The Last Great Moment of Elvis Presley’s Musical Career: Watch His Extraordinary Performance of “Unchained Melody” (1977)

in Music | August 30th, 2018

As the “King” of American pop culture in the mid-20th century, Elvis embodied so many of his country’s contradictions. Revivalist of the “love and theft” of black American music and performance; humble, small town mama’s boy and dutiful soldier who built a cult of modern celebrity and a garish temple to conspicuous excess; self-appointed crusader who railed against “the drug culture” while his “legal” addiction to opiates and amphetamines laid waste to his career and health.

Maybe in these conflicts between humility and fame-seeking, all-American wholesomeness and transgressive seduction, playacting lawlessness and moralizing law and order, his legions of fans saw their own split selves. His hip-shaking confidence seemed particularly suited to both inflaming and soothing anxieties and safely channeling pent-up passions. Certain inconsistencies in his persona did not seem to trouble him overmuch.

But he was not a well man in the last several years of his short life and his tenure in the glittering faux-palaces of Las Vegas dramatically hastened the decline. While the reality of Elvis in Vegas was tacky and sad, the mythos of Elvis in Vegas made it “cool for fading superstar performers to find a second (or even third) act of their career in Vegas,” writes Mike Sager at Billboard. “Elvis paved the way for the likes of Britney Spears,” whose big American rise and fall resembles his in many ways.

Elvis’ own attempt at a third (or fourth) act is predictably tragic. Exploitative manager Colonel Tom Parker pushed him out on tour in 1977, notes Andy Greene at Rolling Stone, “despite his horrid shape.” Parker “arranged a camera crew to film the June 19th show in Omaha” in order to “get more product in to the stores”—perhaps sensing that Presley did not have much further to go. The cameras kept rolling in stops throughout the Midwest.

He was an absolute mess. He was only 42, but years of prescription drug abuse and horrifying dietary habits had left him bloated, depressed and near death. He had an enlarged heart, an enlarged intestine, hypertension and incredibly painful bowel problems. He was barely sleeping and should have probably been in the hospital, but he was still a huge draw on the concert circuit and the money was too good to turn down.

It is ugly to dwell on this period, except that somehow those final concerts produced the extraordinarily poignant footage of “Unchained Melody” at the top in Rapid City, South Dakota. “Without a doubt,” writes Greene, “it’s the last great moment of his career.” He digs deep, his voice is clear and strong. The jarring contrast between how good he sounds and how terrible he looks underlines and bolds the lines—“time can do so much…”

At the last tour stop in Indianapolis, he barely pulled off a rendition of “Are You Lonesome Tonight,” above. The song starts off really strong but soon devolves into Elvis muttering gibberish, sweating, and giggling to himself. This is hard to watch and it’s no wonder the tour footage, aired once on CBS, “has yet to resurface in any official capacity. This isn’t the Elvis that his estate wants the fans to remember.” Surely those fans themselves prefer the kitschy fantasy. Less than two months later, he was gone.

via Boing Boing

Watch George Harrison’s Final Interview and Performance (1997)

Watch John Lennon’s Last Live Performance (1975): “Imagine,” “Stand By Me” & More

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 25 ) |

Hear the Original, Never-Heard Demo of John Lennon’s “Imagine”

in Music | August 29th, 2018

Imagining a “brotherhood of man” sounds Pollyannaish and painfully naïve when even an “uneasy truce of man” seems hardly possible. But when John Lennon sings about it with conviction in “Imagine,” we sit up and listen. Such is the power of “Imagine”’s utopian vision, and Lennon later admitted it “should be credited as a Lennon/Ono song,” since “a lot of it—the lyric and the concept—came from Yoko,” specifically from Grapefruit, her little book of whimsical “instructions.” For decades the pair’s collaborations have received withering scorn from Beatles fans, but no greater testament to their combined humanist vision exists than “Imagine,” a product of Ono’s conceptual dream verse and Lennon’s earnest songcraft.

So much has been said and written about the song, so many great and not-so-great covers performed since its 1971 release, that we might think we know all there is to know about it. We even have behind the scenes footage in the documentary Gimme Some Truth of the sometimes tense recording sessions. Yet it turns out that the original demo version Lennon recorded at his own Ascot Sound studios went unnoticed in a box of tapes for 45 years. We can celebrate its 2016 rediscovery and now hear it for ourselves, that eight-track tape transferred to digital and enhanced by engineer Paul Hicks, above.

The recording was discovered by Rob Stevens who found it, reports Jason Kottke, “while sifting through boxes upon boxes of the original tapes for Yoko Ono.” It seems that improper labeling damned the tape to decades of obscurity. “There’s a one-inch eight-track,” remembered Stevens, “that says nothing more on the ‘Ascot Sound’ label than John Lennon, the date, and the engineer (Phil McDonald), with DEMO on the spine. No indication of what material was on the tape.” The find was “true serendipity,” he remarks.

Hearing this moving, stripped-down solo version reminds me of David Bowie telling an audience in 1983—just before singing the song on his Serious Moonlight tour—of how Lennon approached his songwriting: “’It’s easy,’ he said, ‘you just say what you mean and put a backbeat to it.’” Even without the backbeat, “Imagine” says exactly what it means. Imagine all the people living for today.

A set of “Ultimate Mixes” of the Imagine album will be released in October (pre-order here) and will of course include the newly-unearthed demo along with many other demos and rarities. Till then, enjoy this amazing discovery, as well as Lennon’s live television performance from 1972 on the Mike Douglas Show, just above.

via Kottke

Watch John Lennon’s Last Live Performance (1975): “Imagine,” “Stand By Me” & More

John Lennon Extols the Virtues of Transcendental Meditation in a Spirited Letter Written to a Beatles Fan (1968)

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( None ) |

Japanese Musicians Turn Obsolete Machines Into Musical Instruments: Cathode Ray Tube TVs, Overhead Projectors, Reel-to-Reel Tape Machines & More

in Music, Technology | August 29th, 2018

In the 1940s and 50s, experimental composers like Halim El-Dabh, Pierre Schaeffer, and Pierre Henry began making experimental compositions that Schaeffer would call musique concrete. They used tape recorders, phonographs, microphones and other analog electro-acoustic devices to create music, as Henry put it, from “non-musical sounds.” These techniques became mainstays of more familiar audio art, such as the radio and television sound designs of the BBC’s Radiophonic Workshop. With the advent of synthesizers, electronic music overtook these sound experiments, just as other new technologies replaced the playback and recording devices used to make them.

A Japanese group called Open Reel Ensemble recalls this legacy of musique concrete, deploying reel-to-reel tape machines, cathode ray tube TVs, overhead projectors, and other analog technology to make 21st century music with “non-musical sounds.” Headed by programmer-turned-composer Ei Wada, the group embraces a very different compositional philosophy than the experimental electro-acoustic composers of the past, who worked in reaction to European classical music, opposing “concrete” sounds to abstract musical ideas. Wada, on the other hand, was first inspired by hearing a gamelan ensemble at a performance in Indonesia as a very small child.

Given a collection of 70s reel-to-reel recorders by a family friend, he attempted to re-create the polyphony of those traditional Javanese gong ensembles. He has, writes Motherboard, “been on a quest to reproduce otherworldly sounds with tech that nobody wants.” But he freely combines these outdated machines with contemporary mixers, amplifiers, light shows, beats, and tempos. Formed with friends Haruka Yoshida and Masaru Yoshida, Wada’s Open Reel Ensemble might be compared to both the avant-garde experiments of composers like John Cage and the popular experiments of hip hop turntablists, both of whom used analog technology in innovative, unconventional ways.

Some of the group’s work is a kind of experimental dance music, as you can see in the live performance further up; some is more ambient sound art, as in Wada’s solo ventilation fan performance above, with implicit commentary on Japan’s economy and the disposable nature of consumer technology. “All these tech objects are a symbol of Japan’s economic growth,” says Wada. “but they also get thrown away in great numbers. It’s good to not just say bye to things that are thrown away but to instill old things with new meaning, and celebrate their unique points.”

The detourning of technology that would otherwise end up as landfill requires some ingenuity, given the increasing rarity of such instruments. In the performance above, we see Wada play with invented devices his group calls in English the “Exhaust Fancillator” and in Japanese a kankisenthizer, a neologism formed from the word for ventilation fan. “We used laser cutters and 3D printers to design the ventilation fans,” he says. This willingness to improvise, invent, and repurpose whatever works makes for some fascinating experiments that are as much performance art as sound composition.

In the Wada performance above from 2010, he uses old tube TVs as drums, hitting the screens to trigger both sound and light effects and bringing to mind not only the sound art of the early 20th century, but also the 1980s video installations of Nam June Paik, fully immersive experiences that foreground their technological artifice even as they produce an inexplicable kind of magic.

via This is Colossal

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 1 ) |

Salvador Dalí & Walt Disney’s Short Animated Film, Destino, Set to the Music of Pink Floyd

in Animation, Film, Music | August 24th, 2018

In 1945, Walt Disney and Salvador Dalí began collaborating on an animated film. 58 years later, with Dalí long gone and Disney gone longer still, it came out. The delayed arrival of Destino had to do with money trouble at the Walt Disney Studios not long after the project began, and it seems that few laid eyes on its unfinished materials again until Disney’s nephew Roy E. Disney came across them in 1999. Completed, it premiered at the 2003 New York Film Festival and received an Oscar nomination for Best Animated Short Film. Now, fifteen years later, we know for sure that Destino has found a place in the culture, because someone has mashed it up with Pink Floyd.

Unlike The Wizard of Oz, which has in Pink Floyd’s Dark Side of the Moon the best-known inadvertent soundtrack of all time, the seven-minute Destino can hardly accommodate an entire album. But it does match nicely with “Time,” Dark Side of the Moon’s fourth track, in length as well as in theme.

Though in many ways a more visual experience than a narrative one — if completed in the 1940s, it might have become part of a Fantasia-like “package film” — Destino does tell a story, showing a graceful woman who catches the eye of Chronos, the mythical personification of time itself. This allows the film to indulge in some clock imagery, which one might expect from Dalí, though it also includes clocks of the non-melting variety.

Only with “Time” as its soundtrack does Destino include the sound of clocks as well. All the ringing and bonging that opens the song came as a contribution from famed producer Alan Parsons, who worked on Dark Side of the Moon as an engineer. Before the album’s sessions, he’d happened to go out to an antique shop and record its clocks as a test of the then-novel Quadraphonic recording technique. The transition from Parsons’ clocks to Nick Mason’s drums fits uncannily well with the opening of Destino, as does much that follows. “Every year is getting shorter, never seem to find the time,” sings David Gilmour. “Plans that either come to naught or half a page of scribbled lines.” Though Disney and Dalí came up with much more than half a page of scribbled lines, both of them probably assumed Destino had come to naught. Or might they have suspected that the project would find its way in time?

You can watch a documentary on the Disney-Dali collaboration here.

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Dark Side of the Rainbow: Pink Floyd Meets The Wizard of Oz in One of the Earliest Mash-Ups

The “Lost” Pink Floyd Soundtrack for Michelangelo Antonioni’s Only American Film, Zabriskie Point (1970)

Pink Floyd’s “Echoes” Provides a Soundtrack for the Final Scene of Kubrick’s 2001: A Space Odyssey

Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

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Songs by David Bowie, Elvis Costello, Talking Heads & More Re-Imagined as Pulp Fiction Book Covers

in Books, Creativity, Design, Music | August 24th, 2018

As David Bowie himself implied in a 1975 interview, “Young Americans” doesn’t have much of a narrative.

Rather, it’s a portrait of ambivalence, viewed at some remove.

The same cannot be said for Young Americans, the wholly imaginary midcentury pulp novel.

One look at the lurid cover, above, and one can guess the sort of steamy passages contained within. Bowie’s sweaty palmed classmates at Bromley Technical High School could probably have recited them from memory!

Ditto Alison. The tawdry paperback, not Elvis Costello’s evergreen 1977 ballad. There’s a reason its spine is falling apart, and it’s not because young lads like Elvis Costello are fearful their hearts might prove untrue. That skimpy pink bikini top and hip huggers get-up is appealing to an entirely different organ.

Here we must reiterate that these books do not exist and never did.

Though there’s a lot of fun to be had in pretending that they do.

Screenwriter Todd Alcott, the true author of these digital mashups, is keenly attuned to the overripe visual language of midcentury paperbacks.

He’s also got quite a knack for extracting lyrics from their original context and rendering them in the period font, magically retooling them as the sort of suggestive quotes that once beckoned from drugstore book racks.

Font has been important to him since the age of 13, when a school art project required him to combine text with an image:

I decided that I wanted the text to look like the text I’d seen in an ad for a John Lennon album, so I copied that font style. I didn’t know that the font style had a name, but I knew that my instincts for how to draw those letters didn’t match how the letters ended up looking. The font, as it turns out, was Franklin Gothic, and, as a 13-year-old, all I remember was that I would start to draw the “S” and then realize that my “S” didn’t look like Franklin Gothic’s “S,” and that the curvy letters, like “G” and “O,” didn’t look right when they sat on the lines I’d made for the other letters, because of course for a font, the curvy letters have to be a little bit bigger than the straight letters, or else they end up looking too small. I became fascinated with that kind of thing, how one font would give off one kind of feeling, and other one would give off a completely different feeling. And it turns out there’s a reason for all of that, that every font carries with it a specific cultural connotation whether the reader is aware of it or not. When I drive down the street in LA, I see billboards and I can’t just look at one and say “Okay, got it,” I get a whole other layer of meaning from them because their design and font choices tell me a whole history of the people who designed them.

While Alcott discovers many of his visuals online, he has a soft spot for the battered originals he finds in second hand shops. Their wear and tear confers the sort of verisimilitude he seeks. The rest is equal parts inspiration, Photoshop, and a growing understanding of a design form he once dismissed as the tawdry fruit of Low Culture:

I’d never understood pulp design until I started this project. As I started looking at it, I realized that the aesthetic of pulp is so deeply attached to its product that it’s impossible to separate the two. And that’s what great design is, a graphic representation of ideas. When I started examining the designs, to see why some work and some don’t, I was overwhelmed with the sheer amount of artistry involved in the covers. Pulp was a huge cultural force, there were dozens of magazines and publishers, cranking out stuff every month for decades, detective stories and police stories and noir stories and mysteries. It employed thousands of artists, writers and painters and illustrators. And the energy of the paintings is just off the charts. It had to be, because any given book cover had to compete with the ten thousand other covers that were on display. It had to grab the viewer fast, and make that person pick up the book instead of some other book. I love all kinds of midcentury stuff, but nothing grabs you the way a good pulp cover does.

Not all of his mash ups traffic in mid-century drugstore rack nymphomania.

New Order’s “Bizarre Love Triangle” is the ideal recipient of the abstract approach so common to psychology and philosophy titles of the period.

Needless to say, Alcott’s covers are also a tribute to the musicians he lists as authors, particularly those dating to his New Wave era youth—Bowie, Costello, Joy Division, Talking Heads, King Crimson…

I know I could find more popular contemporary artists to make tributes for, but these are the artists I love, I connect to their work on a deep level, and I try to make things that they would see and think “Yeah, this guy gets me.”

My favorite thing is when people think the pieces are real. That’s the highest compliment I can receive. I’ve had band members contact me and say “Where did you find this?” or “I don’t even remember doing this album” or “Where did you find this?” That’s when I know I’ve successfully combined ideas.

Todd Alcott’s Mid-Century Mash Up Book Covers can be purchased as prints from his Etsy store.

All images published with the permission of Todd Alcott.

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Join her in NYC on Monday, September 24 for another monthly installment of her book-based variety show, Necromancers of the Public Domain. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( 6 ) |

A Karlheinz Stockhausen Branded Car: A Playful Tribute to the Groundbreaking Electronic Composer

in Music | August 22nd, 2018

A Karlheinz Stockhausen Opel. That’s what Kenneth Goldsmith (poet, critic and founding editor of UbuWeb) spotted in Trieste, Italy several days ago.

No, it’s not an official model. It’s just an Opel Karl lovingly re-branded by its owner, an homage to one of the groundbreaking electronic composers of the 20th century.

Watch Karlheinz Stockhausen’s Great Helicopter String Quartet, Starring 4 Musicians, 4 Cameras & 4 Copters

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Hear Seven Hours of Women Making Electronic Music (1938- 2014)

by OC | Permalink | Make a Comment ( None ) |

Tom Waits’ Many Appearances on David Letterman, From 1983 to 2015

in Music | August 21st, 2018

From their beginnings as Late Night on NBC in 1982, to their end as the Late Show in 2015, David Letterman’s network talk show years were reliable guides for those who shared his distinctive musical tastes. His impeccable house band was legendary, and he developed an abiding love for the Foo Fighters in later years, who played him out on his last show over an emotional montage.

Other standout musical guests tended toward the more off-kilter. Frank Zappa and outsider singer-songwriter Warren Zevon were clear favorites, their wry humor rivaling Letterman’s own. Zevon may not have sold out stadiums but made a perfect musical foil for the host, even sitting in once for Paul Shaffer.

“When it comes to music,” said Letterman, introducing Zevon, “there’s just a handful of folks that I really love and adore.” Second only to Zevon was another songwriter with an even more vaudevillian sensibility: Tom Waits, who made his debut on Late Night in 1983 and came back every few years until one of Letterman’s final shows on May 14, 2015.

At the top, you can catch Waits’ debut appearance, promoting Swordfishtrombones and doing his very Bukowski-like spoken word bit “Frank’s Wild Years” and “On the Nickel,” from a little-known 1980 skid-row themed film. In-between performances, Waits proves himself an old hand at banter, his sandpaper-on-asphalt voice making him sound twice as old as his tender 34 years at the time.

Waits returned for a second time in 1986. Further up, see his third appearance the following year, promoting the Frank’s Wild Years, the album, a collection of songs written by Waits, his wife Kathleen Brennan, and bassist Greg Cohen for a play of the same name. (He was also coming off the production of Ironweed, in which he starred with Jack Nicholson and Meryl Streep.) Just above, see Waits on the Late Show in 1999 performing “Chocolate Jesus,” a “song for those of you in the audience,” he says, “who have trouble getting up on Sunday mornings and going to church.”

Waits came back again in 2002 and 2004. In 2006, he released his massive, three-disc Orphans: Brawlers, Bawlers & Bastards, which covered all of the musical territory he had explored over his long career, and then some. Just above, see him do “Lie to Me,” a classic jazz-blues stomper and high contrast to his final appearance on Letterman, below.

Waits released his last album, Bad as Me in 2011, and appeared on the show the next year. Though he’s been active since then, with acting roles and a collaboration with Keith Richards in 2013, he hasn’t released any new original music yet save a moving new song, “One Last Look,” performed exclusively on that 2015 appearance after his last interview with Letterman (and an interloping George Clooney).

Despite Letterman’s retirement announcement after the end of his Late Show run, we’ve seen him return to the small screen to do what he does best on his Netflix show My Next Guest Needs No Introduction. Let’s hope we haven’t also heard the last of Tom Waits. Maybe Letterman will have him on again soon to promote yet another brilliant record of the music only Tom Waits can make.

Tom Waits Sings and Tells Stories in Tom Waits: A Day in Vienna, a 1979 Austrian Film

Tom Waits and Keith Richards Sing Sea Song “Shenandoah” for New Pirate-Themed CD: Listen Online

Frank Zappa’s 1980s Appearances on The David Letterman Show

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( None ) |

How Aretha Franklin Turned Otis Redding’s “Respect” Into a Civil Rights and Feminist Anthem

in Music | August 20th, 2018

“R‑E-S-P-E-C‑T…” You know the rest.

When R&B legend Otis Redding, who wrote and first recorded “Respect,” heard Aretha Franklin’s version of the song, he reportedly said, “well, I guess it’s that girl’s song now.”

Aretha didn’t just cover Redding’s song, she “flipped the script,” notes The Washington Post video above, turning his call for entitlement into a demand for empowerment and creating a feminist and civil rights anthem. She changed the lyrics to suit her, spelled it out in the chorus, and added the “sock it to me” refrain with her sisters Carolyn and Erma—both successful soul singers in their own right—backing her up.

Franklin’s 1967 recording was “a declaration of independence that was unapologetic, uncompromising and unflinching… a demand for something that could no longer be denied…. The country had never heard anything like it.”

After Aretha reshaped it, the song “took on a universality the original never had,” says Franklin’s biographer David Ritz. “It is a credit to her genius she was able to do so much with it. She should have been listed as a co-producer of the song.”

Indeed, she might have been credited as a co-writer of her version, but in a tragic irony, her biggest hit, in which she proclaimed financial independence and personal power, netted her exactly zero in royalties.

“For the roughly seven million times the song has been played on American radio stations,” notes Ben Sisario at The New York Times, “she was paid nothing” due to “an aspect of copyright law that has long irked the record business,” in which radio stations pay the writers and publishers of songs and not the performers. This inequity has made Aretha’s “Respect” an anthem for musicians fighting for their rights as well.

But first and foremost, Franklin’s “’Respect’… caught on with the black power movement and feminists and human rights activists across the world,” notes the Post’s DeNeen Brown. “The country was a tinder box, as people of color demanded equality and justice that had been too long in coming.” Despite landmark civil rights cases in the Supreme Court and passage of the 1964 Civil Rights Act, resistance to change in both the North and South was sustained and often brutally violent.

For all its deep resonance in the black community, “Respect” spoke to everyone, characterizing defiance to a social order that seemed intent on preserving oppressive hierarchies and historic injustices; “the song immediately crossed over, obliterating color lines.” Released in April of 1967, it hit Number One on the charts and “stayed there for at least 12 weeks.” It may not have made Franklin the money she deserved—though it made a mint for Otis Redding—but her recording propelled her from stardom to international superstardom. Hear her version further up and Redding’s original recording just above.

Aretha Franklin’s Most Powerful Early Performances: “Respect,” “Chain of Fools,” “Say a Little Prayer” & More

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( None ) |

The Last Great Moment of Elvis Presley’s Musical Career: Watch His Extraordinary Performance of “Unchained Melody” (1977)

Hear the Original, Never-Heard Demo of John Lennon’s “Imagine”

Japanese Musicians Turn Obsolete Machines Into Musical Instruments: Cathode Ray Tube TVs, Overhead Projectors, Reel-to-Reel Tape Machines & More

Salvador Dalí & Walt Disney’s Short Animated Film, Destino, Set to the Music of Pink Floyd

Songs by David Bowie, Elvis Costello, Talking Heads & More Re-Imagined as Pulp Fiction Book Covers

A Karlheinz Stockhausen Branded Car: A Playful Tribute to the Groundbreaking Electronic Composer

Tom Waits’ Many Appearances on David Letterman, From 1983 to 2015

How Aretha Franklin Turned Otis Redding’s “Respect” Into a Civil Rights and Feminist Anthem

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