Archive for the 'Uncategorized' Category

21
Aug
17

Lionel Hampton “Apollo Hall Concert 1954”

If you believe the title of this record, and why not, it’s a live recording of Lionel Hampton and His Orchestra from 1954 at Apollo Hall. There are some audience noises, but not so much that it’s annoying. I find live rock records almost unlistenable (except maybe in a ironic, comic way) due to the crowd noise, dumb shit said between songs, and the sped-up, adrenaline (or coke) fueled versions of songs. Maybe I’m kinder to live  jazz because I know less about it; I can’t confidently tell a good performance from a bad one, but I guess I definitely like some much more than others—performances, musicians, and songs. My dad had a lot of Lionel Hampton records (not this one, but it inspires nostalgia, nonetheless) and my parents played them, so did I, so I kind of grew up listening to him. For whatever reason, vibraphone is my favorite instrument, or second to piano. In some extensive liner notes on the back of this album cover, the anonymous author goes on and on about how popular Lionel Hampton was at this time. As familiar as I am with his music, I know little about him, so maybe I’ll read more—but some other time. The liner notes just about put me under, just now. I’m still reading, actually. It’s a good record, though the last number kind of bums me out—too loud, fast, energetic, crowd-pleasing—though I’m sure if I was seeing it live in 1954, I’d be into it. The liner notes didn’t do much for me either, though I did like this line, when talking about the importance of rhythm: “Rhythm, which exercises a similar intoxicating effect to a glass of good, heady wine, but which leaves no unpleasant hangover.”

20
Aug
17

Ramal LaMarr “Omens, Oracles & Mysticisms of Dance”

It’s not easy to find anything about Ramal LaMarr on the internet, and though, of course, I could dig deeper, I’m not sure if I want to, because I’m looking while listening to this record and starting to get the heebie-jeebies, because it sounds a lot like the music one would listen to while performing human sacrifices. I don’t know why I think that, really—I must have seen too many human sacrifice movies, though I can’t recall ever having seeing any. That level of creepiness is not my thing, really, though it’s kind of fun thinking about in relation to this record. The cover looks creepily homemade, with cut-out images of a belly dancer and a guy (Ramal?) who is wearing what looks like some kind of Satanic garb. The images seem to have been cut out with a very sharp knife (sharp enough to cut out a human heart?) and placed on a background that looks like a wall mural for a Middle-Eastern restaurant. There’s a feeling of finality to it, like the name of the album sounds like it could be his first, second, and final record all in one. Also, it’s very long, like nearly an hour in length, which… I guess if you’re in the middle of a human sacrifice you don’t want to have to stop and turn over the record.

Though maybe I’m overthinking things—the internet says he put out a couple of records after this one, and they all do have “dance” in the title; maybe this is essentially belly dance music. Which is what it sounds like, though on the sinister end of that spectrum. It’s from 1983, and the label is “Lotus”—out of Milwaukee. It’s instrumental, consisting mostly of synthesizer and percussion. Credits indicate that Ramal LaMarr plays everything except “Zills”—which are credited to “Chandrani”—who I’m guessing might be the belly dancer on the cover. Besides synth and bass, there are Arabian Drums, Kanoon, and Mbira listed. A few songs end with a really kind of creepy and ominous gong. As I listen to the whole record again while typing this, it’s actually starting to grow on me; it’s somewhat soothing on one hand, and kind of trance-inducing on another, and kind of anxiety producing on another. I know that’s three hands—thus the anxiety, I guess. But really, I could see this as really good music for writing, making love, or preparing an elaborate Thanksgiving dinner while the in-laws sit nervously in the next room sipping Brandy Alexanders, wondering just who their daughter got herself mixed up with this time.

18
Aug
17

Blood, Sweat and Tears “Child Is Father To The Man”

Blood, Sweat & Tears is one of those bands whose name is as familiar as my own, yet I know absolutely nothing about them. I picked up this record somewhere, perhaps with an idea I might remedy that situation, despite the gnarly cover with the band sitting on hard chairs in a dark room, holding on their laps, child size adult versions of themselves. It must have been a good day in 1967 at Columbia Records’ art department. It looks kind of like a nightmare you’d have after watching a good episode of “Wild, Wild West.” This band has a long history I’m not going into (or even read about) but this was their first record and Al Kooper was a major part of this venture, along with some other familiar names, and horns. Apparently they re-formed and re-formed over the years, and a version is still out there; the list of “past members” on Wikipedia looks like some kind of joke (I mean, maybe it is—there are far too many names for me to count—it’s insane), and one wonders if BS&T holds the record for most “past members.”

The music is good, I’m surprised at how much I like it. Maybe the truly frightening album cover is a difficult blow to recover from. Good playing throughout, and solid songs, most of them by Al Kooper, one by Steve Katz, and also songs by Tim Buckley, Harry Nillsonn, Randy Newman, Carole King and Gerry Goffin. My favorite, as of 10:21 this Friday night in August, is “So Much Love”—which I just listened to over three times, like I’m 12 years old or something.

 

 

07
Aug
17

The Association “Goodbye, Columbus”

This is a soundtrack record for the 1969 movie, Goodbye, Columbus which features some Association songs, much of it corny and dated sounding, and kind of great if you’re in the mood. “Dartmouth? Dartmouth!” is a groovy number if you’re looking for something for your dance party. The movie, which I’ve seen parts of on TV (worth watching, for me, because I love Richard Benjamin) is based on the book by the same name, Philip Roth’s first. I’m kind of unclear, and not patient enough to figure out, the references in the book, movie, and on one track of this record to Columbus, Ohio, and Ohio State University, but it’s kind of annoying. I’ve read a couple books by Philip Roth, which were great, and I plan on reading more, but not this one. I’ve got a complex relationship with Columbus, Ohio, where I first went to college. I used to be a big fan of Ohio State football, but when I went to school there, I became disillusioned by the football players (who were now (then) the same age as me). I kind of knew this one guy, Art Schlichter, who has kind of an amazing and tragic story (well, you can read about it, if you’re interested). The Buckeye’s beloved coach, Woody Hayes, was fired that year after he punched a player on another team. The whole sports thing kind of crumbled before my eyes. Though now, almost 40 years later, despite rejecting sports on almost every level, I’m once again a huge Ohio State football fan, and anticipate the coming season more than seems healthy. I dropped out of school after two years and attempted to walk across the country. That didn’t go well. But anyway, that was my first “Goodbye, Columbus”—though later I returned to that town, following there the first woman I was in love with. At one point we were engaged to be married, but that didn’t work out, and I’ve yet to be married. So that was kind of my “Goodbye, Columbus” the second time. Though—you guessed it—I returned once again, and tried to go back to school—which didn’t go well at all, and I then swore off college. So, yeah, number 3. If I wanted to get ridiculous, I could subtitle yet another chapter of my life “Goodbye, Columbus”—about my short but intense liaison with a woman who happened to share a name with that city, movie, and this record. She was the love of my life, at least at that time—until she crushed me like a grape with wine written all over it. I guess I’ve digressed a little bit here, and kind of didn’t pay attention to side two, but I suppose it was okay, not bad music to inspire wistful reveries.

07
Aug
17

The Association “Insight Out”

I never paid much attention to The Association but I heard the song “Never My Love” in a movie sometime fairly recently (can’t remember what movie) and it struck me as a great song, as familiar as it is, it was kind of discovering a new song. People must have went nuts for it when it was new and on the radio; it’s an undeniable pop classic—what does it take to write a song like that?—how much of it is just luck? The rest of this record can’t come close to that song, and most of it strikes me as annoying happy hippie bullshit. “Windy” was a hit when I was a kid (this record came out in 1967)—on the radio a lot, and I might have had the single—but I don’t really like it much. If I tried really hard I might find more to like about this record, but life is short (and LPs are long). The album cover is uninspiring (and way too familiar if you ever look for used records) but there is the address of The Association Fan Club: 24 N. Mentor, in Pasadena, which is now The Ice House, a comedy club.

30
Jul
17

Michael Franks “The Art of Tea”

I had never heard of Michael Franks, saw this record in a thrift store and bought it against my better judgment. The picture on the cover, of him, doesn’t tell you much, unless it tells you this record is 1975. There are some familiar names playing on this record: Wilton Felder, Joe Sample, Larry Carlton, and more, and I’m listening to it as I look for him on the Internet. He’s a jazz singer/songwriter; all the songs here are his, and there are lyrics on the back, and there’s some good ones. On second listening the record is already growing on me. I like his voice a lot—it’s equal parts a little odd and way smooth. He’s been putting out albums pretty regularly since 1973, and he’s got a website, looking pretty good, now in his seventies, and still playing. Don’t know why I’ve never heard of him. One song here, “Popsicle Toes,” I’ve heard before—I believe done by Diana Krall. How about these lyrics from that song: “You must have been Miss Pennsylvania/With all this pulchritude/How come you always load your Pentax/When I’m in the nude?” Or how about this one, called “Eggplant”: “When my baby cooks her eggplant/She don’t read no book/And she’s got a Gioconda/Kind of dirty look/And my baby cooks her eggplant/About 19 different ways/But sometimes I just have it raw/With mayonnaise.” In the lyric department, he’s definitely got it going on, at least here in 1975. And did I say that the whole record is smooth?—something that might have put me off at one time, but now I’m into it.

25
Jul
17

Archie Ulm “Archie Ulm at the Yamaha EX-42”

This is apparently a private pressing record from around 1975 of this organ wizard from Milwaukee, Archie Ulm, playing some supper club standards on the Yamaha EX-42, accompanied by percussionist Paul Hergert and guitarist Ar Kriegel. I don’t know anything about the Yamaha EX-42—“an electronic marvel” without looking it up, and I’m not going to (it’s an early 70s big-ass electric organ) which he plays, as well as an ARP Odyssey and a Carnaval electric piano. (The cover photo, of Archie sitting behind a bank of keyboards, is pretty great.) This whole record is a pleasure to listen to, just because he’s taking the organ a little (and sometimes a lot) beyond what you’ve heard anyone do (I think… well, I haven’t heard everyone… but then everyone hasn’t heard this). It’s kind of unfortunate that a lot of songs here are popular numbers (“The Hustle,” “Pink Panther”) that I kind of wish I’d never have to hear again, under any circumstances. (Though I don’t mind so much the “Rockford Files” and “NBC Mystery Movie” Themes.) When he goes off from the familiar parts of the songs, though, it’s pretty amazing and makes you think it’d be great if we could just hear his own compositions, or better quality, less cheesy standards. (“The Cat” is a standout; and he doesn’t hold back.) But you’ve got to make the people happy, I guess, and for some reason the people get nervous when they’re not hearing something they recognize. The cool thing is, because he is apparently satisfying the popular familiarity button, he sneaks in quite a lot of playing that should be making people nervous—because it’s completely insane.




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