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Monday, December 31, 2007
WHAT TIME IS IT?
The Jive Five
Beltone : 1962
Available on: Our True Story
Ace : 1991
[Buy It]
I DIDN'T KNOW WHAT TIME IT WAS
Roland Kirk Quartet
Mercury : 1962
Available on: Rahsaan: The Complete Mercury Recordings
Polygram : 1990
[Buy It]
TIME FOR EVERYTHING
Ed Pauling & The Exciters
Federal : 1965
Available on: The "5" Royales : Catch That Teardrop : The Best of the Home of the Blues 1950-1954 Sessions (Plus the Complete Federal & Savoy Recordings of El Pauling & Royal Abbit)
Ace : 2007
[Buy It]
PLEASE SEND ME SOMEONE TO LOVE
Percy Mayfield
Specialty : 1950
Available on: Poet of The Blues
Specialty : 1990
[Buy It]
PLEASE SEND ME SOMEONE TO LOVE
James Booker
Keyboard King of New Orleans
c. 1976 (JSP Reissue : 2005)
[Buy It]
PLEASE, PLEASE, PLEASE
The "5" Royales
Federal : 1960
Available on: Catch That Teardrop : The Best of the Home of the Blues 1950-1954 Sessions (Plus the Complete Federal & Savoy Recordings of El Pauling & Royal Abbit)
Ace : 2007
[Buy It]
I CRIED ALL NIGHT LONG
Harvey Sims
Art Rosenbaum Field Recording : 1991
The Art of Field Recording Vol. 1
Dust to Digital : 2007
[Buy It]
TO LOVE SOMEONE (WHO DON'T LOVE YOU)
The Kaldirons
Twinight : 1970
Available on: Eccentric Soul: Twinight's Midnight Rotation
Numero Group : 2007
[Buy It]
HAPPY NEW YEAR, BABY
The Johnny Otis Orchestra
Excelsior : 1947
[Buy It]
MEADOWLANDS
Nancy Jacobs & Her Sisters
Quality : 1955
Available on: The History of Township Music
Wrasse : 2001
[Buy It]
YOU'RE ALL I NEED TO GET BY (TAKE 2)
Aretha Franklin
Atlantic : 1970
Available on: Rare & Unreleased Recordings from The Golden Reign of The Queen of Soul
Atlantic : 2007
[Buy It]
HAPPY NEW YEAR
Lightnin' Hopkins
Decca : 1963
Available on: Blue Yule: Christmas Blues and R&B Classics
Rhino : 1991
[Buy It]
THIS TIME ANOTHER YEAR YOU MAY BE GONE
Rev. Edward Claybor
Vocalion : 1928
Available on: American Primitive vol. 1: Raw Pre-War Gospel (1926-36)
Revenant : 1997
[Buy It]
NOBODY'S BUSINESS
Joe Harris & Kid West
Available on: Field Recordings, vol. 5: Louisiana, Texas, Bahamas 1933-1940
Document : 1998
[Buy It]
The only way to spend New Year's Eve is either quietly with friends or in a brothel. Otherwise when the evening ends and people pair off, someone is bound to be left in tears. ~W.H. Auden
NEW YEAR'S PARTY
Blowfly
Weird World 12" : 1980
Available on: The Worst of Blowfly
Hot : 1996
[Buy It]
Happy new year to you and yours, from Ben, Brian, James, Joanna, Alex, and the extended Moistworks family!
AULD LANG SYNE
Jimi Hendrix
Live @ The Fillmore : January 1, 1970
Courtesy of: WFMU's Beware of the Blog
[Unreleased]Labels: african, alex, blues, doo-wop, gospel, holidays, jazz, rhythm and blues, soul
posted by Alex
LINK |
Wednesday, December 26, 2007
MOISTWORKS 2007 XMAS/NEW YEAR MIX
Alex
Moistworks Zip File : 2007
[Tagged 4 UR Pleasure]
Readers of Moistworks!
Don't know about you, but we've had a hell of a year: Lots of ups, lots of downs, and return customers know that the Brian and Ben have more or less carried Moistworks since late summer: James is busy building sand castles, and the last time I posted was in September, after Megan's death. Today - boxing day - would have been her 37th birthday.
I DREAM A HIGHWAY
Gillian Welch
Time The Revelator
Acony : 2001
[Buy It]
If I'm not mistaken, the above is the third New Year's/xMas mix I've posted on Moistworks. I usually annotate the things. But, I've lost momentum - so let me off the hook this once, and I promise to come back strong in '08. In any case, this one's fairly self-explanatory, and in lieu of explanations, here are 21 uTube clips to get you through the writer's strike:
The Cats & The Fiddle : Killing Jive
The Slim Gaillard Trio : Chili O Rootie
Toots & The Maytals : Sweet & Dandy
The Swan Silvertones : Only Believe
Five Blind Boys of Alabama : Something's Got A Hold On Me
Smokey & The Miracles : You've Really Got a Hold on Me
Smokey & The Miracles : Ooh, Baby Baby
The Beatles : I Am The Walrus
The Dixie Hummingbirds : Bedside of a Neighbor
The Soul Stirrers : I'm a Pilgrim
The Harmonizing Four : I Trust in God
Tiny Grimes : Never Too Old To Swing
Dizzy Gillespie & Louis Armstrong : Umbrella Man
Louis Armstrong & Johnny Cash : Blue Yodel #9
Johnny Cash & Oscar The Grouch : Nasty Dan
Ralph Stanley : The Clinch Mountain Backstep
Johnny Cash Impersonating a Rock and Roll Singer Impersonating Elvis
Hank Williams : I Saw The Light
The Neighborhoods : Prettiest Girl/No Place Like Home
Bob Dylan : On The Street
Big Black : Jordan, Minnesota
Oh and, before we leave you to your leftovers, some final words from Biggie Smalls:
PEPSI FREESTYLE
Notorious B.I.G.
[Unreleased]Labels: alex, holidays, megan, new year's mix
posted by Alex
LINK |
Tuesday, December 25, 2007
TOTALLY SECULAR NON-SPECIFIC HOLIDAY MIX
A gift from your friends at Moistworks, mixed by Brian
01: Hot Chip: (JUST LIKE WE) BREAKDOWN (DFA REMIX)
02: Justice: D.A.N.C.E. (HOLLERTRONIX REMIX)
03: Feist: MY MOON, MY MAN (BOYS NOIZE REMIX)
04: Pantha Du Prince: SATURN STROBE
05: Gui Boratto: XILO
06: Stardust: MUSIC SOUNDS BETTER WITH YOU
07: A-trak: WAMPERCYCLE
08: Supermayer: THE ART OF LETTING GO
09: Matthew Dear: NEIGHBORHOODS
10: Sally Shapiro: I'LL BE BY YOUR SIDE
(For best results, keep tracks in order, and set your iPod/iTunes/CD burner/etc. for gapless playback.)
Or, download the entire mix as a zip file.
Happy whatever you choose to celebrate, everyone. Enjoy the time off from work, if you've got it, and thanks for your faithful readership, your thoughtful comments (except for you, Anonymous), and your general willingness to listen to us rant and take our music. We'll see you in 2008, if not sooner.Labels: brian, holidays
posted by Brian
LINK |
Monday, December 04, 2006
AFRICAN JIVE
Slim Gaillard
Okeh : 1941
Available on: Laughing in Rhythm
Proper : 2003
[Buy It]
MATZOH BALLS
Stanley Adams and Sid Wayne
Chanukah Carols
Jewish Music Group : 2006
[Buy It]
A little known fact about me: I am a turtle-owner. It was a misguided attempt at satisfying my daughter's craving for a pet. The turtle lost its charm within a week of the birthday it was meant to celebrate and now, a year later, it's become a chore, a duty, like a senile great-aunt living in the back room.
But it's winter in the midwest: first snow, cars frozen shut, temps in the teens. Even before the cold snap I'd started burrowing. Most weekends I spend indoors wrapped in a blanket, curled up in my reading chair next to an electric heater. I can't get warm enough; I can't sleep too much. I eat little and talk less. In short, I've become a turtle.
My daughter complains, "Mom, it's like you're not even there." I know. I feel the same way. I try not to shell up when she's around, but I can't help it. It's a reflex. We were playing a board game the other night and I felt the metamorphosis come on. My mouth got heavier, my thoughts moved elsewhere; I suffered silently through the game and my daughter suffered through my puzzling silence.
Holidays don't help. It's too frantic. Winter doesn't help. It's too cold. And also, I have spent way too much time surfing for mp3s lately, getting ready for the moistworks Hanukkah klezmer special. I was going to start it today, but I went turtle.
These songs have nothing to do with turtles. Maybe they are anti-turtle songs. There's a lot of holiday in December, a lot of heritage: Christmas, Hanukkah, Kwanzaa. Oh yeah, and my birthday, erev Kwanzaa or thereabouts. Turtles, let the festivations begin.Labels: holidays, megan
posted by Megan
LINK |
Monday, October 30, 2006
TEMPTATION
Tom Waits
Frank's Wild Years
Island : 1987
[Buy It]
CROSS BONES STYLE
Cat Power
Moon Pix
Matador : 1998
[Buy It]
It's Halloween time, so I've unearthed my eeriest music. Hark, is that the howling of the damned?
IN THE PINES
Lead Belly
Folkways : 1948
Available on: Smithsonian Folkways
[Buy It]
GHETTO
Graham Central Station
Graham Central Station
Warner : 1973
[Buy It]
Lead Belly's here, not just because his intro reminds me of the theme song to the "The Addams Family." (Check it out here, see what you think.) This song evokes primal terrors: the dark forest, loss, abandonment, and sudden, terrible death. My husband was a hard-working man
Killed a mile and a half from here
(What happened to him?)
His head was found in a driver wheel
And his body ever never be found Cities have their own primal terrors. Think of Kafka's Prague. Or the ghettos closer to home.
In the spare time I don't have, I'm writing a ghetto fairy tale about post-riot Washington DC, chock full of dark visitations and relatives dying in back rooms. It's very much a horror story.
MARCH TO THE WITCH'S CASTLE
COSMIC SLOP
Funkadelic
Cosmic Slop
Westbound : 1973
[Buy It]
Later funk is truly terrifying, the perfect soundtrack for horror. Working on this over the summer, I listened to Cosmic Slop so intensively I nearly induced a psychotic break. Much like what happened to Sly Stone, who degenerated into incomprehensible rambles and repetitive loops as the junkie brain took over.
In the 70s, they opened a methadone clinic* two blocks from my grandma's house. She'd pass through lines of junkies on her way to church. The clinic was a block away from the heroin lot. I'd be sitting by the window, waiting for my father to come home, and suddenly, hundreds of people would come out of the alleys, silent and quick, like in "The Birds." Also waiting. Oh, come child
Come, rescue me
Cause you have seen some unbelievable things Most members of my family claim to see spirits; I have one sister who was subjected to private audiences with the devil in her bedroom late at night. My younger sister and I have both had dreams of infinitely evil creatures who perched on our beds to suck the life out of us. We would wake up gasping for breath. At these times, one wonders, what is real? And the devil sang... Bernie Worrell says of "Cosmic Slop," which he co-wrote: "The melody is like a spiritual hymn. If you take away the words and just hum it, it sounds like down on the plantation. I get chills still when I hear it."
He's right. The voices haunt you for a long time after.
---
*Wikipedia on methadone:
Methadone has traditionally been provided to the addiction population in a highly regulated methadone clinic, generally associated with an outpatient department of a hospital. Clinics such as these stem from programs set up during the Nixon administration to combat heroin use, first in Washington, D.C., then nationwide.Labels: holidays, megan
posted by Megan
LINK |
Monday, May 15, 2006
THE LAW OF THINGS
The Bats
The Law of Things
Flying Nun : 1990
[Buy It]
I LOVE ROCK AND ROLL
Girl Authority
Girl Authority
Zoe Records : 2006
[Buy It]
GIN AND COCONUT WATER
Calypso Mama
Calypso Mama with the Lad Richards Orchestra
Digital Pressure : 2001
[Buy It]
KIMBERLY
Patti Smith
Horses
Arista : 1975
[Buy It]
You know you're a single mom when you find yourself planning your own Mother's Day. Not the time to cheap out and buy yourself off with a guilty Hallmark or some plastic-wrapped stuffed animal from the back of a van. Single moms need to try harder. We're at a disadvantage in the culture. White single moms are slutty, self-indulgent, flakes, occasionally redeemed by distinguished public service. And black single moms? Don't even get me started. Black single moms don't get movies, just problem literature and statistical reports.
Me, I'm more like that hippied-out mom in About a Boy, the one who cries a lot and ODs? My daughter was the one who noticed. But this was Mother's Day and I wanted to be one of those other mothers: the precision moms who bake things in shapes and serve them on tasteful dinnerware in color-coordinated rooms. Mothers who turn grocery shopping into enrichment opportunities for their soon-to-be-achieving children.
Since I was being the Mom Who Tries, I called my best friend to get her and her two kids on board with some plans. One of the museums downtown was having a family day (giant comic strips! frisbee dogs!). There was a mother-daughter yoga class that sounded healthful and inviting. Perhaps a stroll through the botanic gardens or a restorative bike ride? Oh, how the weekend sang with possibilities!
But the weather was crappy and cold; the frisbee dogs were rained out and the kids didn't want to be enriched. They wanted a sleepover. I pictured myself waking them Sunday morning, gently, clad in an apron and the enticing aroma of biscuits. I put the three girls in my car and took them home. Actually, I hadn't done the weekly shop yet and the fridge was nearly empty. So I stuffed them full of deep-fried Chinese take-out and rented the Addams Family and SpongeBob. They liked the Addams Family, who were "Goths" and "not cheesy like Goosebumps." They were up past midnight, giggling and whispering in their sleeping bags, in a tent in my daughter's room.
Breakfast wasn't biscuits. We didn't make the yoga class. At noon, the guests were long gone and my daughter was slumped on the couch with uncombed hair. Hair she'd dyed red without my permission because she wanted to be a rock star for Halloween. Hair that was still red in May. (She's eight.) She gave me a card she'd made in school. It said, "Mom, I love you as much as I love my dog and I will love you until the moon is a fish." She really loves the dog and the moon is not a fish.
We decided to hit the Indian buffet. The lines were short and my Mother's Day lassi was on the house. The produce market next door was kicking Earth, Wind & Fire and limes were 10 for a dollar. Our whole little family - my daughter and her friends, and me and mine - gathered for dinner. I used the limes for caipirinhas and we toasted the weekend good-bye. But who'd make a movie like that?
- by Megan MatthewsLabels: holidays, megan
posted by James
LINK |
Friday, April 14, 2006
GO DOWN, MOSES
Louis Armstrong
Available on: Louis and the Good Book
Verve : 2001
[Buy It]
HASSIDIC CHANT
Paul Robeson
Available on: The Collector's Paul Robeson
Monitor Records : 1993
[Buy It]
I SHALL BE RELEASED
Nina Simone
Best of Nina Simone
RCA : 1970
[Buy It]
NO MORE TEARS (ENOUGH IS ENOUGH)
Barbra Streisand and Donna Summer
On the Radio
Casablanca : 1979
Available on: Donna Summer: Gold
Hip-O Records : 2005
[Buy It]
BELLE
Al Green
The Belle Album
Capitol : 1977
Available on: Greatest Hits
The Right Stuff : 1995
[Buy It]
In college I majored in PLO Studies, so, when Passover came around, I held liberation seders for my comrades in the struggle (kefiyyas optional). These days, I'm drawn to cultural conflicts closer to home, like the love-hate relationship between blacks and Jews, and I'm throwing a party for Pesach in a Black Judah frame of mind. "Go Down Moses" is best-known as Harriet Tubman's signature theme; it also nicely summarizes a chunk of the Passover haggadah (and beats the hell out of Dai-dai-yenu, let me tell you). Louis knows from Daiyenu: growing up in pre-WWI New Orleans, he worked for a Russian Jewish family as a delivery boy and occasional shabbos goy. In 1969, writing his memoirs from Beth Israel Hospital, he reminisced pointedly about the Karnovskys - the point being, the basic got-it-more-together-ness of Jews over blacks.
Armstrong's childhood years were the early days of the NAACP (founded and funded by Jewish philanthropists), when blacks and Jews were still "just friends." By the 30s and 40s, the heyday of the Old Left, they'd fallen in love and were thinking long-term. Richard Wright met his second Jewish wife through the American Communist Party (his first was a Russian ballerina). And Paul Robeson sang this Kaddish in Moscow and at rallies for the new state of Israel, introducing it as an anti-imperialist song. My, how times have changed.
But before the '67 war and Black Power tore the happy couple apart, blacks and Jews went shoulder to shoulder in the civil rights movement. Old Left networks helped the movement expand; Jewish kids like Michael Schwerner and Andrew Goodman joined James Chaney and Medgar Evers on the wrong side of KKK bullets. Bob Dylan did his part, opening for MLK in 1963 and writing a spiritual of his own,"I Shall Be Released," in 1967. Nina Simone, no slouch in the protest song department herself, summons the last shreds of necessary hope, singing as if deliverance might be shining out, just over yonder. Within five years, disgusted by the persistence of racism and despondent over the collapse of the civil rights movement, she'd exile herself from the States for good.
In the "Hassidic Chant," Robeson sangAnd an end let there be
To all this sorrow and suffering
To which the women respond, enough is enough, already! Disco is a genre built on black women's voices and there's more than a little of the Sophie-Tucker-in-blackface vibe to this Gloria Gaynor knock-off, released the year after "I Will Survive" made female empowerment safe for the dance floor. But my mom is a huge Streisand fan, and when Barbra picked Donna Summer to sing one of the songs from Yentl at the Oscars...well, in the decade of Meir Kahane and his Jewish Defense League, a Jesse Jackson on his way to Hymietown and a pre-Mendelssohn Farrakhan, this might count as one of very few diplomatic successes in black-Jewish relations.
Al Green isn't Jewish, but he could be. If you saw his name in a phonebook in Newark or Harlem, how could you tell? "Belle" is the Song of Songs of our times: that unbearable hybrid of the sensual and the divine, the language of sufis, Hasids, and mystics everywhere. This is post-reform Al Green, returned to his gospel roots and the rapture of divine love, expressing the kind of anguished, ecstatic longing that most of us only experience in the carnal realm. Teach on, Reverend. Everything is everything, and maybe some things are universal after all.
by Megan MatthewsLabels: holidays, megan
posted by Alex
LINK |
Tuesday, January 10, 2006
1. KITCH'S BEBOP CALYPSO
Lord Kitchener
London Is The Place For Me: Trinidadian Calypso in London, 1950-1956
Honest Jon's Records : 2002
[Buy It]
2. MIX UP MATRIMONY
Lord Beginner
London Is The Place For Me: Trinidadian Calypso in London, 1950-1956
Honest Jon's Records : 2002
[Buy It]
3. HEADING NORTH
The Mighty Terror & His Calypsonians
PYE/Mixa : 1958
Available on: Trojan Calypso Box Set
[Buy It]
4. IF YOU'RE NOT WHITE YOU'RE BLACK
Lord Kitchener
London Is The Place For Me: Trinidadian Calypso in London, 1950-1956
Honest Jon's Records : 2002
[Buy It]
5. TURN BACK, MELODY
Lord Melody
Melody's Top Ten
Cook : 1959
Available on: Calypso Awakening: From the Emory Cook Collection
[Buy It]
6. CALYPSO WAR
Lord Invader, Macbeth The Great, and Duke of Iron
Calypso After Midnight: Midnight Special Concert, New York City, 1946
Rounder : 1999
[Buy It]
7. SEVEN SKELETONS FOUND IN THE YARD
Lord Executor
Calypso Breakway 1927-1941
Rounder : 1990
[Buy It]
8. FOUR MILLS BROTHERS
The Lion
Roosevelt in Trinidad: Calypsos of Events, Places, and Personalities 1933-1939
Rounder : 1999
[Buy It]
9. BARBADOS CARNIVAL
Dizzy Gilliespie
Jambo, Caribe!
Verve : 1964
[Buy It]
As promised, a follow-up to MW's New Year's calypso-fest, in which we established that calypso might just be the most interesting, and most neglected, music out there - it, too, deserves a fair hearing. So, getting right down to it:
1. Every book about the British Invasion sets London's trad jazz scene up as a foil for the rough-edged rhythm and blues the Rolling Stones, Beatles, et al would soon be playing. The Brits didn't get bebop, the story goes, and so, they began trotting out one Dixieland retread after another. And yet, the West Indians who arrived in Britain after WWII found that the local jazz scene had quite a bit going for it - to see what we mean, you can (and should) download this track, which goes a long way towards dispelling the stock pre-rock narratives once and for all; eg: Post-war jazz splits into rival camps: A bop camp for all the serious, goateed hipsters who wouldn't be caught on a dance floor, and a rhythm and blues camp the swing kids could appreciate. But was bop really so undanceable? BTW, that's Lord Kitchener in the photo you'll see when you click "link," below. And if you're interested in reading more about calypso's history this is one of the better resources I've found, online or off.
2. RE: How direct and uninflected the politics of calypso's could be - how calypsonians could, and did, say things African Americans were forced to speak about in code. Compare: American fear of miscegenation against Lord Beginner's 1952 plea for outright race-mixing.
3. While we're on the subject, here's The Mighty Terror's 1958 indictment of the American South - with a footnote addressing South Africa - followed by:
4. Lord Kitchener's 1953 take on tensions between light-and-dark-skinned West Indians in Britain:
Your father is an African
Your mother may be Norwegian
You pass me without saying goodnight
Feeling you are really white....
Your negro hair is obvious
You make it more conspicuous
You use all sorts of Vaseline
To make out you are European
You speak with exaggeration
To make the greatest impression
That you were taught, apparently,
At Cambridge University....
You hate the name of Africa
The land of your great-grandfather
The country where you cannot be wrong
The home where you really belong
You'd rather be amongst the whites
Than stick up for your father's rights...
No, you cannot get away from the fact,
If you're not white, you're considered black.
5. A reminder that, like hip-hop, calypso originated as a battle medium....
6. And an example of a live calypso battle, recorded at Alan Lomax's Town Hall calypso concert, in 1946. Nifty (or not), that so many lines from the song pop up again in The Mighty Terror's "Calypso War," which was recorded twelve years later, in London, and which you can hear by scrolling down to the New Year's posts.
7. Like hip-hop, calypsos have never shied away from politics. Here are a few lines from what's supposed to be the first political calypso, which dates back to 1920
Class legislation is the order of this land
We are ruled with an iron hand
British boasts of equality
Brotherly love and fraternity
But british colored subjects must be in perpetual misery
In this colony.
And, like hip-hop, calypsos were often ripped straight from the headlines. Take Lord Executor's remarkable "Seven Skeletons," above.
8. Another early, excellent example of the bleed-through between African-American and West Indian idioms.
9. And - to bookend "Kitch's Bebop Calypso" - Dizzy Gillespie's own, emphatically danceable take on Carnival.Labels: alex, holidays
posted by Alex
LINK |
Thursday, January 05, 2006
HAZY SHADE OF WINTER
The Bangles
Less than Zero (soundtrack)
Def Jam : 1987
[Buy It]
CALENDAR GIRL
Neil Sedaka
Single
RCA : 1961
Available on Neil Sedaka Sings His Greatest Hits
[Buy It]
CALIFORNIA DREAMIN'
The Mamas and the Papas
Single
Dunhill : 1967
Available on The Mamas and the Papas Greatest Hits
[Buy It]
I'm depressed. This is my least favorite time of year. Against my better judgment, I love the holidays. The lights, the presents, the vacation days; in particular, that out-of-time week between Christmas and New Year's. I'm half-Catholic/half-Jewish, so this year was particularly acute, what with Chanukah falling where it did. I even made latkes and served them to friends next to my tree.
So. January. Christmas-tree carcasses and rain and work and nothing in sight till Memorial Day, the beginning of summer. I'm a calendar girl, I'll admit it. As much as I try to live life in the moment, I can't help but let seasons and holidays be markers for my happiness.
Am I supposed to be writing about music? I just can't do it. For that we have Alex and epic comments about Sly Stone and James' birth-year (1978) songs (my 1985 post to follow). But that's all very 2005. For now we have me in my mood, post holiday, post transit strike, post post, post post post. It's January, friends. I need you to tell me what to look forward to.
(This is already in the past for me so it doesn't count, but if you haven't read Papa John by John Phillips, run don't walk.)Labels: holidays, joanna
posted by Joanna
LINK |
Tuesday, January 03, 2006
The fourth and final installment of our new year's mix - all songs will fit onto one cd, and the Otis Redding illustration, which you'll see if you click on the "link" link, below, makes an excellent cover. Scroll down for the other songs.
22) CARNIVAL PROCLAMATION
Lord Melody
Lord Melody Sings Calypso
Cook : 1958/9
Available on: Calypso Awakening: From the Emory Cook Collection
[Buy It]
23) CALYPSO WAR
The Mighty Terror & His Calypsonians
PYE/Mixa : 1958
Available on: Trojan Calypso Box Set
[Buy It]
24) WRITER'S BLOCK
Fat Lip
The Loneliest Punk
Delicious Vinyl : 2005
[Buy It]
25) SAVE THE ROACH
Buck Washington
c. 1944
Available on: Dope & Glory: Reefer Songs Der 30er & 40er Jahre
[Buy It]
26) THIS YEAR
The Mountain Goats
The Sunset Tree
4AD : 2005
[Buy It]
27) THE GOOD THINGS
John Wayne
America, Why I Love Her
c. 1973
Courtesy of: Bad Music
[Buy It]
NOTES:
Track 22) Another, excellent song from the Smithsonian/Folkways Emory Cook best-of. The liner notes read: "Lord Melody portrays the traditional carnival character American Red Indian, and uses him to spread terror in the hearts of his potential enemies," and tell us that the chorus consists of "fake 'Indian' speech." I don't know - sounds quite a bit like Pidgin African to me....
Track 23) And another, excellent song from the Trojan Calypso Box. This time around, The Mighty Terror declares war on bootleg Calypsonians, and will you check out the man's flow?
Is only Terror, Lion, and Lord Kitchener
In Britain are real Calypso singer
All the rest who here they from Jamaica
Each and every one they are imposter
To make a song they can't stand in line
They either singing Kitch' song or they singing mine
So they run, but Jamaica run, plant the banana, run
Leave me and Kitchener
Take for instance England and the West Indies
Not a man to sing on England's victories
Such a thing to England is too unkind
I was sick and that rested on my mind-
I was sick and Kitch in America, not a man to sing
[something/something guitar?]
Yet you could here them with rotten composition
Fooling the population
Here in Great Britian - War!
Well, if you want to see what I say is true
Just call a Jamaican singer to you
And ask him to sing extemporaneously
You will see he hasn't this ability
But if you call up me or Lord Kitchener
We will sing from January to December
Why?
For we are born Trinidadians, and real calypsonians
Here in Great Britain!
Track 24) Pharcyde fans will remember Fat Lip from back in the day. This song might give you an idea of why it took the MC so long to come out with his first solo album...
Track 25) ....and the only solo release by sometime Louis Armstrong and Coleman Hawkins sideman, Buck Washington.
Track 26) A new year's track, of sorts, from John Darnielle's autobiographical Sunset Tree.
Track 27) It's true; we do hear a lot about wars or hurricanes that hit our shores.Labels: alex, holidays
posted by Alex
LINK |
Monday, January 02, 2006
Part III of our new year's mix... scroll down for tracks 1-14, and check in tomorrow for the final installment.
15) TEENAGE KICKS
Nouvelle Vague
Nouvelle Vague
Peace Frog : 2004
[Buy It]
16) AN OPEN LETTER TO MY TEENAGE SON
Victor Lundberg
An Open Letter To My Teenage Son
Liberty : 1967
Courtesy of: Bad Music
[Buy It]
17) BROOKLYN PUBLIC
J-Live
The Hear After
Penalty : 2005
[Buy It]
18) STICKS & STONES
Titus "Tee" Turner
c. 1958
Available on: Soulville: Golden Classics
[Buy It]
19) CHALLENGE TO THE HIPPIES
Spiro Agnew
Spiro Agnew Speaks Out
Courtesy of: Bad Music
[Buy It]
20) RHYMIN' & RAPPIN
Paulette & Tanya "Sweet Tea" Winley
Winley : 1979
Available on Death Mix: The Best of Paul Winley Records
[Buy It]
21) FUNKY KINGSTON
Toots & The Maytals
Dragon : 1972
Available on: Pressure Drop: The Definitive Anthology
[Buy It]
NOTES:
15) Teenage Kicks is Nouvelle Vague's take on The Undertones' greatest hit, and a nice set-up for:
16) Victor Lundberg's open letter to his teenage son, and the trouble with libertarians.
17) "Brooklyn Public" is J-Live's autobiographical slice of life in Brooklyn's public school system. I was happy with the segue here, and - as an alumni of Brooklyn's public school system - I'll say that this song is sad-making, but ultimately hopeful: We could do worse than set J-Live loose in America's classrooms. Also, this song reminds me of the guy I met on Black Friday.
18) Franklin Bruno posted this song on MW last June, when I asked him to write something to go along with his excellent abecedary on Elvis Costello's Armed Forces. And guess what? The song kicks ass. Produced by Ray Charles, who also cut a version. But Turner's got a loosey-goosey/tight-as-fuck thing happening - a unique take on the tighten-up, which almost reminds me of some of the Toots & The Maytals stuff you'll find in this mix.
19) They don't make politicians like Spiro Agnew anymore! Or, do they?
20) They don't make them like Paulette & Tanya "Sweet Tea" Winley, either. How old are these girls - 12? My favorite part is when Sweet Tea goes to heaven and all the angels agree that she's "rockin' the whole damned place."
21) Like so many American soul singers, Toots Hibbert was a preacher's kid, who grew up in the church (7th Day Adventist, natch). And, like so many American soul singers, he's not afraid to show it.Labels: alex, holidays
posted by Alex
LINK |
Sunday, January 01, 2006
Our new year's mix, continued.... scroll below for tracks 1-8!
8) CARNIVAL CELEBRATION
Small Island Pride
Dance Calypso!
Cook : 1956
Available on: Calypso Awakening: From the Emory Cook Collection
[Buy It]
9) IT'S CHRISTMAS TIME!
The Qualities
Saturn Records : 1956
Available on: Sun Ra: The Singles
[Buy It]
10) LONESOME TRAIN (ON A LONESOME TRACK)
Johnny Burnette Trio
Coral : 1956
Available on: Rockabilly Boogie: The Classic 1956-1957 Recordings
[Buy It]
11) STORMY WEATHER
The Reigning Sound
Time Bomb High School
In The Red : 2002
[Buy It]
12) IT'S GREAT TO BE YOUNG AND IN LOVE
Doc Pomus & Mort Shuman
Demo recording, available on It's Great To Be Young And In Love
[Buy It]
13) CANCELING STAMPS AT THE UNIVERSITY OF GHANA POST OFFICE
[Read about & Buy]
14) TEENAGER IN LOVE
The Wailers, c. 1964
Available on: One Love: Bob Marley & The Wailers, Live at Studio One
[Buy It]
Folks, I had a hell of a time getting back from Brooklyn this morning - apologies for the late post. And right down to business:
"Carnival Celebration" is an encore performance by the afore[read: below]mentioned Small Island Pride. How much do I love this guy? So very, very much. And how striking is this song? The most obvious thing to point out, I'd guess, is the parallel to rap: The fact that Calypso was a battle medium (once the musical accomp. to stick-fights), that it served as a wire-service, that it was revolutionary, and violent, that it valued wit and verbal dexterity - the vocabulary:
"nayga," "old style" - and the ready-to-die finale. It took me a while to work out the lyrics here, so I'll transcribe:
Mastife, Mastife, meet me down by the Croisee
And Cutouter, Cutouter, meet me down by Green Corner
[M&C were notable "badjohns" - and Mastife, in particular, hated this song so much he banned it from his home)
While I waiting for this carnival,
Is to jump up w/these criminal-
I'm going to arm myself w/a big stick
Any man in town I meet, that is real licks
'Cause I done tell Mammy already
Mommy, do do tie up your belly
'Cause is murder, federation, with war and rebellion
When they find me by the junction
I'm going down....
Chorus
Monday morning I waking early
To drink a vat to steam up my body
And I jumping up like a crazy
[Check out the neat Samson Agonistes of this next line!]
I alone gone collapse the city!
With my razor tied on to me poui [a stickfighting stick]
I like a badjohn in the 18th century
And w/my stick in my waist
I chipping in space
Is to spit in ole nayga face
Chorus
Well to show you I aim for trouble
On my right hand is my steel knuckle
My chooker [ie, dagger] in my left pocket
Boys, my pooya [ie, machete] under me jacket
And I jumping up like if I wild
I know they bound to say that is old-style
But if you beat me like a child
I take my licks with a smile
And I pelting war like I wild
Chorus
Well, as man I consult my doctor
To check my lungs and me liver
I done pay off me lawyer
To pay off me undertaker
And as I have no mother no father
They could post me back to Grenada
'Cause I tell Mr Chance, I done paid in advance
To bury me down in Grand'Anse
Man. The way he sings "mother and father" - that, too, kills me.
Track 9: More Sun-Ra produced doo-wop, though calling this stuff doo-wop is doing it a serious disservice. Track 10: The first of a mini-Memphis-two-fer, the rippingest rockabilly track around, and a somewhat appropriate one for this time of year. (NB, John Barr: Johnny Burnette Trio produced by the one & only Bob Thiele! But not this track.) Track 11: Memphis music is alive and well. Track 12: How different this demo of "Teenager in Love" is from the finished song! I'm glad Doc & Mort revised this draft - 'cause how great is it to be young and in love? I could try to answer that, but I just turned 33, so technically, I'm no longer qualified. NB:Special thanks to David "I Reserve The Right To Eat Pussy" Brendel for digging this up! Track 13: I'll leave this to the imagination (it was recorded thirty years ago, but might as well have been thirty years earlier, or thirty years from now), but this is the one song I heard this year that actually brought tears to my eyes. For, like, twelve different reasons. And Track 14: is another, excellent take on "Teenager." More tomorrow, thanks for tuning in, and a very happy new year to you & yours!
love, from
Moistworks' Astoria BureauLabels: alex, holidays
posted by Alex
LINK |
Saturday, December 31, 2005
1) HAPPY NEW YEAR TO YOU!
The Qualities
Saturn Records : 1956
Available on: Sun Ra: The Singles
[Buy It]
2) TAXI DRIVER
Small Island Pride
Jump-Up Carnival
Cook : 1956
Available on: Calypso Awakening: From the Emory Cook Collection
[Buy It]
3) TUKUNGA NZILA (LET'S BLOCK THIS ROAD)
Paul Mwanga
Ngoma EP 31 : 1961
Available on: Ngoma, Souvenir Ya L'Independence
[Buy It]
4) GOUVERNEMENT YA CONGO
Depiano
Ngoma EP 38 : 1961
Available on: Ngoma, Souvenir Ya L'Independence
[Buy It]
5) NO NAME NO FAME
Buena Vista Fight Club
Courtesy of Fat Planet
6) BROADWAY JUNGLE
Toots & The Maytals
Wild Bells : 1964
Available on: Pressure Drop: The Definitive Anthology
[Buy It]
7) I'M GOING BACK TO AFRICA
Lord Invader & His Calypsonians
PYE/Mixa : 1958
Available on: Trojan Calypso Box Set
[Buy It]
to be continued....
NOTES:
The Qualities: Doo-wop a la Sun Ra. There's something magically off-kilter about this song, which should be familiar to MW afficionados, and we're using it to kick off a four-day post of our New Year's mix. This is the fourth draft - it takes us a few weeks to get these things just right, which they never quite are. There's no real subtext to it - no socio-poilitical agendas, no women we're sending semi-coded messages to, just songs we've fallen more or less in love with - or, at worst, songs that seemed like good segues.
Small Island Pride: AKA Theophilus Woods, was born in Grenada, and recorded the two songs you'll find here in Trinidad, in 1956. We found both on a Smithsonian/Folkways compilation called Calypso Awakening, which contains the recordings one Emory Cook made during Carnival's not-quite-post-colonial-but-getting-there heyday. Not quite commercial releases, not quite field recordings, they're the only tracks I've heard that gave me some idea of what these songs must have sounded like in their natural habitat. Small Island Pride, who recorded with minimal accompaniement, is especially good. This track (and "Carnival Celebration," which kicks off tomorrow's post) = highly, highly, highly, highly, highly recommended.
The Paul Mwanga & Depiano songs are both from a German compilation of Congolese music circa 1961. The liner notes for track 3 read: "Merengue in Kikongo, recorded on 6.6.1961.... Mwanga sings about the enemies of Congo's independence, who wantg exploitation to continue, how they come and go and that their road should be blocked." (Preferably with bodies?) Track four - a Cha Cha Cha - takes "Ah, Mobutu!" for a chorus.
We know almost nothing about the Buena Vista Fight Club, but according to Australia's Fat Planet, this Spanish-Civil-War-Meets-William-Gibson mash-up was big whoop in Croatia. "Broadway Jungle" = early Maytals at their Tootsiful best. And "I'm Going Back To Africa" is from the third disk of Trojan's Calypso Box, which seems to consist of Calypsos recorded in England, for the PYE label (which later signed the Kinks) - also on the eve of Trinidadian independence. A nice contrast to Small Island Pride, and a lovely Calypso in its own right....
Tracks 8-15 (out of a total 27) tomorrow!Labels: alex, holidays
posted by Alex
LINK |
Tuesday, December 13, 2005
NEW RACE
Radio Birdman
Trafalgar : 1977
Available on The Essential Radio Birdman (1974-1978)
[Buy It]
Good on you, Sydney!
And the millenial bogan wars have finally arrived....Labels: alex, holidays
posted by Alex
LINK |
Friday, December 09, 2005
IT'S CHRISTMAS TIME
The Qualities
Saturn Records : 1956
Available on: Sun Ra: The Singles
[Buy It]
HAPPY NEW YEAR TO YOU!
The Qualities
Saturn Records : 1956
Available on: Sun Ra: The Singles
[Buy It]
DADDY'S GONNA TELL YOU NO LIE (Rehearsal)
The Cosmic Rays
Recorded in Chicago, 1955
Available on: Sun Ra: The Singles
[Buy It]
DADDY'S GONNA TELL YOU NO LIE (Studio Version)
The Cosmic Rays
Saturn Records : 1955
Available on: Sun Ra: The Singles
[Buy It]
SOMEBODY'S IN LOVE
The Cosmic Rays
Saturn Records : 1955
Available on: Sun Ra: The Singles
[Buy It]
Moistworks' Astoria Bureau took the red-eye back from sunny California: Concrete deltas! Man-made rivers! Chrysler convertibles! Speeding tickets! And Ameoba Records, where we scored a few of the earliest Sun Ra singles around!
That's right, folks: Thanks to Daddy's credit cards, we bought three of these babies, for $3,650 a pop. And, thanks to our patrician disdain for intellectual property laws, the first thing we did when back in Astoria was toss 'em up on the internet. So: Don't let the labels fool ya: The Cosmic Rays and The Qualities were both Sun Ra projects - early efforts to solidify what our nation's leading music critics have come to call "a sound." What kind of sound? We think of it as something mid-way between a toaster and an elephant: A great big sound, and a bit burnt around the edges. And lest you think this sound of Sun Ra's goes unrecognized in the slimy, beer-soaked corners of our indie rock universe, we're also presenting Hoboken fuzz-merchants Yo La Tengo, with a multi-voiced interpretation of "Somebody's In Love." In which somebody always seems to be in love with the guy or gal to the left of them. And a certain, secret someone might just fall in love with you:
SOMEBODY'S IN LOVE
Yo La Tengo
Recorded at Stubb's in Austin, Tx : 2004
Courtesy of SunsquashedLabels: alex, holidays
posted by Alex
LINK |
Monday, December 05, 2005
SLEEPWALKING
Modest Mouse
Building Something Out of Nothing
Up : 2000
[Buy It]
DREAM GIRL
The Feelings
Especially For You
Darla : 1996
[Buy It]
DREAM LOVER
Big Star
Third/Sister Lovers
Rykodisk : 1992
[Buy It]
The first time Alex Chilton entered a recording studio, he was the new singer for a Memphis garage band called the Box Tops. The first song they cut together, "The Letter," entered the pop charts in the summer of '67, stayed at number one for four consecutive weeks, and beat out records by the Doors, the Rolling Stones, and the Beatles to become Cash Box magazine's best-selling single for the year. Chilton was sixteen years old, and about to flunk out of the tenth grade.
The Box Tops hit six more times, but had problems collecting the royalties. The band's producer, Dan Penn, didn't allow them to play on more than a handful of their own recordings, and Chilton wasn't allowed to contribute more than a couple of his own songs. He stormed off stage midway through a 1969 performance, moved to New York, and spent a year playing guitar in Washington Square. "The Box Tops are only marginally my records," he said a quarter of a century later. "I listen to them and I hear Dan Penn. I don't hear me."
When I play "The Letter," I don't hear Chilton either. His voice is roughened by thirty takes and a night's worth of drinking - it has none of the upper-register strain, and none of the sweetness, that makes his later work so memorable. In the early 1970s, Chilton's vocals were translucent - he sounded remarkably young. On "The Letter" he sounds much older, but nothing like his older self. What his two voices have in common is that both strain hard at the seams.
"Get me a ticket on an air-o-plane," Chilton sings. "Ain't got time to take a fast train/Lonely days are gone/I'm a-goin' home/My baby, she wrote me a letter." But Chilton's determination never translates into action: The ticket agent never responds. The reunion never takes place. Nothing really happens, and by the song's end we're still standing at the counter, begging for a seat. We never learn why Chilton scorned the girl, or how he managed to win her back. "Listen, mister, can't you see/I've got to get back to my baby" is the closest he comes to an explanation, before cutting himself off with a gruff, ambivalent "anyway."
His next band, Big Star, had a different trajectory: It was a spectacular failure in its own time, and a tremendous posthumous success. The adolescent indifference Chilton's "anyway" hinted at turned genuine, and painful. He spent a decade shuttling between New York and Memphis, worked as a lumberjack, and eventually took a job washing dishes in a New Orleans restaurant. By then a dozen hero-worshiping bands had claimed his indifference for their own, and turned it into a pose again -a stand-in for the indie-rock strategy of self-sabotage as preemptive strike (against, among other things, the very market forces Big Star had unsuccessfully courted). That Chilton himself had never chosen to promote aesthetics of beautiful failure was a central irony of his career. But perhaps because Chilton really was ambivalent, and always had been, his career wasn't really made up of choices.
* * *
Big Star's first record was released in 1972, but despite glowing reviews, it was barely distributed by the Stax label, which was then on the verge of collapse. It sold only 4,000 copies, and quickly disappeared from print. "This is off our first album, called #1 Record, which can't be found anywhere," Chilton told a radio audience a few years later.
Chilton's immediate response was to resume his aborted solo career, then abort it again by allowing himself to be talked into a one-off Big Star reunion. Despite the absence of founding member Chris Bell - who'd also quit, and never did return - that performance went over so well that Big Star re-formed and released a second record, called Radio City (1974). This album won another round of rave reviews, but was hampered by the same distribution problems and sold even less than the first. The band broke up again, re-formed again (now an informal two-piece), and made one last record - Third/Sister Lovers (1974) - which continued the process of attrition by failing to be released at all. (A bowdlerized version was issued, semi-officially, in Europe, four years later.) As far as today's mainstream audience is concerned, Big Star's greatest success came twenty-five years after the band's break-up, when the producers of "That 70s Show" looked to Cheap Trick to record the sitcom's theme song, and Cheap Trick re-recorded #1 Record's "In The Street" as "That 70s Song." Chilton, who receives seventy dollars every time the program airs, took to calling it "That 70 Dollar Show."
It's Third/Sister Lovers that Chilton is best remembered for. "He was enjoying it to the extent that he would commit himself," the album's producer, Jim Dickinson, told me when I asked about the album's genesis. "Alex was an artist who'd been screwed really badly, twice, and you had to understand the 'fuck you' aspect. Which was: 'OK, I have proof that I'm going to be exploited and that I'm not going to be paid, and ten-to-one, whatever I do is going to get fucked up. So I'm going to be the one who fucks it up.'" As a result, the melodies on Third/Sister Lovers stopped just short of unraveling. Isolation and escape were the recurring themes: "Get me out of here/I hate it here" ("Nightime"). "This sounds a bit like goodbye/In a way it is, I guess" ("Take Care"). "Nothing can hurt me/Nothing can touch me/Why should I care/Driving's a gas/It ain't gonna last" ("Big Black Car"). In "Downs," a hymn to barbituates, Chilton sang, "Isolated as far as you go, I'm well versed in the walls of worst."
Big Star had feigned disinterest on its earlier albums; it's not hard to trace Kurt Cobain's anthemic sense of anhedonia back to the "I loved you/Well, never mind" of Radio City's "September Gurls." But on Third/Sister Lovers, the songs themselves seemed cobbled together, catch-as-catch-can. Chilton wrote the lyrics for "Jesus Christ" by turning pages in the Broadman Hymnal, and taking a line from every page; he wrote "O, Dana," for a girl he had a crush on, followed around for a week or so, but never really talked to. One of the best songs, "Stroke it Noel," was rewritten at the last minute, when a friend arrived at the studio with a string quartet. "They say we're lazy men," Chilton sang in the revised, semi-improvised lyric: "Drinking our white wine/We could go right insane/'Cause we can buy the time." But the record was less haphazard than it seemed: Listen to the way the interweaving of vowels in the first line (thEY sAY we're LAzy men) - and the heavy, staccato beat of they, say, we're, and 'ay - cut against the grain of the almost unstressed second line: The juxtapositions expressed the exact opposite of Chilton's lyric, and putting sound and sense together, you were left with: "I can do this, and choose not to."
* * *
These days, the Box Tops records (which are well worth listening to), #1 Record and Radio City (which are available on a single CD), and Third/Sister Lovers (which was finally released, in something approaching a definitive version, on Rykodisk in 1992) are the only example of Chilton's work you're likely to find in your local megastore. But Chilton, who lives semi-reclusively in New Orleans, and continues to play and record, did release one more masterpiece.
A bookend, of sorts, to Third/Sister Lovers, Like Flies on Sherbert (1978) was made with the same producer, Jim Dickinson, and featured many of the same Memphis studio musicians. It, too, was a ramshackle affair; according to Robert Gordon's excellent history, It Came From Memphis, Chilton, had spent a good many hours hanging out at CBGB's, in New York, during the club's mid-seventies glory days, and like the punks he'd met and mentored there, he was drunk and contentious throughout much of the recording process.
The editors of the New Trouser Press Record Guide said that the result sounds "like a bunch of drunken louts running amok in a studio with no producer to restrain or guide them," and the record as a whole "painfully confirms the degradation of a once-major talent." But if Chilton had wrecked himself, he'd done so gloriously: Like Flies on Sherbert reached back to Southern slave songs (on a manic cover of the Carter Family's arrangement of "No More the Moon Shines on Lorena") and Sun Records rockabilly (on the Jerry Lee Lewis-isms of "Girl after Girl" and "She's The One That's Got It"), scraped away the refuse, and forced a dark, anarchic vein of Southern music through the narrowest of apertures - punk rock, as it was played by the Ramones and Modern Lovers. The album returned Chilton to his garage-band roots, and allowed subsequent generations of punk and garage-bands to reach back to the roots of rock itself.
You hear clear traces of Sherbert in groups like the Cramps, who are alleged to have stolen a car and driven to Memphis to record with Chilton; the Gories, who were also produced by Chilton, and sparked a Detroit rock revival which culminated in bands like the White Stripes; and the Replacements, who wanted to record with Chilton (and were, in fact, produced by Jim Dickinson). Like Flies on Sherbert was the first record to take Big Star's collapse as a starting point, and to set about the difficult task of building again. And it was Chilton's rawest, roughest, most revealing work.
But only in the past few years did the record become widely available--the version released in 1998, on Memphis's Peabody label is preferable to the poorly sequenced and incomplete album released in Britain last year. Like Chuck Berry's best songs, it's a rock and roll Rosetta Stone, and well worth seeking out. Come Friday, I'll try to post a sampling of the songs mentioned above. In the meantime, here are a few songs about dreaming, and dream girls, building up to Big Star's own, epic "Dream Lover." Chilton told Dickinson he only played ""Dream Lover" thrice in his life: Once when he wrote it, once when he played it for his girlfriend, and once when he played it in the studio. "One of those times was one time too many," he said. As is, it's a spider-web of a song: You're never quite sure if Chilton's lover is the woman of his dreams, or the kind of woman you only meet in dreams. Which, I suppose, is party the point....Labels: alex, holidays
posted by Alex
LINK |
Friday, November 25, 2005
CHAIN OF FOOLS [UNEDITED]
Aretha Franklin
Lady Soul
Atlantic : 1967
[Buy It]
CHAINED
Mavis Staples
Only For The Lonely
Stax : 1970
[Buy It]
HEY
The Pixies
Doolittle
4AD : 1989
[Buy It]
CHAIN GANG
Sam Cooke
Live At The Harlem Square Club!
RCA : 1963
[Buy It]
PRISONER OF LOVE
James Brown
Prisoner of Love
King : 1963
[Buy It]
CHAINS OF LOVE
Joe Turner
Atlantic :1951
[Buy It]
CHAINS OF LOVE
J. J. Barnes
Groovesville : 1967
Courtesy of : Diddy Wah
[Buy It]
NOW THAT I'M FREE
Wynona Carr
Specialty : c. 1957
[Buy It]
THAT'S HOW I ESCAPED MY CERTAIN FATE
Mission of Burma
Vs.
Ace of Hearts : 1982
[Buy It]
"A few more moons, a few more winters, and not one of the descendants of the mighty hosts that once moved over this broad land or lived in happy homes, protected by the Great Spirit, will remain to mourn over the graves of a |
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