I'm feeling nostalgic today. This instrumental, instrumetal if you will, cover of the famous Wizard of Oz tune was really big in South Korea when I lived there in the late 90s, despite it being ten years old or so by then. I first heard it on the radio in Sangju one night, then went to my favorite local music store and bought the cassette. The metal band Helloween was also hugely popular there. It seems there were a couple waves of Korean metal in the 80s and 90s, but I never picked up on it, despite hearing something like this on the radio. It was too underground or Seoul-based for me to notice, probably.
This is a major shredding showcase for the guitarist, Chris Impellitteri (the photo on his wikipedia page is from a 2016 Korean rock festival...he's still big there!). In 2003, Guitar One magazine voted him the second-fastest guitar shredder of all time. Who was voted number one? This guy. I know very little about either one of these guitar speedsters...but they definitely have fans in South Korea.
Raï is a form of Algerian folk music that dates back to the 1920s. The tradition arose in the city of Oran, primarily among the poor. Traditionally sung by men, by the end of the 20th century, female singers became common. The lyrics have concerned social issues such as disease and the policing of European colonies that affected native populations.
During the 1970s, raï artists brought in influences from other countries such as Egypt, Europe, and the Americas. Trumpets, the electric guitar, synthesizers, and drum machines were specific instruments that were put into music. This marked the beginning of pop raï, which was performed by a later generation which adopted the title of Cheb (male) or Chaba (female), meaning "young," to distinguish themselves from the older musicians who continued to perform in the original style.
International success of the genre had begun as early as 1976 with the rise to prominence of producer Rachid Baba Ahmed. He helped many young and upcoming artists, and he had a modern 24-track studio.
He and his brother Fethi had been playing music since the 1960s. I stumbled upon the video for Utopia a few years ago. I was blown away by the otherworldly sounds Rachid created on the keyboard, a Yamaha YC-25D. Combined with the delicate 12-string guitars, it is like a psychedelic dream, vaguely reminiscent of Witthuser & Westrupp's Illusion I. In the video, Fethi is on the left. I'm not sure who the other guitarist is. Someone made a snowman that resembles Rachid. At 1:43, some guys emerge from the background, throwing snowballs around. They run towards the musicians and one guy leaps over the snowman. Fun fun fun.
Get ready, because here we have yet another example of a country that became embroiled in civil war, resulting in artists of all sorts being targeted for daring to be different. The Algerian war began slowly, as it initially appeared the government had successfully crushed the Islamist movement, but armed groups emerged to declare violent jihad, and by 1994, violence had reached such a level that it appeared the government might not be able to withstand it.
In 1995, Rachid Baba Ahmed was assassinated by Islamic fundamentalists outside his record store in Oran. He was targeted because of his involvement in the production of pop raï, which was seen as a transgressive genre that challenged the status quo. Following the assassination of his brother and musical partner, Fethi Baba Ahmed was completely devastated and stopped producing and performing music. Thanks a lot, extremist bastards.
The first time I heard this song, I didn't listen to the lyrics. I was distracted by the elementary school musical piano and fuzz guitar riff at 0:11. I thought it might have an optimistic message, you know, like an enjoy life or smell the roses attitude. Actually, it's a "guys are jerks, and girl, you need to save yourself" cautionary tale like so many mid-60s girl group songs. I transcribed the lyrics:
Take a look around you you’ll find the scene is grim and take a look around you you’ll see you just can’t win
When day is gone it all went wrong you’ll pray there’ll be a different dawn
Please here what I say
Try to change it for the rest of your life it ain’t no use you’ll be staring at the end of a knife taking abuse
So take a look around you and see what you can do Their lying and cheating found you you’ll do as others do
The grapes of wrath the aftermath the two-faced crowd they’re screaming loud
Please take heed of me
The grapes of wrath the aftermath the two-faced crowd they’re screaming loud
So take a look around you and see what you can do.
Love that "grapes of wrath/aftermath" rhyme, don't you? And "you'll be staring at the end of a knife"? Ouch! The song was co-written by Bill Jerome (record producer) and Mary Aiese, aka lead singer Reparata. She and group member Nanette Licari attended Catholic school (of course) in New York City (ditto). Reparata was Mary's confirmation name.
The story of Reparata and the Delrons lasted about 40 years, with various twists and turns. Mary kept the group going, but stopped singing live to concentrate on her family and career as a teacher. Another member of the group, Lorraine Mazzola, took over as lead singer during live shows and began to introduce herself as Reparata. The live shows stopped in 1973 when Mazzola joined Barry Manilow's back-up singers Lady Flash. In Lady Flash, Mazzola began to use the stage name "Reparata Mazzola", and has done so ever since. Exqueeze me? This led to many issues as to who controlled the Reparata "brand" if you will.
Things got sorted out at some point, and Mary kept the group and her own career going until 2000, when she disbanded the group for good.
Don't do it, Mary slash Reparata! And who's that slimy clod with his hand on your neck? You need to open up a can of whoop-ass, like you're in a girl gang Roger Corman movie. Maybe there's an opening for you in the Lizzies.
Shin Joong-Hyun is the godfather of Korean rock, the most important figure in the history of rock music in South Korea. In 2010, he became the first Asian musician and the sixth in the world to be the recipient of a Fender Custom Shop Tribute Series guitar, joining Eric Clapton, Jeff Beck, Eddie Van Halen, Yngwie Malmsteen, and Stevie Ray Vaughan. You can have your k-pop if you must, children, but please know that this guy runs rings around BTS in my book.
Why is it spelled with a Kadda instead of a Gadda? The Korean translation contains the consonant and vowel combination 가, which is often pronounced "ka". This is my theory, at least. It's not important. I'm sure the Iron Butterfly guys didn't care.
It's recorded live. Out of the gate the song isn't mind-blowing; it's like two guys after a few rounds in a karaoke bar. Fortunately, they only stick around until 2:38, then the long middle instrumental section begins. It plods along slowly with an organ solo, then picks up in intensity around 3:55, with added cymbals and Shin's guitar. He kind of feels things out, but then gets the wah pedal going after 5:30, and by 6:00 or so he's coaxing some nice shrieks from his guitar. The all-important drum solo begins at 8:00, and the organ returns at 9:18. At 10:52, we hear the "you cannot petition the lord with prayer" quote from The Doors' "The Soft Parade". More soju for the gentlemen please! Back into the heart of it all at 11:32, and the guys return at 13:13 for the final vocals.
I first heard this in the Malcolm McDowell film If.... (1968). It's a pipe organ spectacular. Lots of modulating chords, a kaleidoscope of changes, a showpiece of technical brilliance.
Frederick Hohman is the organist. He has performed all over the world. I love his tan jacket and the way his left hand flies high off the keys early on, at 0:25. He completely rocks, I wonder if he knows Rick Wakeman? Or if he knew Jon Lord? I wonder what his thoughts are regarding Iron Butterfly. Has he ever just sat down and played In-a-gadda-da-vida?
Here is the composer himself, Charles-Marie Widor, perhaps rocking out in the long ago.
This is my second favorite track from the Numero Group release called Good God! Born Again Funk. It is a funky groove riding the one beat all the way. Guitar and drums start it off, then a supremely funky bass arrives at 018. At 0:29, the singer, with mighty righteousness in his voice, demands an answer to the question, "If Jesus came back today, what would you do?" He, along with the other guys in the group, asks it twice of the general listener, then he twice asks the other guys as well. They have a ready answer: "Go back with him!" He asks them again because their answer fills him with such intense joy. After that it's a series of pronouncements and declarations related to the answer. Man, if Jesus is as cool as these guys say, I'd go back too.
So many cool musical moments throughout, including the drums at 1:03 and the bass from 1:34 to 1:36 and again at 2:47. Just great little events all over the place. Pay particular attention to the music after 4:23, and the amazing drum fill at 4:39 to end it all.
The church I grew up going to was very nice, but the services were pretty dull. It did, however, have an awesome pipe organ and organist.
This song is like a dream you remember bits of when you wake up, but then it all evaporates and you're left grasping at hazy tendrils. At its foundation are distant Velvet Underground chords, topped with slow surf guitar tones and bathroom vocals. A floating cloud of dust motes in a room of nothing on a late autumn afternoon as the light starts to fade outside. A leaf all alone going down a slow stream. Something there and then gone.
Charlie Megira was an Israeli musician and he sang in Hebrew. He died (hanged himself) in 2016 at the age of 44. There is a documentary about him that I hope to watch at some point.
I've decided to post the full video of the opening credits. I can't just sit here and listen to the music without the visuals. The Warriors is a late 1970s cult film about street gangs in gritty grimy dark and unpretty New York City. It's one of my favorites. *Just a brief disclaimer: there is an offensive word or two. It's of its time.
Walter Hill, the film's director, narrates the opening reference to the Battle of Cunaxa, connecting its story of courage to the story we are about to see. The mighty Wonder Wheel stands eerie and pink in the night as a creepy series of notes plays. Then comes the train, moving smoothly through the darkness, arriving with its cold empty cars and unwelcoming lights. The Warriors get on board, leaving their turf in Coney Island and heading up to the Bronx to see what this Cyrus character is all about. Their dialogue gives us some clues about the evening's main event. Meanwhile, many other gangs are in motion, the pulsating music leading them to the trains.
Barry De Vorzon won the 1978 Grammy for Best Instrumental Arrangement, for "Nadia's Theme (The Young and the Restless)", one of my least favorite pieces of music. That he also composed the music from The Warriors is beyond me. He should have won an award for this, it's way better. Well, he also co-wrote "In The City" with Joe Walsh, so I'll cut him some slack.
Psychic TV was the name of the creative vehicle for Genesis P-Orridge, formerly of Throbbing Gristle. Godstar is a tribute to Brian Jones, one of the Rolling Stones. Genesis was keenly interested in his story, and made it a very special story in this song. They sing it with anger in their eyes, great anguish in their voice. SO many heavy words:
And you were so beautiful You were so very special I wish I was with you now I wish I could save you somehow
And where were all of your laughing friends? Where were they at the very end? They started to steal your glory They never even told your story
Genesis was an early Stones fan, and they particularly loved Brian's contributions to their bluesy sound. Brian drowned in his swimming pool at the age of 27 in 1969. The coroner ruled it as "death by misadventure", that he died due to his use of drugs and alcohol. Many fans like Genesis felt that the rest of the group neglected Brian and should have cared more about his condition.
Despite the biting lyrics, the song includes a riff right out of the Stones' classic Brown Sugar. So maybe Genesis forgave them?
I'm also including this video clip, which includes an interview with the very astute Genesis P-Orridge.
