Posts Tagged ‘Soundtrack

05
Jan
19

The Walter Wanderley Trio “Cheganca”

I thought I had more records from Walter Wanderley, the Brazilian jazz keyboard hit recording artist and guy with a great name—but maybe that was before I lost all my records—anyway, sometimes you’ll see one in a cheap bin or thrift store, and I’m guessing that any or all of his vinyl is worth picking up. This one is all instrumentals, him playing organ with a couple of percussionists. I can listen to this any time of day, though coffee time and cocktail time come to mind as the most appropriate—but it would also work for painting an abstract canvas or the wood trim a bright color. This is on Verve records, from 1966, and the cover is a color photo of the trio in formal wear perched on gargantuan stacks of pallets of burlap bags of coffee beans. I’m assuming it’s coffee since one bag is stenciled “Brasil”—but who knows, it could be soybeans, or it could be Cheganca, because I sure as hell have no idea what “Cheganca” is.

I’m not even sure that if I spoke Portuguese I would know—I like to think that maybe it’s one of those things you know when you know, but it’s not for the squares. The album cover folds out to some extensive liner notes by Bob Lee with KRHM-FM, L.A. He says: “Walter Wanderley has no worry. He could play the Pasadena phone book and make it sound great.” What I do know is that this record would not only be appropriate, but essential if I was throwing a Holly Golightly style cocktail party (the only kind of cocktail party I’m interested in throwing)—it’s even possible this was playing in the party scene in Breakfast at Tiffany’s (1961)—though that would require a time machine—and this record is one. I feel like I’ve heard this version of “Agua de Beber” in a movie somewhere (of course, I’ve heard a vocal version with Astrud Gilberto). Truthfully, much of this record is more upbeat than I normally care for, and also, I just quit drinking (25 years ago)—but that doesn’t mean I’ve been bright-eyed and jaunty for a quarter of a century. This music—in spite of it making you visualize odd groups of young lovers shopping in frivolity—also isn’t jaunty, which is kind of its miracle. And in a few cases, as with the standard, “Here’s That Rainy Day,” it manages to be both melancholy and upbeat at once, knowing that while there is no cure for a broken heart, painting your woodwork a bright color is a wise use of broken-heart-time, because time cures all things, maybe—but there’s a limited supply of it—and a serious limited supply of more.

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16
Dec
17

Bob Dylan “Pat Garrett & Billy the Kid”

This is apparently the soundtrack record for the movie Pat Garrett & Billy the Kid (1973) which was directed by Sam Peckinpah and written by Rudy Wurlitzer—a movie I’m sure I’ve seen, but don’t remember too well (like, I didn’t even remember that James Coburn was in it, but there are credits on the back album cover. I love James Coburn). There is a scene I remember from a movie—and I’m not sure if it is this one—so maybe someone can help me out. A guy gets shot, and before he dies, his last words are something like, “I wish… wish…” Not sure if those are the words, or this is the movie, but it’s something that made a huge impression on me, that scene, and I hope to clear this up someday.

A lot of this is the usual kind of wanky western soundtrack stuff I can do without, with fiddles and “traditional instruments”—there is even something that sounds like the dreaded “pan-flute.” The first song, “Main Title Theme (Billy)” is the kind of music that sounds like it’s celebrating the grandeur and mythology of “The West”—which just strikes me as so much bullshit. I guess I’m not much of a fan of the western genre, as the lies jump out like all political lies, and I don’t believe there was anything good about the old west, just a lot of slaughter, rape, and pillaging, bullies and blowhards, and disgusting behavior all around. I’m guessing Jim Jarmusch’s Dead Man gets about halfway closer than any other western. Anyway, “Knockin’ on Heaven’s Door” is a great, great song, and there’s a couple more here with Dylan singing (“Billy 4” and “Billy 7”) that make this record almost worthwhile.

31
Oct
17

The Peter Thomas Sound Orchestra “Chariots of the Gods”

This is the 1974 soundtrack album for the 1970 movie by the same name, which was based on the 1968 book, Chariots of the Gods?—which was an international bestseller that, for years, you used to see wherever you’d see used paperbacks. Roughly, about the theory that extraterrestrials came to Earth in ancient times and influenced our culture (which would explain a lot, especially if they brought along cats). I feel like we might have seen the movie at some point in high school—projected in a classroom in 16mm, which we did occasionally—but I’m not sure. If we did see it, I guess it wasn’t as memorable as Highways of Agony.

But it’s the soundtrack album, by German composer Peter Thomas, that I’m interested in here. On the cover, I believe, are images from the movie poster, with an Easter Island head watching a Saturn rocket take off over the Great Pyramids, etc. It’s got 19 tracks, with titles like “Popular Myth and Destruction of Sodom” and “Rocket Science,” and is somewhat a journey in itself. It’s kind of hard to get a handle on since it’s all over the place, though that probably is a reflection of the movie. Maybe the easiest way for me to come to terms with this record is to go track by track and describe my own movie, based on the feelings each of these compositions conjures in my imagination. For simplicity’s sake I’m not going to name each track, but go by number, and we’ll call the movie: The Chariot of Speen.

Side A, Track 1 finds our hero waking up with a wicked hangover, complete with flashbacks of the time he fell in love with the neighbor girl who was four years older (he was 12). A2 sounds like he’s at the dentist, and it must have been pulling wisdom teeth because a radical shift in tone takes him crossing the desert with Peter O’Toole and camels, and every time someone hits that gong there is a human (or camel) sacrifice. A3 is much lighter, thankfully, maybe riding a bike, at least until the post-traumatic flashbacks kick in. A4 has us looking out over the plain, maybe counting windmills or oil-wells, or maybe just mirages. Yes, it was all merely an illusion. A5 begins with graduation day and tricks us, because it ends there, too. A6 is that ephemeral space between remembering and not remembering that you’re not remembering. A7 evokes that feeling of being in a public place with absolutely no connection to humans. A8 is walking music, when everything is groovy, people in your neighborhood respect you, and you occasionally stop to tie your shoes (way too often, actually). A9 is driving music, and it would have to be in a convertible, with blue skies, and above the blue Mediterranean, on those twisty roads that people survive in movies but not always in real life.

Side B, Track 1 gets us back on track with the main theme, in this case soaring overhead, presumably in some kind of contraption and not just disembodied. B2 evokes the nightmare of the Industrial Revolution, or it might just be enduring a night of indigestion. B3 finds our hero in love, naturally all too fleeting. B4 is that always hilarious joke, “I think we should see other people.” B5 is more either eternal life or eternal nothingness, which I guess are two sides of the same coin. B6, for whatever reason, has us shopping in a sunny market, maybe with a Warren Oates character, exploiting our superior exchange rates. B7 is walking among the unburied dead, wiping away sticky cobwebs that block the path, and the horror is acute but brief. B8 is that one scene in the movie with “the man with no name” (who eventually kills everyone) where he isn’t killing anyone, but rather finding innocence and beauty in the unblemished face of a ravishing international starlet who is unfortunately underage and about to be (in the movie) brutally raped and slain. B9 is the same guy, heading off to meet his destiny, on horseback (minus the destiny). B10 is our hero (who never sailed a day in his life) piloting a sleek sailing ship, staring off over the blue horizon, thinking about dinner.

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.




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