01. Wild wolves in canada: four young on a small island 1:34 02. Wild wolves in canada: a large, very excited pack 1:26 03. Wild wolves in canada: a small pack in a mixed forest 1:41 04. Wild wolves in canada: another pack a little further off 2:32 05. Wild wolves in canada: a family of two adults and three young 1:28 06. Wild wolves in canada: another pack in forest at nightfall 6:02 07. Semi-captive wolves in france: a chorus during early night 4:54 08. Semi-captive wolves in france: various cries and growls of the same family 11:03 09. Semi-captive wolves in france: cries from another pack in the middle of the night 7:07
recorded in 1965
'To listen to the concert made by wild wolves in a forest is an unforgettable experience! No doubt partly due to a shiver of ancestral fear awoken in us, but above all for the real musical quality of a chorus of several voices. The title “Wailing Wolves” applies to the first six recordings, made by Bill Gunn in Algonquin Park, Ontario, Canada. The next three recordings were made by Jean C. Roché in a French park, in Lozère, southern-central France, which has free-running European wolves.' ~ Patrick Frémeaux
sounds exactly how it looks: earie. every good home should have at least one recording of wolves to break out at parties. 320 rips later
01 Une Famille De Siamangs / Family Of Siamangs 12:37 02 Un Couple De Gibbons / Pair Of Lar Gibbons 3:34 03 Un Couple De Gibbons / Pair Of Lar Gibbons 4:04 04 Un Couple De Gibbons / Pair Of Lar Gibbons 3:19 05 Un Orang-Outan Mâle / Male Orang-Utan 2:11 06 Un Orang-Outan Femelle / Female Orang-Utan 2:38 07 Un Harem De Nasiques / Harem Of Proboscis Monkeys 2:05
Afrique / Africa
08 Une Bande De Chimpanzés / Group Of Chimpanzees 2:10 09 Une Famille De Gorilles De Montagne / Family Of Mountain Gorillas 2:15 10 Un Babouin Chacma / Chacma Baboon 1:01 11 Une Troupe De Babouins Cynocéphales / Group Of Yellow Baboons 3:37 12 Une Troupe De Singes Verts / Group Of Vervet Baboons 2:16 13 Une Bande De Colobes Satan / Group Of Black Colobus 6:15
Amérique Du Sud Et Centrale / South And Central America
14 Deux Hurleurs À Manteau / Two Mantled Howlers 4:00 15 Un Groupe De Hurleurs Roux / Group Of Red Howlers 1:51 16 Un Groupe De Hurleurs Noirs / Group Of Black Howlers 2:01 17 Un Couple De Hurleurs Noirs / Pair Of Black Howlers 1:20
Madagascar
18 Un Groupe De Lémurs Catta / Group Of Ring-Tailed Lemurs 1:08 19 Une Famille D'Indris / Family Of Indris 1:50 20 Un Indri / An Indri 0:44 21 Des Familles D'Indris / Families Of Indris 2:43
Rec By - A. De Maximy [tr: 8] , Bill Gunn [trx: 20-21] , Bruno Tarière [tr: 9], Catherine Bouchain [tr: 13], D. Tombs [trx: 18-19], Eloisa Matheu [tr: 14], Jean C. Roché [trx: 1-4, 10-12, 15, 17] , M. Todisco [trx: 5-7)], Michel Rodolfi [tr: 16], N. Tucker [trx: 18-19], P. Barbeau [trx: 5-7]
'This is the first time ever CD featuring the voices of apes, monkeys & lemurs. These mammals, at the pinnacle of evolution, are closely related to man. The listener of this CD will discover the songs of pairs of Gibbons and of families of Siamangs: certain zoologists see in them a primitive form of “music” in the human sense of the term. This volume includes examples of the calls of monkeys and apes from Asia, Africa, Madagascar, and south and central America, as well as that of Lemurs, put together here for their aesthetic, even “musical” quality.' ~ Jean C. Roché & Patrick Frémeaux
way out 'ambiances' from our primate relatives as lovingly captured by Jean-Claude Roché & his capable crew. 320 rips
Ensemble De Gongs / The Gong Ensemble/ Čing Hrap [Villageois De Plei Rơngol]
1-3. Musique for the sacrifice to the Spirits of the Community House [Ngă Yang Rông] 4-7. Musique De Funérailles [Arang Djai] 13:38 8-9. Music Of Celebration 6:04
10. Puih H'Rai - Lullaby [Tơlơi Alum Ană] 2:05 11-12. Jet, Jing, Yuan - Bamboo Xylophone [Đĭng Kǒk] 7:28 13-14. Alik - Mouth-Resonated Fiddle [Kơni] 6:46 15-16. Alik - Two-String Stick Zither [Brǒ] 6:07 17. Rơchom Tih - Eleven-String Stick Zither [Ting Ning] 2:30 18. Rơchom Tih - Love Song, Accompanied On The Zither 3:38 19. Rơchom Tih - Lullaby, Accompanied On The Zither 3:11 20. Baih - Multi-Pipe Aerophone [Đĭng Dek]
Recorded By, Liner Notes, Photography - Patrick Kersalé, 1997-98, Syrinx Academy
Tradition has it that the Jörai, one of Vietnam's 54 ethnic groups, came into being after a great flood, from which their ancestor was saved by taking refuge in a large drum. Ever since then they have used the drum to accompagny their extraordinary gong ensembles. The same repertoire is performed by the men on the bamboo xylophone.
The recordings presented here were made in April 1997 and March 1998 in the provinces of Gia Lai and Kontum, home of the Jörai sub-groups H'Grông and Hrap. Includes a 28-page booklet in French and English.
if you enjoyed the previous recordings of Vietnamese & Laotian sacrificial, celebratory & banishment gong cycles recorded by Patrick Kersalé, you will likely need to grab this one too, as i believe they stem from the same field trip[s]. in addition to gongs, this correction incrudes several different varieties of instrument, like the Trautman-esque emanations conjured from the kơni or mouth-resonated fiddle [see cover]. impeccably recorded & annotated, Kersalé sets a kind of gold standard for what an 'ethnomusicological' document should be. thoroughly potent. 320 thanks to Ambrose Bierce of WeLoveMusic fame
cross-stitched from --> know yer conjurer <-- go say thanks if you dig it
TRANCE BALI 2006
An unreleased stereo field recording of sacred and funereal music from Bali, 2006. A guest post dedicated to edo, holywarbles, luckypsychichut, braingoreng and madrotter.
SACRED SLONDING
Slonding 1 15.48 and Slonding 2 05.30 : five ancient and hallowed iron-bar metallophones [1 bass, 2 baritone, 2 tenor] whose removal from their temple home for this rare performance in Ubud required a special ceremony. Performers: unidentified
By the most amazing of coincidences [well, this is Bali ...], you can also hear the same instruments playing the same two melodies, but recorded nearly fifty years ago in 1962-63, here thanks to holywarbles and again recorded in 1988 accompanied by female vocals, thanks to braingoreng. These are the only three known recordings of the Tenganan gamelan selunding/slonding.
***** CREMATION AT DADIA
Prayers 04.06 : inside the deceased's home temple, the pedanda (high priest) chants prayers over the body, accompanied by three bamboo xylophones and a three iron-bar metallophone. Performers: unidentified.
Waiting to leave 07.31 : outside the deceased's home, the body is placed into the bull, accompanied by a full orchestra of hanging brass gongs, brass-bar and nipple gong metallophones, cremation cymbals and a drum. Performers: Gong Taruna Mekar Tunjuk
Tossing the bull Part 1 18.55 and Part 2 10.48 : an orchestra of a drum, several cremation cymbals, a cymbal-box, half a dozen hand-held nipple gongs and one hanging gong rush alongside the mourners carrying the bull to the cremation field, tossing it violently to confuse the spirit and prevent it from returning to haunt its former home. Performers: Angklung Sinar Jaya.
Recorded with a bamboo-boom stereo mic in December 2006 and later remixed by David Sez with thanks to the families and musicians who shared their days with us. Om Swasyastu, Suksma.
A1. Music For The Buma Dance (Musique Pour Accompagner La Danse Buma) A2. Hut Song - Chanson De Hutte A3. Orycterope & Pangolin (Sung - Fable - Fable Chantee) A4. Song For Gathering Mushrooms (Chanson Pour La Cueillette Des Champignons) A5. Song To Atract Game (Chanson Pour Attirer Le Gibier) A6. Music For The Nganga Dance (Musique Pour Accompagner La Danse Nganga)
B1. Lullaby - Berceuse B2. The Water Drum - Le Tambour D'eau B3. The Humming Of The Bees - Le Bourdonnement Des Abeilles B4. Music For The Buma Dance Musique Pour Accompagner La Danse Buma
Recordings & text by Simha Arom and Patrick Renaud, 1975
Featured here are several superb field recordings by ethnomusicologist Simha Arom, whose documentation of pygmy polyphony continue to be pivotal points of reference for contemporary composers. György Ligeti, whose fascination with 'the other' as a source of musical inspiration stated:
Having never before heard anything quite like it, I listened to it repeatedly & was then, as I still am, deeply impressed by this marvelous polyphonic, polyrhythmic music with its astonishing complexity. For composition, [Arom’s research] opens the door leading to a new way of thinking about polyphony, one which is completely different from the European metric structures, but equally rich, or maybe, even richer than the European tradition.' source
Highly inventive and constantly changing, the vocal polyphony and the polyrhythmic sounds of hands and drums are prodigious achievements which astonish contemporary composers. The art of the Pygmies is fascinating for its ingenuity on all occasions, even when children play in the river and clap their hands rhythmically on the surface of the water.
a superlative snapshot of everyday life in the baka pygmy realm circa 1975. at this stage in my development, i've heard enough pygmy musique to be able to discern what i consider the really remarkable recordings & this one's a bona fide head swirler, friend. i figure if more folks played 'water-drums', fings might start looking up for our species. remerciements à zwan et l'idiot. 320 polyphonic portals to pygmy paradise
A1. Moshi 17:00 A2. Guilde's Song To Binkirri 2:55
B1. Gardenia Devil 6:00 B2. 14 Temps 4:50 B3. Bamako Koulikaro 3:50 B4. Afrika Freak Out 6:20
C1. Zombizar 7:20 C2. El Hadji 0:24 C3. Chechaoun 12:00
D1. Tindi Abalessa 10:25 D2. El Hadji 1:00 D3. Balandji In Bobo 3:06 D4. Sannu Ne Gheinyo 5:20 D5. El Hadji 0:20
Barney Wilen - tenor sax Michel Graillier - electric piano Pierre Chaze - guitar Simon Christian Tritsch - electric bass Micheline Pelzer - drums Didier Leon - takamba - oud Caroline de Bendern, Marva Broome, Babeth Lamy, Laurence - vox Composer - Barney Wilen [trx: B1, B4, C1, D4], Caroline De Bendern [trx: B1, C1, D4] Producer - Pierre Barouh Recorded By - Daniel Vallancien
Gatefold cover. Recorded in Studio Saravah. "Gardenia Devil" is taken from a poem of the chinese people. All other uncredited composed by tracks based on traditional folk songs.
'In 1970 Barney Wilen assembled a team of filmmakers, technicians and musicians to travel to Africa for the purpose of recording the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avant jazz sensibilities with African rhythms, ambient sound effects and melodies rooted in American blues traditions. Cut with French & African players including guitarist Pierre Chaze, pianist Michel Graillier and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, streetlegal funk.Wilen pays little heed to conventional structure, assembling tracks like 'Afrika Freak Out' & 'Zombizar' from spare parts of indeterminate origins' ~ amg
'A wild and groundbreaking record recorded by the great French tenor player Barney Wilen! Although he got his start as a bebopper in the 50's, Wilen sort of dropped out of sight by the end of the 60's and only emerged from time to time to cut strangely experimental sides. This record is unlike anything he ever made, and features a wild mix of African rhythms, ambient sound, and Wilen's deep deep tenor. By this point, Wilen had been absorbing a lot of different influences, from Coltrane, to Pharoah Sanders, to some of the European free players, and his sound is a weird mish mash of styles that weaves in and out of all the stuff on the record. It's a haunting bit of afro jazz & funky noise, with some cuts that are spacey, and others that are nice and funky.' ~ dusty
lately when i make a new jazz discovery, assimilate the sounds & decide i might wanna spread the gospel to you good peeps, a quick search in the engine reveals many a classique joint was owlready ushered into interwebular consciousness by one of several seminal jazz blawgs, whose illuminating arkhives will spread yer awareness like a fan. unfortunately, i seem to be about 3 years too late on some of the links when i trawl thru the backpages, but occasionally stumble upon a few rips in a roundabout way. thus, i am excited to bring you yet another pearl from the essential orgy in rhythm dustbin, on the groundbreaking saravah imprint. bacoso sez: 'Completely bonkers mash up of afro to free jazz with field recordings and vocal harmonies - out there and all the better for it. Recommended.' & eyed hafta humbly concur with that assessment. dear professor leary from a few years earlier comes highly recommended as well. 320remerciements à la révélateur d'origine. further
Bosnia - Echoes from an Endangered World [Folkways] Music and Chant of the Bosnian Muslims Smithsonian Folkways CD SF 40407 Field recordings 1984-1990, CD released 1993
press hype: 'Filmed throughout Southeast Asia by Robert Millis between 2002-2004, My Friend Rain is an abstract homage to the endless monsoon cycles of rebirth and destruction. Dreamy musical segments, fleeting glimpses, odd sounds, temple shrines, tropical backdrops, decay, death, languid afternoon rains, and mysterious celebratory events take the viewer from soaked mornings in the lowlands of the Irrawaddy delta to humid nights on the streets of Isan province. Two tracks originally released on Millis’ Leaf Music, Drunks, Distant Drums CD from 2002 can now be witnessed for the first time in this film: an amazing elephant mahout playing a song on a leaf with his mouth and a Burmese marionette orchestra musician performing expertly on tuned drums. The overall experience is an impressionistic collage of sight and sound captured live and in the moment on location in Laos, Thailand, Cambodia and Myanmar. Along with the DVD, package includes a bonus CD with the film’s soundtrack of traditional and popular music culled from live performance, cassette and LP archives. Some of the soundtrack highlights: a gorgeous Thai Luk Thung track by Waiphot Phetsuphan, a classic Khmer performance by Pan Ron, one of the Queens of Cambodian music, and an epic Burmese pop rendition of the Bee Gee’s How Do You Mend a Broken Heart, alongside folk performers, street musicians and a traditional Burmese orchestra' perch merch
: download link removed by kind request :
don't get too happy. this aint a transfer of the dvd, but merely the accompanying soundtrack cd, which we fancy quite a bit. 320 fanx to grasprelease & his hookups for the hookup. if ya have access to the visual portion of this set, kindly 'hook it up' in the comments or sumfing, okeh? :)
1. Woodpeckers and Song Sparrow at Mount Saint Hilaire 2. Beavers and Hermit Thrush in Forillon National Park 3. Northern Waterthrush & Winter Wren at Mount Saint Hilaire 4. Redwinged Blackbird and American Robin at Sorel Islands 5. Rain in the Forest at Mount Saint Hilaire 6. Hot weather at Mount Saint Hilaire 7. The Gaspésie of Bonaventure Island
Invited by the University of Montreal Faculty of Music in 1995, Bernard Fort took his ornithological knowledge of sound recording & captured seven concerts of natural landscapes in Canada during the spring & summer of 1995. 70 minutes of ecological symphonie, these recordings are a testimony of relaxation & meditation. Close your eyes & hear the streams, beavers, woodpeckers, thrushes, concert gannets on the edge of the cliffs of Gaspé, cries of seals, some amphibians at Mont Saint Hilaire & white-throated sparrows & swallows on the Sorel Islands. this one goes out to grey calx
A1. Snooks Eaglin - Down By The Riverside A2. Butch Cage, Willie Thomas & crowd - When I See The Blood A3. Della Williams - Motherless Children A4. New Orleans Street Gospel Singers - I Will Be Your God A5. Otis Webster - In My Saviours Care A6. Charles Henderson, Butch Cage, Willie Thomas & crowd - Jesus On The Main Line
B1. Rev. Pearly Brown - If I Never See You Anymore B2. Andy Mosely, George Williams & Hogman Maxey - I Know I Got Religion B3. Otis Webster - This Little Light Of Mine B4. Angola Quartet - Be With Me Jesus B5. Robert Pete Williams - I'm Glad My Mother Teached Me How To Pray B6. Rev. Pearly Brown - Nobody's Fault But Mine B7. Butch Cage, Willie Thomas & crowd - If I Could Hear My Mother Pray Again
recorded by Harry Oster between 1958-62
here goes a kind of companion to the previously posted Country Knee Grow Jam Sesh, featuring a few of the same artists doing gospel numbers exclusively. another seemingly forgotten collection of sounds salvaged from the abyss by some gracious sole. godspeed!
Lemhadong Art Collective Members: Fingguy Flang, Tunding Maguan, Luming Tuan, Lundi Langon, Minga Maguan, Mina Tungan, Melun Malungal, Neyet Mindal, Blina Tuhitum, Mundi Baai, Anay Maguan, Asita Ralla
'The Tboli are an Indigenous Cultural Community of the Philippines. They live in small mountains surrounding Lake Sebu, in the Cotabato Cordillera, Southern Mindanao. Their territory went through spectacular transformations during the past decades. Until the 1950's, this region was entirely forested. Its inhabitants lived in small hamlets surrounded by temporary gardens, in the heart of the forest which fed them. Their fine knowledge of the vegetal and animal world impregnated their imaginary and their arts.
The massive immigration of farmers from other regions of the Philippines disrupted the territory. This sudden transition was detrimental to the Tboli, many of whom lost all access to land and now live in utter precariousness. The musicians of Lemhadong are all Tboli, and it is the Tboli cultural heritage they wish to share through this record project.
Tudbulul, the mythological hero, lived alone with his family in a forest site called Lemhadong. One day, he organized a concert in which he gathered all the known music instruments and played them one after the others with his sisters. It attracted many inhabitants of the forest, who were delighted and decided to stay and live together with Tudbulul : this is how was founded the Tboli nation.
The musicians and artisans of the Lemhadong collective all reside in the village of Dekolon, on a hill overlooking Lake Sebu. They don't know how to read nor write, and survive day by day through small jobs. They learned music by observing the adults when they were children. No-one ever taught them, except sometimes a fairy appearing in their dreams. As a matter-of-fact, Tudbulul's concert didn't gather only humans : the fairies, custodians of the forest, were also attracted, and they were so enthralled by music that since then, they have been helping learning musicians by appearing in their dreams to encourage them. According to the Lemhadong artists, their musicianship has a lot to do with these wild fairies fond of music.
The general esthetics of Tboli music is vibrant, light and quick, with melodic patterns repeated like the geometric patterns used in the art of weaving. The many instruments are always played solo. The combination of several instruments as well as the association of voice and music are almost absent. The main instruments are the hegelung lute, the tubular zither sludoy and the klintang and smaggi metallophones, surrounded by a variety of small instruments : flutes, jaw harps & reedpipes. Though the instruments are played by many, singing - half declaimed and always as a soloist - is only practiced by recognized authors and performers.
Tboli music displays a large palette of sounds which follow each other without ever mingling, and Lemhadong's album reflects this particularity by taking the shape of a rich sound itinerary moving from one sound to another. The record Women artists of Lake Sebu is a sound portrait of the Lemhadong collective, and more generally the ecologic, social, musical and imaginary world of the Tboli. The soundwork takes the shape of a continuous mix associating music and sounds of the daily environment. To preserve authenticity, the recordings were made entirely on location, in the bamboo houses, the gardens and other places linked to the practice of music.
Through the album, we can hear the boat gliding on the lake, the lushness of insects, the gallop of the horse, the laughters of guests at a party, and many other snapshots plunging the listener at the heart of the Tboli world, making it possible to grasp the music in the context from which it came out.' ~ altamira
Recording, mixing, text and photographies : Boris Lelong
this one is a stunner. the recordings are lush & resonant with a variety of indigenous flora & fauna permeating every single traque. superb in every imaginable way. we can thank this guy for these adorable sonic portraits of everyday livin', tboli style
Vol.1 - CAP 21406, recorded and released 1991 Vol.2 - The City of Hue - CAP 21463, recorded 1994, CD released 1995 Vol.3 - Ethnic Minorities - CAP 21479, recorded 1994, CD released 1995 Vol.4 - The Artistry of Kim Sinh, guitar - CAP 21673, recorded 2001, CD released 2003 Vol.5 - Minorities from Central Highland & Coast - CAP 21674, rec. 2001, CD released 2003
05. Betsimisaraka morceaux tromba: Volamena and Volon’aomby 06. Tromba music on valiha 07. Sompatra 08. Tamby Tambazo vady 09. Tromba performance on valiha 10. Izao No Zavatra Nikasaina 11. Bastos
'The tromba possession ceremonies of the Betsimisaraka and Antandroy in the area of Tamatave on the east coast of Madagascar provide occasions for communication between the living and ancestral spirits.
Musique is crucial to these performances since powerful ancestral spirits will not appear unless attracted by masterful musical performances, and so music itself provides a complex symbolic system with which Malagasy can recall and reconstruct the past. The eleven tracks of this album are examples of the mastery of the musicians playing instruments such as the zither-like valiha, or maro tady as the Antandroy call it, the akordogna (accordion) or the rattle kaiamba. These instruments are vital components for the creation of the Maresaka sound aesthetic typified by a density of sonorities, rhythms, textures, and timbres. Maresaka is characteristic of these performances, which connect the living and the spirits of their ancestors.'
a jubilant collection of field recordings for trance & happily communing with ancestral spirits by virtue of squeezebox song & valiha workouts. these merry melodies are a bridge to the beyond like only the best musique can be & if more contempo 'psychedelic' bands put it down like this, i wouldn't hesitate to champion them too :) 320 + booklet. much love to brother Miguel for sharing this psychoactive sonic nectar
01 - Butch Cage And Willie B. Thomas - 44 Blues 02 - Robert Pete Williams And Robert J. Welch - Mississippi Heavy Water Blues 03 - Clarence Edwards Cornelius Edwards And Butch Cage - Smokestack Lightnin' 04 - Butch Cage And Willie B. Thomas - Who Broke The Lock 05 - Clarence Edwards Cornelius Edwards And Butch Cage - You Don't Love Me 06 - Butch Cage And Willie B. Thomas - It's The Sign Of The Judgement 07 - Ben Douglas - Foxhunt 08 - Sally Dotson Smoky Babe And Hillary Blunt - Your Dice Won't Pass 09 - Butch Cage And Willie B. Thomas - Jelly Roll 10 - Rebecca Smith Tom Miller And Ruth Miller - I've Got Religion 11 - Smoky Babe - Going Downtown Boogie 12 - Clarence Edwards Cornelius Edwards And Butch Cage - Stack O'Dollars 13 - Butch Cage Martha Thomas And Willie B. Thomas - Brown Skin Woman 14 - Napoleon Strickland, Lucius Bridges & Leslie Anders - I Won't Be Yr Dog No Mo 15 - Butch Cage And Willie B. Thomas - The Piano Blues 16 - Smoky Babe - Cotton Field Blues 17 - Otis Webster - The Farm Blues 18 - Otis Webster - The Boss Man Blues 19 - Butch Cage And Willie B. Thomas - Whoa Mule 20 - Otis Webster - Boll Weevil Blues 21 - Clarence Edwards Cornelius Edwards And Butch Cage - Thousand Miles From Nowhere 22 - Butch Cage And Willie B. Thomas - Dead And Gone 23 - Butch Cage And Willie B. Thomas - Called For You Yesterday 24 - Butch Cage And Willie B. Thomas - Me And My Chauffeur 25 - Butch Cage And Willie B. Thomas - Baby Please Don't Go
All recordings made by Dr. Harry Oster in Louisiana 1959/1960 and 1962 except 19,22,23,24 and 25 made by Chris Strachwitz and Paul Oliver in 1960
“The title is accurate to a time and place: Southwestern Louisiana between 1959 and 1962. The folklorist Harry Oster did a series of field recordings, informal `jams'with a group of obscure blues men and women, only one of whom, Robert Pete Williams, won fame. Williams was singular in composing stream-of-consciousness blues, support-ed by a guitar style as jarring for blues as Monk was for jazz piano. But Williams sounds nearly traditional compared to others in these recordings. Butch Cage plays fiddle in a nineteenth-century style now gone. And Cage himself sounds nearly conventional compared to the unknown resident of a state mental hospital who does a high-pitched whoop a la Sonny Terry into a Coke bottle while other inmates bang wood blocks.
In case you're wondering how a seventy-seven-minute disc with such diversity can cohere, let me assure you it does, and plenty. I've never heard a better, `rootsier' blues collection in my life, and when I wore out my vinyl album, I sadly wondered, who would ever bother to release this on disc? It's here, and if you have a taste for relaxed, funky, real-gone, real back-porch blues, it's a must.' - Norman Weinstein: Los Angeles Reader
likely the only reason this record isn't more well known is due to the slightly taboo title. a quintessential collection of amerikan folk musique
01. Dan Bau Vietnam: Rider In The Sky 3:40 02. Ly Ngua O: Saigon Oi 7:26 03. Dead Men's Orchestra: Totencombo 4:16 04. Tanh Nam "Teu" 11: Bonanza (Bat Ghen) 0:51 05. Eo Sinh & Namh Hao: Vc Love Song 4:01 06. Thu Hien: Hoa Cau 4:03 07. Tanh Nam "Teu" 11: Lucky Luke (Bat Ghen) 0:55 08. Santana V: Totensamba 1:28 09. VC Hooker: Vc's Blues 3:38 10. SRV Opera Singers: Barbecue-Songs 2:45 11. Janiv: Totblues 1:08 12. Anh Sang: Totensong 3:23 13. Anh Sang: One Ship Will Come 3:49 14. Dan Bau Vietnam: Chinese Song 2:48 15. Ferry Duo: Fnl's Blues 2:52 16. Dylan Tanh: Balanced Voice Songs 3:30 17. Ly Ngua O: Vo Chong Lam Bieng 3:07 18. Clint Viet: Mot Nam Do/Dollar-Hand 3:05 19. Thanh Tam: Cung Dan Dat Nuoc 3:32 20. Thu Hien: Rang Tram Bau 5:20 21. Dan Bau Vietnam: Rider In The Sky - Live 5:25
'Hó! Roady Music From Vietnam is a stunning document, celebration even, of Saigon´s resilient street life 20 years after the US´s defeat. The appeal of American pop, most likely heard leaking out of squalid girlie bars, is evident in its impact on these electric guitar wielding grannie buskers with backpack amps, bar singers, Vietblues players, hustlers, funeral drum´n´bass combos and bizarre US folk-ethnic fusioneers, taped amid screeching traffic noise, cop whistles, barking hawkers and insect-buzzing heat. Just as the jungle reclaimed detritus left behind by G.I.s, so these musicians have remolded fading American melodies around Vietnamese templates, transforming them into vivid, shocking pink Vietpop and street music. And these slithering brass tunings and clattering percussion of Saigon´s funeral combos are truly worth dying for.' - midheaven
that pirty much sums it. a thoroughly encroyable correction of street musique from vietnam. after awhile every single song is good. 320 hugs to hans
Songs from the edge of the forest ~ Efe Pygmies Polyphony Fonti Musicali FMD185, 1990
1 Deux chants d'initiation des garçons ~ two boys' initiation song 2 Luma [ensemble de sifflets] 3 Chant avant la collecte du miel ~ song before honey gathering 4 Chant de collecte du miel ~ honey gathering song 5 Bou [arc à bouche] ~ mouth bow 6 Chant de chasse à l'éléphant ~ elephant hunting song 7 Chants d'initiation des jeunes filles ~ the young girls' initiation songs 8 Danse pendant l'initiation des jeunes filles ~ dance during young girls' initiation 9 Musiques du rituel de Tore ~ musique for the ritual of tore 10 Duo de likembe ~ duet of likembe 11 Chant et likembe ~ song & likembe
Enregistrê par Didier Demolin dans l'Ituri en 1987 Field Recordings by Didier Demolin in Ituri, 1987
one of the most consistently rewarding collections of vibrant pygmy song. these guys have been popping up owl over the place in recent daze. bi-lingual booklet lovingly included. 320 αγκαλιές to dear brother Janas
