Moondog - Viking of 6th avenue
- Thread starter Gabba Flamenco Crossover
- Start date
Woebot
Well-known member
Gabba Flamenco Crossover said:
is it a compilation of http://www.amazon.com/exec/obidos/tg/detail/-/B00004YU0K/102-8141325-6300140?v=glance those two?
i know HJ put out that geese honking by moonlight track......theres lovely stuff on moondog 1....that's the bomb innit.
eleventhvolume
Active member
Which album is it where Moondog duets with the QEII on tin whistle? I had it years ago on tape, but it's long lost. I love the sheer freedom and openness of that. I always pictured it being recorded live on the street, but wonder now whether it was just a tape recording of the ocean liner.
Gabba Flamenco Crossover
High Sierra Skullfuck
WOEBOT said:
I dont think so - a few tracks are duplicated though. I guess some others might be rerecordings under different names. It wouldnt suprise me if his catalogue was in a bit of a mess.
Viking.. contains the track mr scuff sampled for that ubiquitous jazz house track of a few years ago (whose name escapes me and I'm too busy to google it).
soundslike1981
Well-known member
What started this apparent renewal of interest in Moondog, anyone know?
Anyway, happy to see it. He's ended up on probably a third of all the mix tapes I've made in the last 5+ years. Such fun stuff.
Anyway, happy to see it. He's ended up on probably a third of all the mix tapes I've made in the last 5+ years. Such fun stuff.
I had not heard much Moondog prior to picking this up...the percussion is very interesting, almost drum-machine-like in places...(much of this comp reminds we in a weird way of Timmy Thomas...that same sense of isolation/melancholy rings thu most of these tracks)...Andi from Mouse On Mars plays on some of the later stuff, or so I have read...
soundslike1981
Well-known member
confucius said:
Important = ?
His music is often very small sounding, minimal without being per se minimalist ("serious"). And it's sometimes cute. Are these the reasons it's not "important"? Or a lack of influence on later musicians?
I guess good overtook important (by any definition) for me a long time ago, so he's been an "important" musician to me for a good while, in that I think he's really good (by my subjective tastes, informed by what I have heard).
I should clarify what I mean:
to me it is clever, novelty music which was made and exists in an isolated corner of the world, much like the strange "outsider" art of someone like Henry Darger - is it good? yes. is it interesting? very. how much inspiration did it bring or impact did it have on culture at large? not very much.
to me it is clever, novelty music which was made and exists in an isolated corner of the world, much like the strange "outsider" art of someone like Henry Darger - is it good? yes. is it interesting? very. how much inspiration did it bring or impact did it have on culture at large? not very much.
soundslike1981
Well-known member
confucius said:
That's what I figured you meant.
That's a reasonable working definition of "important," I suppose, so long as "important" isn't the only, erm, important criterion in judging the value of [music].
mistersloane
heavy heavy monster sound
He played a few years ago at the South bank, and then Damo Albarn picked it up and pushed it hence the Honest Jons connection, Moondog's been big with heads for years though. Him fab.
i reckon the big liebowski started a revival as hes on the soundtrack, lovely stuff, he's a lovely fellow.
i bought one of his records years ago cos i thought, who is this strange bloke he must be good, look at his pic, plus it ws on the wall of the local second hand record shop for years
there is a rare moondog cd coming out on roof records too.
this one is ace and all
i bought one of his records years ago cos i thought, who is this strange bloke he must be good, look at his pic, plus it ws on the wall of the local second hand record shop for years
there is a rare moondog cd coming out on roof records too.
this one is ace and all
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jambo
slip inside my schlafsack
From soundslike's musicophilia thread but I thought it would be more appropriate to carry on here.
http://www.moondogscorner.de/disco/rec22.htm
BareBones said:
Not from the same era at all but I like the album Elpmas he recorded in 1991 with Andi Toma, later of Mouse On Mars. More canons, lots of marimba (sampled it seems!). It's a blinder actually.soundslike1981 said:
This disk is largely a protest against our treatment of aboriginese people, against our treatment of nature, plants and animals, also against the idea that "we discovered the New World", when it is as old or older than ours.
WESTWARD HO!, an 8-part canon for gambas is depicting the western migration from Europe to the New World.
The first part features the one-year old MAX ALSMANN who sang the highest G flat on the piano, something no soprano could do!
"Up so high? Like a lark you sing your song to the sky!"
His father, GÖTZ ALSMANN played a one hundred year old banjo on THE OREGON TRAIL in a 2-part canon with ANDI TOMA on guitar.
If some of my music sounds like Jazz of the "Swing" era, it is because Swing is North American in origin, coming right out of the drum beats and highly syncopated melodies of the Plains Indians, from the Arapaho to the Sioux. Their running-walking-running beats on the tomtom are fundamental to Jazz of the Swing era. I heard it for the first time, having been introduced to Arapaho Sun Dance music in Wyoming. I was about five years old. Chief Yellow Calf sat me on his lap and let me beat the buffalo-skin tomtom, an experience I never forgot. The Sun Dance drum beat stayed with me to the present day. I call it the Powwow beat. Later, in 1949, the Blackfoot Indians of Idaho let me beat their tomtom at the Sun Dance and invited me to play flute obligato to the chorus.
Those fast-slow-fast beats are to be heard on tracks 1 and 3, where the running beat goes right into the walking beat and vice versa.
My bass drum is hexagonal, my own design, sounding much like the tomtom.
The sampler is ideal for my kind of music which is mostly contrapuntal, specifically canonic. With the sampler I can be sure that all the voices will be faithfully reproduced, as many times as I require, without the chance of a mistake, here or there, which can never be avoided when working with live musicians.
The reason I used the marimba so much is because it sounds so realistic, due to its being so percussive.
The bass notes were sampled in from a balaphone. Another sample I could use was the koto (Fujiyama).
The small bells are from India. In the low and high solos in SEASCAPE OF THE WHALES I used a goard in unison with the sound of a lure, clapping the hand over the mouthpiece, plus the marimba doubling at the octave below.
The FOUR ELPMAS BANDS in this CD are the MARIMBA BAND, the GAMBA BAND, the OBOE BAND and the OVERTONE BAND.
WESTWARD HO!, an 8-part canon for gambas is depicting the western migration from Europe to the New World.
The first part features the one-year old MAX ALSMANN who sang the highest G flat on the piano, something no soprano could do!
"Up so high? Like a lark you sing your song to the sky!"
His father, GÖTZ ALSMANN played a one hundred year old banjo on THE OREGON TRAIL in a 2-part canon with ANDI TOMA on guitar.
If some of my music sounds like Jazz of the "Swing" era, it is because Swing is North American in origin, coming right out of the drum beats and highly syncopated melodies of the Plains Indians, from the Arapaho to the Sioux. Their running-walking-running beats on the tomtom are fundamental to Jazz of the Swing era. I heard it for the first time, having been introduced to Arapaho Sun Dance music in Wyoming. I was about five years old. Chief Yellow Calf sat me on his lap and let me beat the buffalo-skin tomtom, an experience I never forgot. The Sun Dance drum beat stayed with me to the present day. I call it the Powwow beat. Later, in 1949, the Blackfoot Indians of Idaho let me beat their tomtom at the Sun Dance and invited me to play flute obligato to the chorus.
Those fast-slow-fast beats are to be heard on tracks 1 and 3, where the running beat goes right into the walking beat and vice versa.
My bass drum is hexagonal, my own design, sounding much like the tomtom.
The sampler is ideal for my kind of music which is mostly contrapuntal, specifically canonic. With the sampler I can be sure that all the voices will be faithfully reproduced, as many times as I require, without the chance of a mistake, here or there, which can never be avoided when working with live musicians.
The reason I used the marimba so much is because it sounds so realistic, due to its being so percussive.
The bass notes were sampled in from a balaphone. Another sample I could use was the koto (Fujiyama).
The small bells are from India. In the low and high solos in SEASCAPE OF THE WHALES I used a goard in unison with the sound of a lure, clapping the hand over the mouthpiece, plus the marimba doubling at the octave below.
The FOUR ELPMAS BANDS in this CD are the MARIMBA BAND, the GAMBA BAND, the OBOE BAND and the OVERTONE BAND.
http://www.moondogscorner.de/disco/rec22.htm
soundslike1981
Well-known member
Wow, hadn't heard of that one at all. Thanks for the heads up, I'll have to hunt that one down.