Posts Tagged ‘Milwaukee

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.

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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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