APRIL 10′
ALEX CHILTON “BACH’S BOTTOM”
After his ten year hiatus from the music scene (following the seventeen year-old meets meteoric rise to fame experience), two records, “Like Flies on Sherbert” and “Bach’s Bottom” marked the return of Alex Chilton to the public eye (”Bach’s Bottom” was recorded four years before “Like Flies…” but not released until 81′). Even though “Like Flies…” is (in my opinion) the apotheosis of his solo efforts (encapsulating the heart of his iconoclasm and ultimate personal punk aesthetic splattered all over the recording studio wall), I chose to post this one for its elegiac, messy, and unpolished hue, exemplifying the mischievous anti-hero poet-drunkard that persists behind all his music. Undeniably inspiring a generation of No Wave and post-punk garage rockers (and countless others), a lot has been said (and hopefully more will get said) regarding his MASSIVE contribution to, and inspiration on contemporary music. For my part, I was listening to his solo stuff before getting hooked on Big Star, and so, there will always be a soft spot for those recordings. Profoundly devoted to the tune but fractured to the core, our man could both enliven and corrupt a melody like no one else.
RIP High Priest!
Line Records, LILP 4.00091 J, 1981
Side One:
1. Take Me Home And Make Me Like It
2. Everytime I Close My Eyes
3. All Of The Time
4. Oh Baby I’m Free
5. I’m So Tired - Part One And Two
Side Two:
1. Free Again
2. Jesus Christ
3. Singer Not The Song
4. Summertime Blues
5. Take Me Home Again - Part One And Two
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SONNY BONO “INNER VIEWS”
Aside from the two artists dying prematurely, there is another parallel between this record and the above, I’m just not sure what it is - perhaps it’s just anathema to it. I post this inasmuch for its bizarre and novel qualities, as for its late 60’s pseudo-psych expressions gone awry. Recorded in 1967 with no credits to performers other than Sonny, whatever redeeming musical qualities the LP has resides somewhere in its first track, which is so bad it’s great (however unintentional). My hope is track one will pique your curiosity enough to give the rest a listen, if for no other reason than to sample how distorted popular music became c. 1967 - a lounge-pop psych mash-up that’s a 60’s equivalent of Christian Metal… 
In the end you’ll agree it’s a shitty album, something like if your Republican dad had only heard the Beatles and Bob Dylan and tried to record something ‘hip’. In fact, it’s so grotesque it begs questions like what cultural space did Sonny occupy during this time? How did his square sensibilities ever find their way into popular culture? Strangest of all, how did he land Cher?!? I could unpack the lyrics and ask more questions, but I don’t want to bummer your own trip… Like the shattered jar of grape jam on a sterile supermarket floor whose incongruous splay somehow sums things up.
ATCO Records, SD 33-229, 1967
Side One:
1. I Just Sit There (13′13)
2. I Told My Girl To Go Away (3′36)
Side Two:
1. I Would Marry You Today (4′27)
2. My Best Friend’s Girl Is Out Of Sight (4′15)
3. Pammie’s On A Bummer (7′39)
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RAGA
This 1971 Apple release produced by George Harrison was the original soundtrack to the film by the same name by Howard Worth (his only) about composer, teacher, and performer Ravi Shankar. Since posting the “Shankar and Friends” LP last month, I figured I should complete the cycle with this one. Less hybridized and somewhat more traditional, the tracks are basically performances and recording sessions pulled from the film, including some really nice field sounds of scripture readings, classes being taught by Ravi, as well as a reunion with Ravi’s guru Ustad Allauddin Khan. Nearing forty years on from the time of this release, Westerners following E. Indian classical music look well beyond Ravi as ‘the’ authoritative figure, but there was a time his influence helped shape a generation of musicians making spiritual and musical connections with India. He was undeniably gifted both as performer and composer, and this record is a sweet way to reflect on his contributions, if not simply as a disjointed collage of sound and music. The LP includes a nice full color booklet with historical pictures and stills from the film (which is currently only available on VHS if you can find it).
Apple Records SWAO-3384, 1971
Side One:
1. Dawn To Dusk (3′39)
2. Vedic Hymns (1′37)
3. Baba Teaching (1′17)
4. Birth To Death (3′13)
5. Vinus House (2′42)
6. Gurur Bramha (1′16)
7. United Nations (4′42)
Side Two:
1. A. Raga Parameshwari, B. Rangeswhari (2′53)
2. Banaras Ghat (1′49)
3. Bombay Studio (2′47)
4. Kinnara Studio (1′33)
5. Frenzy And Distortion (1′54)
6. Raga Desh (10′12)
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DR. B. R. DEODHAR PRESENTS THE RAGAS OF INDIA
What better way to receive a little education about our favorite musical form than through the gentle tutelage of Dr. B. R. Deodhar! This record is, although informative, shorter on instruction than it is music… The Dr. is well qualified, taking us willfully through the structures of the raga, providing brief introductions to each musical demonstration. He is both fit teacher and gifted performer, and this record yields some extraordinary vocal exercises on his part. Although I couldn’t find too much info on the Dr., I do know he started his own school in Bombay, and shows up as a master teacher on the resume’s of some notable performers, including Laxmi Tewari (among others). This record both pleases as it enlightens, and as the good Dr. emphasizes: “Please listen to the music in a completely relaxed state of mind. Each rag will create a different mood, atmosphere and emotion. Please try to feel it and enjoy it.”
Folkways Records, FL 8368, 1962
Side One:
1. Introduction Read By Dr. Deodhar (5′52)
2. Demonstration Of Instruments/Raag Yaman (Time Measure: Ektal) (14′05)
Side Two:
1. Raag: Miya Malhar (Time Measure: Jhaptal) (9′00)
2. Raag: Desch (Time Measure: Dadra) (6′45)
3. Raag: Jaiyaivanti (Time Measure: Tin Tal) (4′21)
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LE VIOLON DE L’INDE DU SUD L. SUBRAMANIAM
Though featured here a few times before, this Paris concert double LP from 1980 is the zenith of all L. Subramaniam recordings I’ve heard. Emotionally complex, these performances are riddled with improvisational genius and a total command of each note and phrase as they fit purposefully into the continuum of a given raga. The Dr. delivers a full range of fiery to contemplative moods, sometimes an industrious spider frenetically weaving from strand to strand, other times a raven hovering on a gale force wind as if it were a gentle summer breeze. Totally mesmerizing. From the liner notes (roughly translated from French):
“While his brain seems to spin patterns of rhythm and harmonics with golden fleece in order to catch therein diamond-like notes, we hear him fiddle simultaneously with two or three different timings on two to three different strings. he pours out long wailing whimpers with as much serenity as when he breaks into 5, 7 or 9 reports in a volley, or when he gives the impression of reveling in the midst of dragon-flies in some ethereal space. His left hand at times rolls out monads which appear as an illusion: everything has always been, everything is, everything will ever be born by the sound particles” - Dr. Prithwindra Mukherjee
Ocora Records, 558585/86, 1988
Face A: Raga Mohanam
1. alapana (4′50)
2. kriti
3. svarna-kalpana (17′00)
Face B: Raga Kirvani
1. alpana (19′05)
Face C: Raga Kirvani (suite)
1. ragam (8′37)
2. tanam (7′17)
Face D: Raga Kirvani (suite)
1. pallavi (11′33)
2. ragamalika: a) vasanta-priya b) khadyota-kanti (13′48)
INDIAN MUSIC FOR SITAR AND SURBAHAR: FOR MEDITATION AND LOVE
Another solid Lyrichord offering, this one recorded at the studios of WKCR-FM in New York City (no date appears on the LP, I am guessing mid-80’s). This prescriptively titled record is a good example of Viliat Khan’s (see last month) younger brother Imrat Khan’s sitar and surbahar abilities, and features the youngest of Imrat’s four sons, Shafaat Miadaad Khan playing tabla on the second side. No instruction is needed here, just find a mate, drop the needle, and proceed with the writings of Mallanāga Vātsyāyana. From the liner notes:
“The surbahar was invented by Imrat Khan’s great-grandfather, Ustad Sahebdad Khan. The instrument was in danger of disappearing after the death of Enayet Khan (father), but thanks to the efforts of Imrat himself, the instrument has regained its place as one of the most important insturments of North Indian art music.”
“The deep, powerful sound sound of the surbahar makes the instrument particularly appropriate for meditative, devotional music. Imrat Khan will often perform the slower opening exposition of a rag on the surbahar, changing to the sitar for the section with rhythmic accompaniment in the same or a related rag. Together the two instruments cover an ambitus of five or six octaves, giving the performer, quite literally, a wide range for self expression” - Brian Silver Schuyler
Lyrichord LLST 7376
Side One:
1. Rag Jog (24′10)
Side Two:
2. Rag Saraswati (22′15)
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CHANTS DE DEVOTION ET D’AMOUR DU RAJASTHAN INDE
This Harmonia Mundi release of field recordings from Rajasthan was recorded by ethnomusicologist and historian Genevieve Dournon-Taurelle in collaboration with Komal Kothari between 1971-72. A mix of a cappella and vocal accompaniment, my impression is many of these fit into the lower-caste and/or street music category that lacks formal classification save for the various recording projects that have documented it. Usually richly textured folk expressions of regional traditions, this type of sound freshens the palette from the canonized variations heard above. Since Rajasthan borders Pakistan, what we get is a nice cross pollination of musical form, texture, and vocal expression. Unfortunately, the LP’s liner notes are in French, so I can’t provide more detailed information about the recordings or their sources. Diverse in terms of performance and style, my guess is these are a general survey of ditties concerned with love and devotion from the massive swath that makes up the Indian state of Rajasthan. Brimming with energy and passion, these are spirited deeply felt hymns, dusted in the patina of a rustic earthbound source.
Harmonia Mundi, HMU 959, 1972
Side One:
1. Chant D’ Amour (Dholi) (3′53)
2. Chant De Devotion (Kamarh, Bambi) ( 2′43)
3. Chant De Mariage (Majhirana) (1′33)
4. Chant D’Amour Mystique (Manghaniyar) (2′28)
5. Chant De Devotion (Jogi) (3′20)
6. Chant De Separation (Majhirana) (2′42)
7. Chant De Devotion (Jogi) (3′52)
Side Two:
1. Extrait D’un Drame Lyrique (Mirasi) (3′04)
2. Chant De Mariage (Nath-Baba) (3′16)
3. Berceuse (Dholi) (2′28)
4. Danse Devotionnelle Teratali (Kamarh) (3′12)
5. Chant D’ Amour (Kalbelia) (2′42)
6. Ballade D’Amour (Langa) (5′13)
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