No Location, one thing at a time

Ok, starting from the top here.

MuMesons ROMANCE (I have no idea what that means):

It starts like it’s a cover of the Star Trek theme I think. I knew a cat back in North Carolina, Bill Hanna, used to play trombone with Woody Herman; he just loved that show, it was like Rain Man with his Wopner, when it was time for that show to come on, he just dropped everything. I didn’t really get it, mainly as I thought Captain Kirk was a real cornball. Except I did think it was pretty hip that they had a black woman with a high rank, ‘Lt. Uhura’ (Uhura is Swahili for ‘freedom’.).

And she was easy on the eyes you know.

Anway. This doesn’t end up being a Theme from Star Trek cover at all really. But I think it might be saying: “Space: the final frontier”. To me this opening bit sounds like a more composed version of the orchestra tuning up before the conductor come out (Which I always thought sounded better than some of this shit they’d play, which was too often lost on me.). Some real tension builds like it’s going to explode, but instead it just sneaks in to something, relaxes into a nice little tune that might be some pop… but the time switches up in spots, so maybe not. Though, might be all kind of people like rhythm when there’s some melody involved, who knows?

Then, I fell asleep the first time I heard it. Which is no disrespect, it’s just relaxing to hear. My granddaughter called it ‘ambient’, I guess that could be right. As I go back to this, I find there is this pretty, floating section and some melodic, I don’t rightly know what the instrument is, it’s like an electric guitar that’s… now it’s bowed, now it’s blown like a woodwind, some kind of asian thing. It feels like you’re on some really high peak, up in the Himalayas or some thing. It goes up to the top of the scale, almost reaching to that next octave and hangs, almost satisfied. Then there’s this impossibly quiet, low brass, bass trombone or some thing… it’s scored extremely well and makes me think of Gil Evans’ work with Miles somewhat.

Now, Godz Eatz. Something in here about some kind of Godzilla movie, which to me is even more cornball than that Captain Kirk. You have to get really high to watch one and stand it in my opinion.

The first bit, is kind of a quiet scene in some cop show on tv or in the movies. I remember when I was studying theory the first time at community college, there was me and this other cat Grover something, I want to say Washington but that can’t be right. We were always looking for something new in a harmony; he was in the jazz reharmonization course and I was in the regular part-writing course, so between us we had some information coming in. He used to find some extension, or I would and he’d get so excited: ‘that’s one o’ them TV CHORDS!’. He was always trying to get these kind of things he’d only have heard on the TV I guess. I’ll never forget that kind of childlike excitement about the TV CHORDS we was finding.

Anyway, this one has the TV chords, Grover, you’d like it.

Then it modulates, by what they call the ‘picardy third’, which turns minor into major, into a kind of lydian mode thing. And I can hear there is a ‘duduk’, which is like an Armenian (among other things) double reed. And some kind of wood flute. One of the flutes is a troublemaker, I guess foreshadowing. Some lovely and mysterious stuff in here. And there is this ominous undertow – threatening even – churning along at the bottom. It’s Godzilla movie music in the mind of whoever wrote this, clearly. The liner notes say, Godzilla is coming up out of Tokyo Bay here. Then there is a turnaround, again a kind of Gil Evans device which takes us into this raucous heavy rock, and what I can only describe as Jimi Hendrix if he played some bagpipes. I think I can hear amplified blues harp, but it’s hard to tell in this din.

Now this is a Godzilla I can watch, right here, the one in my mind as I hear this crazy shit.

Then, a Godzilla kind of stomp I suppose, with a horn section unisoning with and supporting the lead gittar.

Y’all may recall the album cover of Jimi’s Axis: Bold as Love, all this Hindu thing. His father asked him if he had gone Hindu when he saw that. Well, this gittar sounds like Jimi done converted all the way.

Then, a big sort of hard rock ending, if hard rock had been invented in Japan. Now they got pitchers in the major leagues that’s Japanese, and why not.

Next. Horse Suits All the Way Down:

When I was trying to hear this, my daughter’s boyfriend come in and say: “That’s that motherfuggin Frank Zappa ain’t it.” I don’t know, but it’s more less like this ‘atonal’ music that was the thing to do academically, if I read that right, or it was required of a young composer for a time, to compose by the series of 12 tones, & like they all have equal pull. “Equality!” Good luck, you know. But instead of the, what I think of as real sick or neurotic in mood, this comes off more like a cartoon soundtrack. Maybe ’cause of the sound effects in there. The liner notes specifically mention a Bugs Bunny episode, in fact. Which I do recall actually! I loved me some Bugs Bunny, you know. Prey gets back at Predator, every time. And Bugs didn’t give a shit about no Elmer Fudd and that rifle you know, he’s too smart for that idjit. What a maroon. Indeed.

You know, when I found out that asshole Dick Cheney done shot his buddy in the face during ‘a hunting misadventure’, I had the idea he was Elmer Fudd, you know. I figure ol’ Dick was pulling for Elmer Fudd if he ever watched Bugs Bunny as a kid.



One Response to “No Location, one thing at a time”

  1. I think you’re transcending.

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