EROTICA, THE RHYTHMS OF LOVE: AN EXPERIMENTAL HIGH FIDELITY RECORDING FEATURING THE SOUNDS AND RHYTHMS OF EROTIC LOVE

The scene at the end of Robert Frank’s “Cocksucker Blues,” when Jagger et al. dance around like lustful savages on their private jet with tambourines and congas about to pounce some sacrificial groupies is mercifully cut before we witness the blood letting. However, this 1959 FAX record (albeit in far less predatory way) might well serve as the audio counterpart to that deleted scene. Complete with tribal back beats, guttural breathing, grunting, pulsating movements, rhythmic bed squeaks, and blissed-out orgasmic moaning, it’s hard to say if this thing was designed as mail-order masturbation fodder, or if it was actually a serious experimental sound-art project. Either way, it’s a surprisingly listenable (if not novel) collage that pretty much fits both bills. Only the microphones and tape recorder are credited here, but I discovered the drumming and chanting (superimposed with sounds of a couple heartily grinding), are from a guy named Chaino, specifically his record entitled “Jungle Echoes” which featured:

“Chaino playing bongos, congas, steel drums, and other percussion instruments, adding primal grunts, howls, growls, and cries, with almost no other back-up. One typical cut, “Jungle Chase,” has Chaino’s incessant drumming, accompanied by the moans and groans of a man and a woman–supposedly sounding like a couple being chased by a wild animal, but better described, in Jack Diamond’s words, as “the best sex you never had.”

Additionally odd is that the record was found unsuitable for shipment by the USPS in 1960 for containing “explicit material”:

The material here under consideration deals with sex in a manner appealing to the prurient interest of the listener and certainly a thing is obscene if considered as a whole its predominant appeal is to prurient interest. Here we have a record bound to stir up a shameful and morbid interest in sex that goes substantially beyond the customary limits of candor in description or representation of such matters. See Roth v. U.S., 354 U.S. 476 and the definition of obscenity advanced by the American Law Institute Model Penal Code, Section 207.10(2) cited therein.

I therefore find:

1. that the record “Erotica, The Rhythms of Love” is obscene per se and;

2. that the advertisements of this record give information as to where, how and from whom obscene articles may be obtained. I further find that holdings of the Hearing Examiner as to the proposed findings of fact and conclusions of law submitted by the parties hereto are correct and they are affirmed. The Respondent is conducting a business in violation of Section 259(a), Title 39 U.S.C. and order for the suppression thereof shall issue forthwith.

05/17/60

Kelly, Raymond J.

A curiosity for most, the adventurous listener may find it interesting on multiple levels — and you masturbatory kids don’t have to worry, no shipping required!

Side One:

Track 1 (14′32)

Side Two:

Track 2 (13′47)

FAX Records, FAXLP1001, 1959, Hollywood, CA

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RABAB: EGYPTIAN SINGING AND EPIC SONGS

Traditional Egyptian singing is bursting with vitality and emotional depth, always tinged with a longing and sadness that comes from “a very often impossible love. The inflamed passion of man in a regulated, austere tribal context, drives him to a madness widely described in great traditional poems.” This, combined with the epic storytelling tradition prolific in Egyptian and Bedouin culture, informs much of the tenor of these songs, underlying the repeated pleas and laments that pour forth. The atonal drift and heptatonic scale are often unappealing to Western ears, but upon repeated listens with an open mind, one begins to fully realize the devotional passion and poetic (as well as erotic) beauty to be harvested from these songs. Recorded in the field and annotated by Alain Weber. From the liner notes:

The Egyptian “rababa” made of a coconut shell covered with a fish skin and mounted on a long tubular handle, is mainly used to back up local singers and epic poets. It has not undergone any changes since Gustave Flaubert came through the little town of Esna in 18 ?, although from his notes of that time he appears not to have been appreciative of its sound — “The musicians arrived”, he wrote “a child and an old man, the left eye covered with a rag, they both scrape on the ‘rabfabeh’, nothing is more out of tune or unpleasant. The musicians never stop playing, you have to shout to have them stop” — In Egypt today there are still numerous professional ‘rabab’ orchestras, which originates from diverse villages and travel widely to perform at festivals. The orchestra is always conducted by a ‘rais’ (soloist or leader) who is also the group’s lead singer.

Side One:

1. Ya hamam (O Pigeon) (5′53)
2. Ya Habibi, ya asal,… (O honey hasting love) (6′00)
3. Ya Abu Lassa wa Taquiya (O you with the turban and the taquiya) (5′30)
4. “Maoual” and singing (7′00)

Side Two:

1. Abu Zeid El Hilali (My first word is to thank God) (17′36)
2. Hamdi Matkal Kenawi (intrumental to accompany the stick dance) (4′39)

Folkways Records FW 8452, 1982

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THE 37TH OLD-TIME FIDDLERS CONVENTION AT UNION GROVE, NORTH CAROLINA

For whatever reason I’ve never been into the music contest concept — even the battle of the bands in high school, despite it’s overwhelming popularity, bummed me out. Given that this 1961 fiddler’s convention offered “First Place $15, Second $10 and Third $5,” I can’t help but think that competition wasn’t the primary concern for the hundreds of people who showed up to perform (all funds raised went to support the Union Grove middle school). Most likely it was the broader sense of community that brought both musicians and audience together (for this 12-hour event!), much as old-time and traditional folk music always has. The solicitation notice for the convention stated that:

“Judges will pick first, second, and third best fiddle and banjo players performing. Leaders of bands are requested to feature fiddle and banjo players as the performers. Time will not permit single contests except in rare cases decided by the management. Ribbons will be awarded best individual performances. Some of the points judges will be looking for in making their selections are: PROPER TUNING OF INSTRUMENTS, TIMING, QUICK STARTS AND STOPS, BAND BALANCE — PROPER DISTRIBUTION OF INSTRUMENTS, and NEATNESS AND APPEARANCE OF INDIVIDUALS. Clowning, unnecessary comments, jokes, and introduction of other members in the band are discouraged in the interest of time.” - H.P. Van Hoy, Manager.

Regardless of my music contest aversion, I would have neatly set it aside to witness this communal feast… This is pure stuff that puts the sun in the belly, gleeful sounds that float your feet just off the ground. If, as just one example, the undeniably virtuoso rendition of “Lost John” by Red Parham and the Haywood County Ramblers doesn’t turn your dancing shoes to rags, then we simply can’t help you. Although tempted to elaborate here, for safety’s sake I’ll let the liner notes by Mike Seeger check my enthusiasm:

“The music on this record was edited from about six hours of music recorded at the 1961 Convention. Selection was made on a basis of many elements, including: documentary interest to people concerned with folk music; variety of music on this record; quality of performance; balance of instruments around microphone. A number of excellent bands and musicians do not appear on this record due to one flaw or another in the recording. None of the musicians came to the Convention knowing that it was to be recorded. Side 1 includes earlier sounding country bands; Side 2 the more modern. Miscellaneous comments and introductions have been included where possible to illustrate the informal nature of the Convention. All bands have kindly given permission for their music to appear on this record and all proceeds will go to the Union Grove School. Cover photo is of Uncle Charlie Higgins (84 years old!), taken as he performed in the gymnasium during the evening competition.”

Side One:

1. Some introductory Remarks by H.P. Van Hoy (’31)
2. Blackberry Blossom - Uncle Charlie Higgins (1′38)
3. Instrumental - The Old Timers (1′09)
4. Old Richmond - A.L. Hall Band (2′27)
5. River Stay Away From My Door - Charlie Knight & His Country Music Boys (1′47)
6. Lost John - Red Parham and the Haywood County Ramblers (1′26)
7. Hitchhiker’s Blues - Brush Mountain Boys (2′56)
8. Whoa Mule - Yadkin County Ramblers (1′39)
9. May I sleep in Your Barn Tonight, Mister? - Grandma Davis From Roaring River (1′32)
10. I Shall Not Be Moved - Laurel River Band (2′17)
11. Sally Ann - The Old Timers (2′05)
12. Dance All Night - Kenneth Edwards and the Sunny Mountain Boys (2′05)

Side Two:

1. Twinkle Little Star - Mountain Ramblers (1′23)
2. Ruben - Blue Grass Mountain Boys (2′27)
3. Billy in the Lowground - Lonesome Strangers (1′03)
4. Whiskey Took My Daddy Away - Louise Edmonds (1′43)
5. Teardrops in my Eyes - Friendly City Playboys (2′29)
6. Grey Eagle - Delmer Starling and Esker Hutchins, Surry County Ramblers (1′37)
7. Fire on the Mountain - Dixie Ramblers (1′26)
8. Back Up and Push - Friendly City Playboys (1′52)
9. Sally Ann - Mountain Ramblers (1′58)
10. Some Closing Remarks by H.P. Van Hoy (’59)

Folkways Records album No. FA 2434, 1961

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RICHARD YOUNGS AND SIMON WICKHAM-SMITH, “KNISH”

This three-track workhorse is totally raw and down to earth in all the ways you might expect, combining refreshingly lighthearted yet earnest performances. Featuring Youngs on electric guitar and Wickham-Smith on the baby grand, the record finds the two meshed as they creep in and around some really diaphanous sweet spots. If the intimacy here doesn’t do it for you, then the lack of formality must surely reinforce the necessity for simplicity and unfettered musical expression. Those familiar with Young’s collaborative efforts will find this, among other things, another tantric exercise in repetition and improvisational rapture, interspersed with curious exploration and a tireless deference to the sacred note. This is totally organic one-take stuff recorded live one June 7th, 1995 at WKCR in New York, and released for the Ignivomous label. The cover includes a scotch-taped square with the album name printed on it, while the back has three such squares, one with a picture of the two in a photo booth in Scotland. Nosh the magics.

Side One:

1. Quagmire (17′25)

Side Two:

1. The Librarian and the Monk (12′55)
2. Isabel Wears Pink (9′29)

Ignivomous, 1995

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BOLA SETE, “OCEAN: SOLO GUITAR VOL. 1″

Produced by John Fahey and released on Takoma in 1975, this isn’t the speed decked neo-Fahey stuff that’s currently en vogue, but a uniquely soulful and lyrically impassioned set of tunes that marvel in both execution and style. In my opinion, this is one of the greatest solo guitar records of all time. Blending avant-Americana, classical, jazz, and the Portuguese/African influenced Brazilian sounds, this mastery transcends genre from its playfully delicate ruminations, to its thicker dark-hearted matter, growing and receding like a restless moonlight tide. Beckoning with a tireless emotional depth that’s as intricate as it is accessible, the record maintains its spontaneous clarity and playfulness throughout, often feeling like a warm summer day just dropped on your head. Djalma de Andrade (aka Bola Sete) was one of the great guitar giants of more than one bygone era, whose indelible influence on jazz, classical, and contemporary guitar is undisputed. Perhaps with the exception of his “Windspell” release on Samba Moon, this album stands resolutely on its own as a distinct and unrivaled masterpiece of contemporary classical guitar.

Side One:

1. Viva Mundo Penba (4′18)
2. Guitar Lamento (4′46)
3. Let Go (4′43)
4. Macumba (3′39)
5. The Lonely Gaucho In The Pampas Awaiting The Advent Of Christmas (2′31)
6. Inn of the Beginning, Cotati (2′32)

Side Two:

1. Xengo Xengo (2′39)
2. Ocean Waves (8′55)
3. Jongo (2′16)
4. O Astronauta (3′02)
5. Black Mommy (4′37)

Takoma Records, C-1049, 1975

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RAVI SHANKAR “CHAPPAQUA” THE ORIGINAL SOUND TRACK RECORDING

Relatively condensed short-form tracks make up this sound track to the 1966 Conrad Rooks film “Chappaqua” (entirely shot by the great Robert Frank who just had a major film/video retrospective at the SFMOMA last month). Composed and directed by our man Ravi Shankar (no info on other contributors to the music), the tracks are all fairly upbeat instrumentals that maintain a richly complex emotional range and atmosphere. The music has a tight focused quality, mixing the occasional jazz flourish, where the harp, flute, and clarinet, combined with the Indian classical sounds, have a strong Alice Coltrane feel (given that Swami Satchidananda and Ornette Coleman appear in the film, and the fact that Ornette composed music that was never used, but was eventually released by Columbia on a 2x LP called “Chappaqua Suite”, my guess is this stuff fits right into the continuum that informed “Journey Into Satchidananda”, etc.). Along with its evocative overtones, this stuff is fully cloaked in psychedelic mid-sixties energy –  definitely a one-of-a-kind misfit love child from the period. Check out the TRAILER (NOT utilizing the actual sound track for the film), and don’t miss the shot of Moondog!

Press clip: “Chappaqua is a controversial, startling semi-autobiographical drama following one addict’s wild journey. When Russel Harwick, a young, well-to-do alcoholic and junkie, heads to Switzerland for a “Sleeping Cure”, he enters a psychedelic world set not in reality, but in the explosive, delusional landscapes of the mind. Tormented during withdrawal by a disorienting mingling of recollection and fantasy, Harwick experiences a life-affirming epiphany, which leads him from his nightmare.”

“A mind-blowing movie-biography.” (NEWSWEEK)

“A work of art! Superb!” (THE NEW YORKER)

“It has a compelling purity that makes it universal.” (NEWSDAY)

“A confusing, frightening and weirdly beautiful movie.”(PLAYBOY)

DIRECTOR: Conrad Rooks, CINEMATOGRAPHY: Robert Frank, EDITOR: Kenout Peltier, MUSIC: Ravi Shankar, MUSIC CONSULTANT: Philip Glass, CAST: Jean-Louis Barrault, Conrad Rooks, William S. Burroughs, Allen Ginsberg, Ravi Shankar, Paula Prichett, Ornette Coleman, Swami Satchidananda, Moondog, The Fugs, Ed Sanders.

From the liner notes (interview with Conrad Rooks by Gil Mckean):

G.M.: Tell us about Shankar’s work with the film.

C.R.: He would create music to the absolute segment of the picture. We would project it on a big screen and he would sit there with the musicians. He cannot read music, so we had to hire a young guy to write it down - Shankar would hum the tune and the guy would write it down. then we’d pass it out to the musicians and they’d play it. He would hum exactly the right amount of space - time - beats - everything to the image on the screen. It fit just like building blocks, like pieces in a jigsaw puzzle. Infallible. This picture is millions of cuts and it means that every single segment, sequence was hand-tailored. He created it individually for each little piece - looking at it on the big screen.”

Side One:

1. Chappaqua (2′20)
2. Running Deer (2′55)
3. Allah Rocking (4′59)
4. Om (1′33)
5. Raga Miniature (4′12)

Side Two:

1. Back to Earth (4′46)
2. Raga (3′17)
3. Sweet Russell (1′06)
4. Orgy (1′38)
5. Theme (4′24)

Columbia Masterworks, Stereo, OS 3230, 1966

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