it could have come from a 70s movie with the riffing guitars and keys.  I don’t know if the crowd clapped along to the “La Da Da di” (it’s hard to hear them) but I don’t know how they couldn’t.

The “Good Life” is all about learning to love people better.

During the R&B-inflected “The Good Life,” Gilfillian charmed the audience with sweet falsetto and plenty of smiles as he dreamed about life in a loving city. “Remember when the bank got sold, and everybody took their gold, and everybody helped each other?” he asked in the second verse.

The super fuzzed out guitar solo is pretty spectacular.

They followed it up with the ballad “Stranger,” which Gilfillian introduced with a story from the band’s time on the road: He and his beloved bandmates got into a terrible car accident in 2018 that involved a drunk driver speeding through the hills in Georgia. When the band survived and lived to travel on, Gilfillian wondered at how quickly a stranger could accidentally change the course of another person’s life. But the “stranger” the singer calls out to in the song’s chorus turns out not to be the stranger who caused the accident, but the stranger who let him live through it — his savior.

They end the show with two rocking songs.

“Come Here and Come Down” is rocking and soulful, with a great wah wah sound on the guitar.   There’s a roaring guitar solo, but it’s not quiet as roaring as the final track “Troublemaker,” their heaviest track of the afternoon.  With a simple but powerful riff that really screams for a slide guitar solo, although Gilfillian’s solo is pretty fantastic too.

[READ: May 20, 2019] “A Hundred and Eleven Years Without a Chauffeur”

This story had such a peculiar title that I couldn’t quite imagine where it would go.

It starts off discussing how our ancestors did not drool over us.  They thought of the future in only the most general terms.  Their memoirs were not the whole story.  Worse yet is if we only have a few photos.

The narrator of this story is looking for photos for a biography.  She finds her old supply of photos but she knows some are missing.  But who would steal old photos?  People might take books from a guest room but who would steal Victorian and Edwardian pictures with no artistic merit?

She remembered one of her cousin bending over a sewing machine.  Her dream was to one day own a Rolls Royce with a chauffeur.  It never happened. (more…)

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SOUNDTRACK: NEGATIVLAND-Negativland (1980).

Negativland was (is?) a weird “band” who released absurdist sound collages.  Their purpose was culture jamming and they created quite a stor throughout their “career.”    The band was more or less created by David Wills (born 1954) also known as “The Weatherman”.. He was a cable repairman when he joined the group with a then-teenage Mark Hosler (1962) and Richard Lyons (1959-2016) also known as Dick Vaughn, Dick Goodbody, and Pastor Richard Seeland.

Their first record came out in 1980 and had twenty untitled tracks.  The “songs” were mostly sound effects, radio broadcasts and home recordings. There was some original guitar and drum machine, but mostly it is just collage.

About the tracks:

[SIDE 1]

1. You can hear a spoken word news announcer in the background as a guitar line comes in followed by a drum machine.  Then comes a woman (David’s mother, I believe ) reciting “This is Negativland.”

2. A ticking clock with a pretty guitar melody and then increasingly loud table saws (one in each ear)

3. A drum machine with a spoken word announcer.  This blurb comes from a fan on YouTube:

The man speaking, Mitch Werbell, worked for U.S. covert operations. At the time, (late 70s) there was a big problem with urban terrorism in Argentina. They had threatened to kidnap Coca-Cola reps in Buenos Aires. Werbell is explaining (on the ABC TV show 20/20) what he told the terrorists would happen if they tried, when he was hired to go help the executives escape the area.

4. Horns playing single notes.  It abruptly ends with ringing alarms

5. Guitars (electric and acoustic) playing and echoing.  This is the longest track at almost 5 minutes. Lots of spoken words among the trippy sounds and boopers.

6. Drum machines and noises and then after a violin line comes the most famous early phrase from NegativalndL “Seat Be Sate” (Play Black Sabbath at 78).  The “poem” is soon taken over by noise and a looped spoken word.

7. A menacing static noise and very sci-f sound effects couple with a German language instruction tape.

8. Static noises and de-tuned acoustic guitar strumming as someone sings a bit

9 A looping string of interesting sounds–booper, waves of sound and a clip o kids singing and then Don’s family speaking, all looped into a rhythm.  Finally a classroom rule about silent E

10. Drum machine with a whispered singing vocal and a catchy guitar riff with (of course) lots of distorted noises.

The lyrics:

Cara mia, why
Must we say goodbye
Each time we part
My heart wants to die
Darling, hear my prayer
Cara mia fair
Here are my arms
You alone will share

All I want is you
Forever more
To have, to hold
To love, adore
Cara mia mine
Say those words divine
I’ll be your love
Till the end of time

My cara mia
My cara mia
My cara mia

[SIDE 2]

11. French speaking and the an a loop of an older man saying “everything’s going fine, no trouble just get set and get going. Amen.

12. Warbled distorted vocals of a man and woman reciting the Hail Mary.

13. A family scene with people talking over a news broadcast (WCBS news time).  You can hear David saying “It’s not alive, Drew.”

14. Some more kids talking with all kinds of jammer sounds over them.  The final line has a woman saying “Reading the book by the seamen within would be very helpful.”

15.  Blues on an acoustic guitar (pretty well played) although by the end the solo is out of tune and crazy.

16. Boopers and outer space sounds.  Multiple radio broadcasts overlapping including one about a bedpans in hospitals.  And a joke ( I can’t guess the comedian, but he sounds a bit like Bob Goldthwait or Les Claypool, but it obviously isn’t) “I wouldn’t marry you if you were the last man on earth.”  The punchline is obscured then the laughter come in.

17. A slow drum beat and random noises on a guitar

18. A family scene David’s mother talking about the affordability of buying meat by the pound.

19. A low deep siren sound followed by this dire message from the Emergency Broadcast Network: “The office of civil defense has issued the following message “this is an attack warning” this is an attack warning.  An attack warning means an actual attack against this country has been detected.  Then there’s David inviting Everett to a barbecue that afternoon.  It’s followed by some audio from the American Airlines 191 plane crash from 1979.  This segues into a family scene where the dad is telling a joke about cannibals.  A man walked among cannibals with cases of Pepsi.  The cannibals drank the Pepsi and ate the man.  All except his thing.  When they were later asked why they didn’t eat his thing, they sang, “Things go better with Coke.”

20. The final track states, “Now hear how a real parakeet should sound.”  Then a woman says good morning and then a crazy raspy voice repeats here.  The album ends with this oscillator sound that my parents had in the 1970s–a kind of looping really fake bird chirping.  No idea why they had it.

This actual release of this record was accomapnied by all kinds of original magazine clippings and artwork. And the CD came with pins and other cool things.  It’s a weird artifact from the dawn of culture jamming.

[READ: April 20, 2019] “The Glass House”

I decided it would be interesting to go back to the year 2000 and to read all of the New Yorker stories up to the present.  I think as of now I have read through 2005.  By the time I have finished (next year, I’m sure) I’ll have 20 years of stories read.

This story is set during the Civil War.  The main character, Will, has just enlisted.  His brother, Sam, was killed at Bull Run and Will came to take his place.  His Captain was very happy to have him because Sam was a brave and well-liked man.  But Will, as he himself would admit, was neither of those things.

After Sam’s death, the Captain intended to go to Sam’s house personally to pay his regards to their family.  Had Sam’s mother seen the Captain, she would have spit on him.  But before that could happen, Will decided to enlist.  He forged his mother’s signature and didn’t tell anyone when he left. (more…)

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