Whistle While You Kraftwerk.
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KRAFTWERK.COM | ASTRALWERKS.COM
Today marks the release of Kraftwerk’s CD and vinyl box-sets. To refresh your memory Kraftwerk is the mega-legendary German electronic band that formed in 1970 and has proceeded to rock the planet with supreme synthpop authority ever since. They were influenced by other great minds like Jimi Hendrix, Velvet Underground, and the Stooges. Other artists like Afrika Bambaataa and The Sonic Soul Force and Jay-Z have borrowed some of Kraftwerk’s riffs. Some think the band was responsible for the birth of Techno.
The box-sets are digitally remastered and include more artwork than the original releases.
Check out this excerpt from Pitchfork’s interview with Kraftwerk’s Ralf Hütter:
Pitchfork: The Catalogue box is something that’s been in the works for some time. What were some of the issues that caused it to be delayed, and how are they resolved?
Ralf Hütter: I was involved in going through the visual archives from the printing studio, the old photographs and the original prints of the original designs for drawings and ideas for the original cover. And that wasn’t really fully worked out when The Catalogue was announced in 2004. We put out a little promo box, and then we toured quite a lot around the world over the last five years. But in between, we went into the archives [and] saw some of the artwork that was never publicized or published in this quality. And there was always something missing or we were not able to do the whole photo as it was planned. So now for the first time, you will see the original artwork in the way it was visually composed by us at the time. All original graphics and more photographs and drawings. And of course, they have been mastered and upgraded for 2009 mastering techniques. So it’s all up-to-date and we’re very happy with the outcome of everything, so now for the first time you’ll see Kraftwerk in the album packaging as it was, complete.
Pitchfork: With the original issues of the albums, why were you not able to realize your vision of it at the time?
RH: Well, it was foldout covers or not so many photographs or print allowed or the colors were messed up. So many mistakes. Like in America, they changed the folds from left to right. Things like that. There was just always so much bad quality and the CD was scanned down from vinyl so there was never really high quality involved. We were not really in control of that at the time, but now for the first time, we have been able to put everything together and then add those drawings or photographs or images or paintings that were not possible for us to put them in the album at the time, in the 70s.
…You can read the rest here.
Get It While It’s Hot.
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Check your pocketbooks – some cool albums are being released in the next couple weeks that you might want to try listening to.
MYSPACE | POLYVINYL RECORD CO.
“Suzanne“ - Asobi Seksu from Rewolf
Asobi Seksu means “playful sex” in colloquial Japanese and it’s also the name of a boy-girl duet on indie label Polyvinyl Record Co. Polyvinyl’s been around for awhile and can boast about once being home to artists like Braid, Rainer Maria, Owen, Cap’n Jazz and currently hosting bands Aloha, Architecture in Helsinki, Joan of Arc, of Montreal and 31 Knots.
The duo is made up of James Hanna on guitar and vocals and Yuki Chikudate on keyboards and vocals. They make songs with soft textures and delicate vocals. “Suzanne” is a track from their forthcoming album Rewolf coming out on November 10th. It is a dreamy lullabye of a track with wavering flutes, tinkering chimes and almost whispery vocals.
Listen to clips from the album at Juno Records
Killer Funk Disco Allstars are a mystery to me. There are no bios, no discographies, no pictures of the band, no videos. All that’s here is this funky, rocking 12″ being released on November 16th with four tracks. “Going Back to My Boots [Because I Can't Find My Shoes]” is a Diana Ross meets Kool and the Gang jam with ahh-ing background vocals. “Indecision [I Used To Be Decisive, But Now I'm Not So Sure]” sounds like an early Aretha Franklin groove. The other two tracks are equally as jamming. The collection is definitely worth checking out.
Buddy Miles was not only just a great drummer, he was Jimi Hendrix’s drummer – that makes him at least two times as awesome in my book. He also played with other classic acts like the Delfonics, Wilson Pickett, Ruby & the Romantics and the Ink Spots. He released some of his own records starting with 1968’s Expressway to Your Skull, A Message to the People and All the Faces of Buddy Miles which is being re-released on November 10th by Wounded Bird Records.
Also dropping on November 10th, 2009:
Wale, The Cribs, Mastedon, Echo & the Bunnymen and Black Rebel Motorcycle Club.
Swahili Disco Funk Freakout.
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There’s nothing worse than stopping by your favorite blog and seeing that it’s been snatched up off of the net. No goodbye, no nothing - perhaps one lonely post made months ago [maybe even last year! the agony!]. I won’t do that to you anymore. Yes, great music still exists. Great, undiscovered, rare, forgotten-about, barely-listened-to, played-too-often music is still around – I just haven’t had the time to share the treasure chest until now. Better late than never, yes?
Today I went over to look at one my favorite places to get enlightened, only to discover that Captain’s Crate is no more! This is more disappointing that the complete disappearance of Post-Punk Junk [which actually got turned into a cable access-style show which you can WATCH instead of read]! Not to be totally discouraged, I scrolled down to revel in the last remnants of jam and found some gems.
Manzara – Makonde
Soseme Makonde – Makonde
The Makonde people are a Bantu-speaking culture of master carvers and sculptors throughout East Africa usually from Tanzania and Mozambique. and I’d recommend looking for some images of their art [like this one or this one], but today I am talking about the band Makonde.
I have to begin by admitting how jealous I am of Captain Planet over at C.C. for being able to handle the BLUE vinyl in his own bare hands. Sure, I’m months and months late with my envy but so are you, probably, so we’re even.
These two tracks were surprisingly refreshing for me. I love afro-funk/afro-soul/afro-rock/afro-beat, etc. as much as the next guy. Finding cool albums at the record store is always exciting no matter how many times I see phrases like “15 previously unreleased tracks” or the most pretentious [and best, mind you] one I’ve heard yet “quarried from across the continent.” But, admittedly, most of the time on those albums there are only two or three standout tracks. The rest are muddled imitations of shuffled around reruns. In short: boring.
The first song starts with a warbling bass and few quick taps on the drum before revealing its brassy, untampered-with horns. A fuzzier taming-the-viper horn snakes in and then the loose vocals come floating in over the crisp music. The contrast in layering the different tracks creates such an open space around their voices that reminds of some post-punk vocal choices/trends. If the difference is too subtle to place concentrated emphasis on, then the next track displays the deliberate choice more clearly.
It sounds like Soseme Makonde begins with crusty-eyed, doughy-mouthed trolls grumbling after being woken up before moseying into a mid-paced groove. The vocals on this track are especially distinct with paper-thin echoes that don’t make it to the edge of the sound, but still register in the brain like a frame slipped into a film for subliminal effect.
On this track only, my mind goes to Joy Division – almost like this is the other-worldly intepretation of that haunting voice enchanting you from some unknown distance.
Enjoy.
Etta Brains: Book Worm Review.
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It’d be great if I could mash up The Roots’ “Long Time” with Bowie’s “Changes.” Theoretically, anyway, and just to emphasize the fact that I haven’t been around for a minute. Transition is hellish and hilarious[eventually heavenly, if you're lucky], but neccessary. Either way, I’m back.
I’ve delved into mad scientist mode, finding myself buried in books all day long. Right now I am currently reading Crosstown Traffic, a book about Jimi Hendrix and Post-War Pop.
Originally written in 1989, this book won the Ralph Gleason Music Book Award and is generally hailed as the Hendrix biography to read. I’m not really qualified to affirm or deny this claim as this is the first, only and probably last full biography about Jimi Hendrix that I will read, but I can say that it is a thoughtfully-written, articulate book that really fills out all the space around Hendrix with vibrant anecdotes, fascinating facts and bold claims.
The best part of this book is being able to behold the historical, cultural and political climate that preceeded, included and later carried on without Hendrix all at a long-winded glance. From Miles Davis, Duke Ellington and Little Richard to The Rolling Stones, The Beatles and The Doors, Murray enlightens his readers of the hypocrital and intricate world of the emerging Pop, Rock and R&B scene in the 50’s, 60’s and 70’s. Consequently, he also illuminates the baselessness of the construction of genres cheifly through racist and bigoted classifications, and the stagnation of progressive black music as an art form as opposed to a particular sound appealing to a specific audience.
Whether you think Jimi was a sell-out, a genius, “whitewashed” or some sort of deity, the points brought up in this book are still quite relevant to how your music is packaged and fed to you today. In short: READ THIS.
Best In The Basement.
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Got to spend some time downstairs in the land of vinyl at work today. Look what I found:
Colorful Changes – Process and The Doo Rags [1987]
I Got To Move – The Nazty [1976]
Psychodelic Sounds – Jr. and His Soulettes [1971]
Let Me Be Your Man - Tyrone Ashley’s Funky Music Machine [1969]
Bollywood Film Music.
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My latest addiction is the sister of great South Asian superstar Lata Mangeshkar, Asha Bhosle.
Asha Bhosle & Lata Mangeshkar
Asha Bhosle is probably best known as a playback singer [the person who actually sings the vocals that an actor or actress later lip syncs over in the film] but is also considered one of the most versatile artists of her time, covering a myriad of genres from Indian Classical music, folk, Ghazal [6th century pre-Islamic Arabic style of verse] and Bhajan [sometimes called kirtan, it refers to a Hindu devotional song]. At 74, she has supposedly recorded more 12, 000 songs for over 950 Bollywood films and her own solo albums.
From Hare Rama Hare Krisha [1971]
[link]
Dum Maro Dum [Take Another Toke] - Asha Bhosle
Dum Maro Dum appears in the 1971 film Hare Rama Hare Krishna, a movie about the decadence and overindulgence of the hippie culture, the destructive aspects of drugs and the issues involved with Westernization, especially divorce. Heavy, no? The version I have included for download is a little bit slower and sounds aged which I find quite pleasant. I think it adds more character to the track.
From Caravan [1971]
[link]
Piya Tu Ab To Aaja [My Love, Come To Me] - Asha Bhosle
This track is the jam and Helen Khan, the iconic Hindi actress, is clearly jamming. The version in the video is nearly identical to the track I’ve provided for download aside from the length. I love the tempo, the syncopation and especially the choice to use human breath as an instrument way before Bjork. The jam!
Es Necessita.
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Long time, no see.
Spending most of my time working around music, writing about music, listening to music, on the hunt for music and thinking about music has been both gloriously hellish and hellishly glorious. I’ve definitely had to examine the paradox between the pure ecstacy and raw anguish of vacillating between passion and obsession to maintain your sanity and sense of purpose despite so many distractions and stepping stones disguised as obstacles. For me, music is the beatific vision: blinding to even gaze upon but excruciating to turn away from. So, glory hallelujah and may the jams be everlasting.
Once again the library has become a great resource for songs and artists that need to be dusted off and enjoyed again. The catalogue of genres reads like a dirty story. It is sooo perversely precise and specific that if you don’t search under the right terms or are not familiar with other genres besides the common rock, pop, soul and rap [wonder why they chose that term instead of Hip-Hop], you might think that the library only carries old copies of Seal and Paula Abdul albums. I’m starting to crack the code and the beauty of all the different tiers is mine. Tropicalista? Got it. Music from the Jovem Guarda movement? Got that, too.
I got my hands on a great compilation of some funky 70s Samba [Brazilian soul] and a few choice tracks have been on repeat for a week or so.
Que Neca E Essa - Trio Mocoto
This song is instantly infectious. There’s been little to no manipulation to the instruments in this track and I can’t tell if there’s a little effect on the vocals or if it’s just an old mic. Probably an effect. One of my favorite thing about this track is the piano. It’s the only instrument that isn’t playing the same melody over and over again during the verse. It almost sounds like it’s being improvised. Maybe my favorite thing of the entire song is the sound of the vocals during the chorus bookending the guitar’s quick time signature change. Que Bueno!
Mano Joao – Wanderlea
Kind of swanky, no? The way she delivers her vocals almost reminds me of a Brazilian Serge Gainsbourg; decent control that lets her voice be sing-songy without sounding like it’s meant for a kid. This track is a mid-tempo affair with a pretty flute and muted horns floating in and out of the track. Quality.
Cosa Nostra – Erlon Chaves
This song begins with big, bold, brassy-sounding horns and opens up into a bright intro with overlapping percussion. I’m not too wild about Chaves’ voice but the background vocals make up for it. There was no cleaning up the actual human sound of these people and I appreciate that.
QUICKIE!: The Hues Corporation & The Brothers Johnson.
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These were my two favorite songs when I was a little kid. I almost want to say it was second grade, but I barely remember how old I was. I can only gauge it by before Immature existed and after Immature existed; that was a pretty pivotal moment in my music history. I used to listen to them for hours. Definitely had Playtyme Is Over on cassette tape. Immature fanatic and not embarrassed — we got it!!! Anyway:
Rock the Boat – The Hues Corporation
[link]
Strawberry Letter 23 – The Brothers Johnson
[link]
Still In Love.
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I don’t intend to get married. It’s something I can only narrowly see myself doing. However, that hasn’t stopped me from daydreaming and drooling about a wedding reception playlist. A few days someone told me about their “painful” experience at metal wedding reception where the first dance was some cookie monster growl-fest. My rudeboy joked about having Tim McGraw’s “I’m Amazed By You” as the first dance at his reception. My response? Barry White’s “Can’t Get Enough of Your Love, Babe.” Clearly, I intend to jam.
Last night I had to sit down and sew a shirt. I was going be stuck sitting in the one place using my hands which meant I needed to pick an album to sit down and listen to. It’s been awhile since I’ve given a Barry White album a spin even though I’d vote the man for president even in the grave based on his musical expertise alone [exhibit a, exhibit b].
Let the Music Play – Barry White
Baby, We Better Get It Together – Barry White
Oh, What A Nice For Dancing – Barry White
About 3/4 through the album, I started flirting with the idea of a “Barry White Only” reception. Besides having a pretty central theme of love, sex and passion, I cannot say enough about the composition of his tracks. The instrumentation really showcases his fundamental grasp on the mechanics of music theory and also what has probably always been an innate of what makes sounds feel good going into people’s ears.
I could go on and on, but I won’t. I already have a couple times. I love this man for his use of strings.
Close Calls.
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Walking up to the cash register to leave the record store is usually a painful process where I have to try to forget all the great music I had to put back. I haven’t been able to get three albums off of my mind since yesterday.
I got to hear a track from this by Akira S & As Garotas Que Erraram [which my friend told me translates to Akira S and The GIrls Who Made Mistakes -- awesome] and I was really intrigued. It sounded like a Brazillian Joy Division. Kind of a dark wave band with cold-as-steel synths and droning vocals. Of course, I only heard one song but I was definitely impressed and want to hear more.
I had the hardest time putting this album back. The smaller print beneath the big title reads: “A Celebration of rare and unreleased Afro-Beat quarried from across the continent.” I got the chance to listen to the song on there called “Yuda” and it stopped me in my tracks. I’m sure to most it sounds like your average polyrhythmic occasion but my brain catches on cymbal-centric percussion. Definitely a gem/jam.
It’s A Vanity – Gabo Brown & Orchestre Poly-Rythmo [SAMPLE]
First stumbled upon this gem/jam on Analog Africa and my mouth started watering. After some asking around, some rotten liar told me alllllll about this album and then told me I wouldn’t be able to find it very easily. Why the lies?! I had resigned to this false truth and then while flipping through the Africa section this album appeared. I bet most of my fellow shoppers must have thought I was schizophrenic because I started cursing the liar under my breath; I had hung my heart on this album as a lost cause and then it showed up waaaay out of my budget. Expensive find but it’s the jam. So, I urge you: find it, buy it and be redeemed.
