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.
This is a "Choose Your Own Adventure" kind of music. You begin to listen to this music. If you don't enjoy it, turn to page 2. If you enjoy it, turn to page 37.
Page 2: You turn it off after ten seconds. You think, does the blog creator actually like this weird stuff? Hmm. You step away and put on something totally familiar and normal, like Def Leppard or Bon Jovi. Yeah...Bon Jovi rocks!! You can breathe easy.
Page 37: You continue to listen to this experimental electronic modified effects sonic recording. It's almost 10 minutes. You really have no idea what is going on. Various sounds appear and change and turn into other sounds. It hangs around, drifting in and out of your awareness. Very interesting. Then it ends. Turn to Page 49.
Page 49: You find yourself in the presence of David Rosenboom. Far out.
This past new year's eve I watched The Big Lebowski for the umpteenth time. The film opens with the 1946 recording of Tumbling Tumbleweeds by the Sons of the Pioneers. It sets the mood nicely with its ambling along the trail atmosphere. The Dude, Jeff Lebowski (played by Jeff Bridges), certainly drifts along to his own beat out there in the vast city of Los Angalese, in the parlance of Sam Elliott.
Leonard Slye co-founded the Sons of the Pioneers in California in 1933, and sang on their 1934 recording of Tumbling Tumbleweeds. In 1937 he was offered a contract to be a Hollywood actor. His contract required him to leave the group and he became Roy Rogers, one of the most famous and popular Western stars of his era. The Sons of the Pioneers continued on, occasionally singing with him and participating in his films.
Blue Shadows on the Trail appears in the Disney animated film Melody Time, during the Pecos Bill segment. Roy sings the beginning part and the Sons bring in their gorgeous harmonies at 0:23, creating layers of warmth around the fire. Owls and coyotes hoot and howl in the distance. The blue shadows arrive at night, passing quietly across the ground with the moon, velvety and soft. The whistling in the middle is sublime, a delicate accompaniment to night on the Texas terrain.
Move a-long, Blue Shadows, move a-long, soon the dawn will come and you'll be on your way.
Here's some groovy funk rock from Mogadishu, Somalia. Dur-Dur (meaning "spring" in Somali, as in a natural flowing water spring) Band were huge in their home country in the late 80s. I found this album, Volume 5, at my local library about two or three years ago. I was immediately hooked by the funky grooves, the chicky chick guitar picking, the reverb vocals.
Tajir Waa Ilaah translates to "God is perfect". The song explores themes of human vulnerability, the fleeting nature of wealth, the necessity of humility, and the importance of empathy towards women. It suggests that true, lasting perfection belongs only to the divine, reminding listeners not to look down on others.
In addition to Dur-Dur Band, there were also the Iftin Band, Waaberi Band, and Sharaf Band rocking out in Mogadishu on a regular basis. Unfortunately, as with Cambodia and Ethiopia, war had to raise its ugly head and bring the good times to an end. Somalia had been under military junta since 1978. Rebel groups formed, the government military was defeated, and the country descended into chaos with various groups fighting for power.
Volume 5 was reissued around a decade ago by the label Awesome Tapes from Africa. From their website:
By 1987 Dur-Dur Band’s line-up featured singers Sahra Abukar Dawo, Abdinur Adan Daljir, Mohamed Ahmed Qomal and Abdukadir Mayow Buunis, backed by Abukar Dahir Qasim (guitar), Yusuf Abdi Haji Aleevi (guitar), Ali Dhere (trumpet), Muse Mohamed Araci (saxophone), Abdul Dhegey (saxophone), Eise Dahir Qasim (keyboard), Mohamed Ali Mohamed (bass), Adan Mohamed Ali Handal (drums), Ooyaaye Eise and Ali Bisha (congas) and Mohamed Karma, Dahir Yaree and Murjaan Ramandan (backing vocals). Dur-Dur Band managed to release almost a dozen recordings before emigrating to Ethiopia, Djibouti and America.
Have you seen the bumper sticker? It reads: Keep Honking! I'm listening to Alice Coltrane's meteoric sensation 'Universal Consciousness'. I guess it's been around for a few years, but I feel like my first sighting of it was only a few weeks ago. I did a double take.
If you are in the driver's seat and listening to this album, I hope you're not moving because this album might send you to the astral plane; you could become detached from communal reality and drift off into a zone of all possible outcomes. The title track itself can make traffic lights flash into colors beyond green red and yellow. Or it's always yellow. You never know. Be careful.
Alice Coltrane was a devoted Hindu. She was very highly spiritual and became even more dedicated as the 70s progressed. Universal Consciousness should really be experienced as a whole, but if I had to choose one track to focus on it's Hare Krishna. This is an eight minute drone-based exploration of spiritual awareness. Very trippy blissful and (generally) relaxing. There are some moments of intense power, but they tend to resolve into a cosmic 'sunset melting into the horizon' feeling.
I'm not that into Carole King as a solo artist. Tapestry is great, I know, but it's got too much of that early 70s singer-songwriter feel. All that wimpy James Taylor stuff, man. No please.
I do, however, like a lot of the songs she wrote with her husband Gerry Goffin, especially Pleasant Valley Sunday. Everyone knows the Monkees version, it peaked at #3 in 1967, all jangly guitar, bass and harmonies. It's a great tune. I'm not sure that I necessarily prefer this demo version, it just feels more wholesome, like every kid in the town is drinking their milk and then flying kites or riding their bikes.
Gerry Goffin didn't like living in the suburbs, he thought they were boring and superficial and this tune is critical of that lifestyle. I myself grew up in a suburb of Chicago. I liked it. But it was very sheltered. It was a shock to slowly learn that not every other kid was growing up in a similar environment. Now, I have to say, I'm with Gerry. I wouldn't want to live in the suburbs at this point in my life. I think they're bland.
If you've ever watched the show Weeds, you'll probably recall the satirical tune Little Boxes by Malvina Reynolds:
Little boxes on the hillside
Little boxes made of ticky-tacky
Little boxes on the hillside
Little boxes all the same
There's a green one and a pink one
And a blue one and a yellow one
And they're all made out of ticky-tacky
And they all look just the same
Carole King and Gerry Goffin in 1959: move to the suburbs, you guys! you'll love it!
I just need something really moving and gentle right now. To get it all out and keep going. How can there be music like this and humanity is still so violent and greedy and insensitive? I mean, just listen to that piano run that starts at 1:27. So exquisitely delicate.
Delia Derbyshire was a legend in the world of electronic music. She worked and recorded at the BBC Radiophonic Workshop throughout the 1960s and into the early '70s. She is best known for creating the music for the original Doctor Who in 1963, based on the composition by Ron Grainer, who wanted to give her co-writing credits but the BBC overlords nixed it because they wanted workshop staff to remain anonymous. What a bunch of Daleks.
Additionally, she was part of an electronic studio group called White Noise. The one album she participated on is called An Electric Storm. The final song on the album, "Black Mass: An Electric Storm in Hell", is a bit terrifying to say the least.
Pot Au Feu begins with a tidal wave of noise that leads into a Jaws-like pair of notes. Blurpy bottle boops and piercing synth tones arrive, joined by a number of other percussive sounds and a tense synth melody. It's all very urgent and ominous and amazing.
When I was a kid, the Commodores were popular and Lionel Richie was about to become a superstar. I wasn't a fan of theirs but I recognized that they had some very catchy tunes. They were too sappy for me, more like mom music - "Three Times A Lady", "Still." I mean, no way was I going to sing along with this mushy stuff. Lionel also wrote the Kenny Rogers hit "Lady." Geez, just thinking back to riding in the car with my mom and having to listen to "She Believes In Me" makes me cringe.
The one song I actually liked was "Sail On", a breakup song, one they don't write like anymore. The protagonist's take on the relationship:
I gave you my heart
And I tried to make you happy
But you gave me nothing in return
So he's cheerfully saying goodbye. And now
I want everyone to know
I'm looking for a good time
The studio version is a slick radio friendly yacht rock ballad, very smooooth. But here in this unbridled live version, the protagonist finds the good time almost immediately. When I first watched this video, I felt overwhelmed by the differences. Like, what is this song? Dang, all the whoos! and heavy drums, guitars, where did this come from? I knew they could rock, I mean, Brick House and Machine Gun are funky hard and all; maybe I should have been prepared for this.
Lionel is impressively energetic and entertaining out front with his many vocal embellishments, but drummer Walter Orange is the power station. The rest of the guys, the sparkly suits, the musicianship, it looks like they all sing too... What a fantastic performance.
Lionel Richie published his autobiography this past year. My library carries it. Hello, is it me that book's looking for? Eh, got too many others to read first, Lionel.
"Hi! My name is Luie Luie, and I'm here to tell you about a new dance called the Touchy." So begins the fifty-three second monologue that introduces the Touchy, simply a way for people to touch, however they care to touch I guess. He made the recording by himself and played all the instruments. This is an example of outsider music, which includes artists like Jandek, Daniel Johnston, Wesley Willis, the Shaggs, and Tiny Tim.
The actual music is about two and a half minutes. It "must have a wild trumpet introduction." What a wonderful mess of a tune. Some wild horns, some wah guitar, moog, drums and percussion. The name of the album is Touchy, and eight of the ten tracks have either Touchy or Touch in the title.
Luie Luie, real name Luis Johnston, toured bars and nightclubs for decades, performing as a one-man band. He was based out of Southern California, and he made his living working as a painter, screenwriter, and nightclub entertainer. He appeared in or had something to do with the Elvis Presley film Change of Habit (which also starred Mary Tyler Moore). He released an album a few years ago called Trumpet of the Last Days. Good to know he's still out there touching people with his music.
