December 7, 2008

Yoshi Sodeoka - Let It Bleed (Left) Let It Be (Right)…

Now here is some real fair use for you.  This is still utterly dependent on our preconceptions and accumulated cultural baggage, but it is not simply pressing those buttons hedonistically, as for example Girl Talk, but using our associations and memories as material for some sort of independent expression.

It also sounds nifty.

grahamgrafx:

Let It Bleed (Left) Let It Be (Right), The Stones And The Beatles Getting Tweaked At The Same Time (2008) - Yoshi Sodeoka
Comments (View)
Tags: copyright culture girl talk hedonism mash-up
November 29, 2008
Talking Heads - Remain in Light
This album essentially consists of repeated grooves without harmonic or structural progression.  Even the texture of each song stays relatively stable.  The occasional guitar solo and the generally alternating vocal melody fragments are the only things really dividing each song into recognizable parts.
It’s not just a typical dance album approach.  Dance music tends to depend on structural elements to give revelers the feeling that the night is continuously getting more awesome.  Here, the Talking Heads just turn on the awesomeness and let it roll.  Words, melodies, bits and pieces are all just so many pine needles floating on the water.









In the player presented here you can hear some sort of studio jam session on the theme of “Once in a Lifetime”.  It succeeds completely.  The trappings of popular music on the album proper are entirely unnecessary, musically speaking.
So what do the lyrics, melodies, and guitar solos do?  They place the music in its culture.  They say, “hey you, lovers of Pop, of Frank Zappa and DNA, of punk and apple pie, check this out.”
(bennyfreeds and Emily sent me this way)
ps I love the legend that they tried to make a Joy Division style tune for the last track, but having never heard Joy Division.

Talking Heads - Remain in Light

This album essentially consists of repeated grooves without harmonic or structural progression.  Even the texture of each song stays relatively stable.  The occasional guitar solo and the generally alternating vocal melody fragments are the only things really dividing each song into recognizable parts.

It’s not just a typical dance album approach.  Dance music tends to depend on structural elements to give revelers the feeling that the night is continuously getting more awesome.  Here, the Talking Heads just turn on the awesomeness and let it roll.  Words, melodies, bits and pieces are all just so many pine needles floating on the water.

In the player presented here you can hear some sort of studio jam session on the theme of “Once in a Lifetime”.  It succeeds completely.  The trappings of popular music on the album proper are entirely unnecessary, musically speaking.

So what do the lyrics, melodies, and guitar solos do?  They place the music in its culture.  They say, “hey you, lovers of Pop, of Frank Zappa and DNA, of punk and apple pie, check this out.”

(bennyfreeds and Emily sent me this way)

ps I love the legend that they tried to make a Joy Division style tune for the last track, but having never heard Joy Division.

Comments (View)
Tags: talking heads Structure jam guitar culture
September 17, 2008
[Flash 9 is required to listen to audio.]

Debashish Bhattacharya and Bob Brozman - Mahima

When I hear this, I hear just pure, good, pleasurable music with no pretense.  Is that because I’m listening to it with foreign ears?  It’s not just that I don’t know the lyrics (although “Digi Digi Dom Dom” is pretty hard to misinterpret!).  Pretense is by definition a state of culture.  Others have to be aware that you’re acting outside of your normal or natural mode.  I guess I hope that Mahima is pure pleasure for its creators, as it is for me.

I do feel competent believing that Bob Brozman is in an environment natural to him.  A lot of these American guitar guys go to odd places and come back with artifacts, CDs on which they put their stamps - Henry Kaiser and David Lindley went to Madagascar, Ry Cooder went to Cuba, Ernest Ranglin (ok, he’s Jamaican, and he was visiting his ancestral homeland, and I love the album) went to Senegal - and it’s like listening to two musics at once.  The Cubans are playing their music, Cooder is playing his slide guitar over the top.  Ry Cooder may be the pioneer in this;  I used to listen to a great album by Shoukichi Kina which he produced in around 1990, and I know he was doing this kind of thing in the 80s.

These are often great albums, and they’re very popular.  I would guess that Kaiser’s most successful albums are the Madagascar one and the similar one from Norway.  It’s clear, however, that Bob Brozman is an integral part of Mahima, in the compositions, production and performance, and you have to respect that.

Comments (View)
Tags: culture kaiser cooder Brozman india pretense
March 3, 2008

Various Artist - Ancient Swedish Pastoral Music

I’m struck by the similarities between this music and the Finnish psych-folk bands which I recorded, discussed here: Voyages On Vinlandia. I mean, it should be expected, but the melodic and tonal qualities of these “ancient” singers (they were actually recorded in the latter 20th century, but are performing traditional music) are very much represented in the modern Finnish music. Even some of the frighting wildness of the Vinlandia music can be attributed rather to Scandinavia than to the developing of tolerance which has accompanied us into modernity.

I like these folk music albums. I also listened to “Songs of the Inuit” the other day, which I will revisit and write about sometime. Folk music is not music in common sense. No one can listen to it while they do the dishes, and to listen closely to it is often not a musical but an ethnomusicological experience. That is to say, the first order (see Judas Priest, 22 Jan 08) experience is often extra-auditory. You find out about different cultures and so forth.

Another related phenomenon is “world music”. There’s a certain class of person who, alienated (often with good reason) from their own culture - in the case of world music that culture is American or West European - embraces another culture by adopting its speech patterns, style of dress, and so forth. They then begin playing the music of the other culture or cultures, often with a great deal of attention to authenticity, which is ridiculous because folk music is not essentially a sonic endeavor but one of expressing culture, a culture of which these performers are not members. I guess they’re amateur ethnomusicologists, but they perform as if they are musicians. It’s very confusing.

The confusion of musical and non-musical values is something which continues to interest me.

Comments (View)
Tags: scandinavia folk second order culture