Happy: Aberdeen: Handsome Drink (from the album Homesick and Happy to Be Here)
Love: A: I Love Lake Tahoe
Hate: Abus Dangereux: Funk au Chateau
Light: Aaron Martin: Lightning in Meadow Grass
Dark: Acid Mothers Temple & the Melting Paraiso UFO: Dark Star Blues
Good: The Abyssinians: The Good Lord
Bad: Abadi Al-Johar: Musiqa
Smile: Adorable: Sunshine Smile
Cry: Adrian Borland & the Citizens: Crystalline
Girl: Abe Manuel & the Louisiana Playboys: Country Girl
Boy: (same as above. Next:) Accolade: Natural Boy
Didn’t get out of the A’s on any of these.
(Source: sydneyleighh, via lonepilgrim)
Call-and-response, as a musical form, has a rich history in many parts of the world. In Christianity, the “antiphon” is a form of hymn in which the choir and congregation echo or answer the leader. Some believe that this practice may even have its roots in antiquity, in the Psalms of the Israelites. A similar format characterizes the Indian style of classical vocal music known as “Jugalbandhi,” and call-and-response is a pervasive characteristic of sub-Saharan religious ritual and civic life, as well as in the diaspora.
Ween invokes this global legacy to examine contemporary existence through a lens of ancient heritage. While the modern slang definition of “cheese,” meaning money, may cause the song to first appear only as a subtle critique of Western capitalism, the true meaning is far deeper: One must fully consider the historical universality of the song’s form to understand that this modern definition must be contrasted against cheese’s original implication of “sustenance.” In culture as well as language, Ween observes, we increasingly define ourselves around abstract notions such as economic success, rather than in the physical world. Ween laments this moral decline, the loss of humanity’s tether to substance, asking again and again how it could be restored.
The song’s progression implies that this critical link is gone forever. As the singer realizes the magnitude of this existential crisis, his inquiries take on an increasingly aggressive and desperate tone; he curses in frustration, and still is not granted an answer. Instead, the music cuts out abruptly, and the listener is left only with one last statement of uncertainty before being plunged into silence. — I don’t unequivocally praise anything as “the best” very often, but this take on Ween’s “Where’d the Mothafuckin’ Cheese Go At” by a user calling him/herself “googlymoogly” is the best entry on songmeanings.com.
Cold Cassette 21
Fuji DR-1, 90 Minutes
Cream: Born Under a Bad Sign
Crosby Stills Nash & Young: Almost Cut My Hair
About a full minute of random clips of Homer Simpson
Genesis: Turn it On Again
The Doors: Peace Frog
Chicago: It Better End Soon (1st Movement)
The Who: Baba O’Reilly
Procol Harum: A Whiter Shade of Pale
Bad Company: Feel Like Making Love
Elton John: Candle in the Wind
Rare Earth: I Just Wanna Celebrate
Eric Clapton: Let It Rain
Dave Mason: part of “We Just Disagree”
Led Zeppelin: the part of “Whole Lotta Love” with the Theremin, but not the rest of it
Elton John: the instrumental part of “Funeral for a Friend”
Pink Floyd: Breathe
Van Halen: just the intro to “Right Now”
Tom Petty: American Girl
The Cars: My Best Friend’s Girl
Ray Manzarek talking about the Doors
Crosby Stills & Nash: Marrakesh Express
Buffalo Springfield: Blue Bird
Jethro Tull: Aqualung
Pink Floyd: Empty Spaces/Young Lust
The Beatles: Day Tripper
Man, this is a weird tape. Most of them have a little bit at the end of each side, usually less than a minute, where I surfed around the radio dial to fill the space. So you’ll hear five seconds of The Spiral Starecase followed by twelve seconds of heaving static with people talking underneath it, followed by some piece of classical music popping suddenly into focus.
I always liked listening to that when it came on—more than anything else on these tapes, it captured what was happening on the radio at that moment, not just a song that could have been played any time. A few years ago, a recording of a scroll across the radio dial in New York City the night John Lennon died made the rounds online, and it was sort of haunting, all but two stations playing Beatles songs or talking about John Lennon, people sobbing on call-in shows, one or two solo John Lennon songs sticking out of the wall-to-wall Beatles.
I never captured anything like that, but the juxtapositions, imperfect reception, and occasional moment where you caught just the right two and a half seconds of something still entertains me today when I listen to these.
This tape has some of that going on all over it. It has no collage at the end of Side A because the first minute and a half of a Dave Mason song takes it all up, but it makes up for that with a Van Halen intro, a little chunk of a Zeppelin track, a bunch of Homer Simpson clips and a clip of Ray Manzarek with no Doors song accompanying it. Even “Funeral for a Friend” is just the instrumental intro. It’s disorienting.
Weird Chicago selection on side A, too. There’s nothing around it to give the context of when it was played, but it’s not a heavy rotation track by any means. It is pretty great, though, and an especially nice showcase for Terry Kath’s guitar. I actually love that whole little suite on the fourth side of Chicago II. Chicago made some lousy records, no doubt, but they don’t get enough credit for their really good ones in my opinion.
As long as we’re stuck on how odd this tape is, it’s also odd to hear just Pink Floyd’s “Breathe,’ without either “Speak to Me” leading up to it or “On the Run” after it. It fades both in and out. I guess this is maybe how a lot of people experience that song most often, but it mostly just makes me want to listen to all of Dark Side of the Moon.
This tape is a good example of why I miss these days of trying to build my great song archive off the radio, if only a little bit. I could make this entire tape with mp3s, but it would just be all these songs in their entirety with no fuzzy bits around the edges, and that’s great, it’s a different kind of listening experience. The one this tape gives me can’t really be duplicated.
I was in some kind of mood last night.