After the break: Grails at Saint Vitus
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Here's an interesting little seven inch, 33 1/3 RPM record from Kellogg's, all about their most popular products in 1971, which, they proclaim, would be "A Kellogg's Year".
There are eight songs in total, ranging from just under a minute to just over two minutes. I suspect this was for internal use, perhaps at meetings of some sort, or to be given to the employees. I say that largely because of track three.
Track three, "Low Noon", is easily the high point of the record. It's a parody of Johnny Cash's singing style and musical style, in which the lyrics make repeated fun of those who claim that that Frosted Flakes have little or no nutritional value. The dismissive way these complaints are handled (especially since those complaints were certainly spot-on) makes it unlikely that this was ever meant to be aired in public. I'll let you enjoy them for yourself rather than going into any more detail.
Of the other tracks, three are instrumentals, including one which claims to be about Sugar Pops, but it's hard to tell without any lyrics (the rough edit in the middle of that one is on the record, it's not an MP3 glitch). I also get a kick out of the way that "The American Breakfast" is described - the first word in the description is "Sugar".
Apologies for the poor sound quality, especially on side two - this record is fairly beat up.
Today while I'm still out of town, let's look at two oddball stories here in the Comics Supplement, one by an unknown creative team from 1954, and another by old favorites Steve Ditko and Stan Lee from 1962.
Our first story comes from the fourth and last issue of MAD magazine clone Madhouse, the Sept./Oct. issue from 1954, an infamous and surreal little yarn - Going-Going-Real Gone. A bigger bunch of screwed-up and made-up 'hip' lingo and situations I could hardly come up with! The only firm credits we have for the book are of its editors: Ruth Roche, and art editor Sam Iger, who both had long and interesting careers before working on this Ajax-Farrell comic book line in the 1950s. Words fail one on this tale, you'll see what I mean.
We'll close with a bonus short story from Amazing Adult Fantasy magazine number 13, June 1962, as brought to us by Ditko and Lee in "The Magazine that Respects Your Intelligence!", and it deals with one of their favorite recurring themes: the power and influence of television.
So hold onto your intelligence and your sanity against the assult about to come - right after the jump!
What makes a great grind band? Doing as much as you can in an average of 43 seconds' song duration, flexing those ferocious chops from all angles, and, though this may be hard to explain to someone whose ears are attuned to pop music and the traditional song form, a certain "catchiness," an anthemic propulsion that will make the listener/receiver want to propel oneself into the pit without a care for personal safety. Psychic Limb have all these qualities, in spades.
I've liked these guys from the second I heard them, they stand out mightily from the pack of late 2000s grind on bandcamp and elsewhere, and they make records that stand firmly amongst the classics of the genre. And yes, they can and do reproduce it all in person.
For months, drummer Casey and I tried to schedule a live radio appearance for PL, and finally were able to line something up for the final MCoQ weekly broadcast on June 7, 2013.
This set represents their latest (and reportedly final) release, Jamaica. They still seem to be playing a few shows here and there, so if you have the chance, catch them live while you still can.
Huge thanks to live-sound engineer Juan Aboites, who deftly scultped many a live Castle session in the show's final months of its original tenure. Thanks also to Tracy Widdess, for taking these photos of the band, and for co-hosting the last show with me in person, flying in from Vancouver Island, BC, to do so. Full broadcast archive can be streamed here.
Track titles, though they hardly seem to matter, are as follows: 22, 27, 19, 20, 29, 28, 24, 26, 21, 23, 30, 25. Psychic Limb's set is presented here as it should be, as one continuous mp3.
Back in June, I posted a tape containing some radio station and advertising jingles, from circa 1957, all of them apparently demos. There was a nice response, and I got to thinking that there was at least one other tape from the same batch which was similarly marked.
Well I've found that second box this week, and while it doesn't have the variety or length of the first tape, there are still some nice items. These are also all radio jingles, and from seemingly all over the country, too. but there are no products advertised here. And again, based on the box, it appears that these are demos, rather than finished products.
These are SO short (there are 13 jingles in barely 5 1/2 minutes), that I did not separate them into separate tracks, but I will list here the radio stations which are advertised, with the cities where mentioned:
KMYR 710 Denver - WIL 1430 - KJOE 1480 Shreveport - WINS Weather Jingle - KOIM 1290 - KDOK 1330 Tyler - WHB 710 - KCBQ - WKDA Sports Jingle - WQAM 560 Miami - WSAI 1360 News Jingle - KLIF Dallas (two jingles for this station)
And now, here's another radio related tape which may be of interest. Whoever owned this tape used it again to record some fairly awful country music (and they didn't even record it very well), but through the magic of half-track recording, the original material is still present on the second side of the tap, so we all get to here it here.
This is a tape from an advertising jingle company called Pepper Sound Studios, from some time in the early to mid 1960's. The tape begins with some testimonials from satisfied customers in the radio industry (heard in part one, below), then moves on to the meat of the material, a series of commercials done for a variety of products - examples of the work that Pepper Sound Studios was capable of. This can be heard in part two, below, followed by a sales pitch, also in part two.
Rolling out a couple of weeks worth of vacation posts for the Comics Supplement while I'm travelling about, and today we'll start with two yarns from the unusual 1950s love stories comic book Youthful Romances, which had the distinctive gimmick of featuring real-live music celebrities in at least one story of each issue, as well as on the cover.
In our first tale we find two would-be lovers aided by crooner Tony Bennett, as penned by Harry Harrison and drawn by Ernie Bache; and in the second our guest star is Bob Eberly, from Mechanicville, New York, as written by Ira Zweifach, and rendered by Bob Correa.
Enjoy some vintage funny-book celebrity cross-over fun right after the jump!
This is an exciting time for improvised music in general, and the releases on Murano's Kelippah label, including the Carter/Murano LP, are at the very forefront of this exciting post-everything era in the genre. Here, we're "after" Krautrock, after 90s space-rock (Carter being a veteran of the much-respected, much-loved Charalambides), after the Parker/Bailey EMANEM-label vibrations from the UK, after doom/drone/"organic" improv, and basically that's all a good thing, as anything goes—one can tweak and kerplunk, be melodic, be massive, be subtle and contemplative, and give bursts of electronic noise, all in the course of one session, or even one piece.
Carter and Murano seem to guide one another into vast fields of arcing melody and rhythm, and at least for this session (one must consider all the Murano / Carter works to really get the gist, including the aforementioned LP, and NATCH 4, also offered on our Free Music Archive), we're in blooming meadows of post-Kraut brilliance. Especially in "Music #2," Murano's synth figures weave intricate spiderwebs over and under Carter's Michael Rother-like, slow-burn guitar improvisations, before collapsing into a welcome noise-gasm in the concluding minutes.
Yet again, that "magic room," also known as WFMU's studio B, and the forum of the My Castle... show, seem to have provided the comfortable environment for another history-making session to occur. And though kraut/space might be the listener's initial reaction, absolutely nothing is off the table, and I hear elements of dub, doom, and wild, free noise in these tracks. Lie back, with or without your inebriant of choice, and enjoy.
Huge thanks to Tom and Pat (Mr. Murano having the dubious distinction of being the most-often-featured live performer on The Castle, having played this session, as well as ones with Malkuth, K-Salvatore, solo as Decimus, and also on Brian Turner's program in the duo Key of Shame), and to engineer extraordinaire Juan Aboites, and to Tracy Widdess for yet another varicolored photo manipulation of my scrappy captures.
Last week here at the Comics Supplement we enjoyed the second appearance of strange villain The Minstrel, and this time we're going to back up and check out his first battle with Doll Man from two months earlier in DM's own magazine, from July 1949, as written once again by Bill Woolfolk and most likely drawn by Alex Kotzky.
Get set for some hot and nefarious banjo-pickin' licks from this crazy-looking fella (particularly in this episode) and learn about the possible reason that his design was completely revised between this adventure and his next outing barely two months later.
More exciting musical criminal action right after the jump!
Froggie sings in a Popeye-ish throat singing style, and while he doesn't have a whole lot to say, he sure says it in a memorable fashion. I also particularly like the addition of the bassoon adding a single deep note here and there, echoing the tone of Froggie's singing.
All the worthwhile bits of this record can be heard on the a-side. Perhaps due to having no other ideas at the moment, those behind this record put elements of the backing track on the b-side, with a couple of rough edits, one of them truly awful, and a reprise of the vocal near the end.
"Froggie" Landers was apparently the same person as Bob Landers, who made a single (and collectable) 45 for the Specialty label in 1956. But the most interesting thing about this record may be that the song was written by two men, unknown at the time, who were each about to start off on the legendary parts of their respective careers: Lou Adler and Herb Alpert!
Recently, while researching an upcoming blog post in this Comics Supplement series, I came across this second appearance of a villain called The Minstrel, a banjo-picking criminal. Unfortunately, when I looked The Minstrel up in the Grand Comics Database, I read the data wrong, and looked in the wrong place for the first Minstrel tale, so we'll look today at his second and final battle with Doll Man; perhaps I'll track down the first story someday. As soon as I saw a cover with a looming banjo-clad bad guy I thought it might make a good feature for a future blog.
The Doll Man was created in 1939 by the powerful team of Everett M. "Busy" Arnold and Will Eisner and he ran for 14 years in Feature Comics and then his own book. This particular story, late in his career, comes from Feature # 138, and is written by prolific comic book scribe William Woolfolk and possibly drawn by Bill Ward.
"Ohh, I'm a singin' minstrel man ... I sing and rob wherever I can!" Sound like my kinda musician! Let's join this concert of crime right after the jump!
UPDATE to this post: I just located the FIRST appearance of The Minstrel character (in Doll Man # 23) and I'll be posting it here in B.O.T.B. in my next installment, on August 17th.
After the break: Reptilian Shape Shifters at Death By Audio and Akitsa at Saint Vitus.
As I said to the members of Bludded Head, for a good, long while, I'd been subsisting on the two, outstanding tracks from their debut 12"—and with great enthusiasm, am now proud to bring you live versions of these four, new compositions from this unique Texan doom outfit. Studio versions of the songs are also available from the band on limited CDr.
With two new members added to the lineup (and the original, intact core of Nevada Hill and Darcy Neal), these songs find BH in the realm of even greater dynamics and subtlety when compared to the tracks on their debut; the addition of double bass and an accomplished new drummer having opened up the compositional palate of the band considerably. None of the crunch has been sacrificed though, and Nevada's outrageous screams still ride atop the steamrolling melee of Bludded Head's mighty downbeats.
Doom bands come and go, many sounding similar to one another, with the greatest emphasis being placed on how far apart those gut-punch downbeats can be spaced; not so for Bludded Head, who seem in it to write, arrange and execute great songs, several worlds apart from the sameyness that characterizes many of their peers in the genre. My Castle of Quiet and WFMU caught up with the band mid-tour, and it shows, such that the freshness and intensity of these selections are at a dazzling peak.
Huge thanks are due to engineer Juan Aboites, for capturing the acoustic and electric powers of Bludded Head in equal measure, and creating a terrific, rich mix for broadcast. Thanks again to Tracy Widdess of Brutal Knitting, for the Alchemical process she always applies to my pixel-challenged captures of the band, weaving mediocre photo-snapping into art.
Last month's 1950's ads and jingles were well received, so for this month's reel, I got out a non-descript five inch reel - one that came to me with no writing, and no box - which contains nearly 20 nice radio ads and music beds.
I assume that the tape originated with whatever advertising agency produced all of these commercials, perhaps as a demo reel. The ads flow one after the other, with no leader between them, and sometimes virtually no tape space between them.
They range from barely 15 seconds to a few which go well over a minute (those that do almost fade out at the one minute point then come right back for another 10-15 seconds, perhaps for use by announcers who have more to say over the music.
The commercials are for both extremely well known brands, such as Green Giant, Chevy and Keebler, to companies I've never heard of, including Nekoosa Paper and Bernie Brothers (and I can't tell what the name of gas company is, in track two).
There are four tracks which are simply music beds (presumably for whatever use the station had in mind) and a fifth which only mentions the product at the end. There are even two ads which seem to be advertising the general use of an item, rather than a specific products - specifically, use of electric products (track 9) and use of sugar (track 16).
Today's Comic Supplement brings you jitterbugging animals - lots of them. If you are halfway hep to the jive, slip a nickle into the nearest jukebox and grab a partner to swing along to these two jumping stories from Hi-Jinx magazine, as published by B&I Publishing and edited by Richard E. Hughes.
The Dan Gordon-esque art runs throughout the book, as well as the wiggly-line, brush-drawn panel borders, making for a consistently attractive product. This is the only issue of the magazine available to me right now, and the art is unsigned, but is certainly by the very prolific artist and animator Jack Bradbury, who has a site all his own here.
Join us for two funny-animal adventures from just after the war: the first involving a jukebox rental, and in the second, we learn the 'hep' vocabulary for various instruments in a music store (with guest star 'Tommy Horsey'), right after the jump!
After the break: MV Carbon at Public Assembly.
As the last hours of the festive Independence Day long weekend pass us by, here's an appropriate record for the holiday. It's a piece of patriotic drivel written by someone named Michael Quirk, and titled "Have You Thought About Freedom Lately?". Quirk himself recorded the piece at some point, and his version can be found a few places on the internet. But for this release (which the record label oddly shows to have a running time which is over a minute more than its true length), the artist is Eddie Paul:
(Whether or not this is the same Eddie Paul who is well known for customizing cars... I have no idea.)
For the flip side, Michael Quirk performed another one of his compositions himself, titled "Lonely Men in Blue":
Today we'll have a light and fun post for the WFMU Comic Supplement: a very cute little five-pager illustrated by Jim Tyer, as published in Giggle Comics volume one, number 10, from July 1944.
Tyer's exuberant and frantic drawings in this story give a good idea of how his work would appear in full motion; sight gags abound and there is heavy character distortion and rubberiness, which I always enjoy. His wild and stylish work in animation is well known and spoken about here and here.
So let's join our pals from Giggle Comics at the premiere of The Great Symphony - right after the jump!