Friday, April 11, 2014

Organlogue One-Reelers (Master Art Products, 1930s)

The tortured, sentimental warbling of slightly warped, century-old, pipe organ records is really the reason I started this blog, but I wanted to make it seem as though I had other interests. Plus, I just can't bring myself to write the masterpiece such music deserves at this point in time, so I'll just tease a little until I'm ready to give these records the full Nick Tosches treatment. 

While this post features Organlogues -- one-reel, theatre organ-driven singalongs played before films in the 1930s -- the first video is not technically one of those. It features Jesse Crawford & his wife Helen, ostensibly at home, ditzing around with "Tea for Two" from No, No Nanette. Crawford was the premier theater organist of the late-1920s/early-1930s & recorded some amazing records. Though, as is the danger with old organ records, he also recorded hundreds of upbeat, Shakey's Pizza-style ditties that will make you want to rip the ears off your head. There will be much more about Jesse Crawford in future posts, but this seemed like a fine place to make introductions.

There were thirty or so Organlogues made by Master Art Products & they manage to perfectly illustrate the point where sentimentality & artifice float ethereally past being heart-warming into the realm of the eerie. The images rise from some oneiric theater apron, fold out like a funeral fan & then resolve in a mother's tears, while the theater organ's tremulant creates that airy, disembodied vibrato that tingles the tiny hairs on the back of the neck. These are truly spectral little memento mori from our collective gloaming.  










Wednesday, April 9, 2014

Happy Birthday to Charles Baudelaire - Yvette Mimieux & Ali Akbar Khan, Baudelaire's Flowers of Evil (Philips, 1968)



Weena from George Pal's The Time Machine (1960) intones the decadent dirges of Charles Baudelaire while sarod master Ali Akbar Khan enshrouds her funereal intensity in poppy-seed brocade. It's one of those records that could only have been made during the 1960s, when Caedmon Records, Marshall McLuhan (The Medium is the Message with Marshall McLuhan - Columbia Records, 1968), Sidney Poitier (Poitier Meets Plato - Warner Bros. Records, 1964), Timothy Leary, Mort Garson & Ruth White (Flowers of Evil - Limelight Records, 1969) were releasing the true Head Music.

Yvette Mimieux & a Morlock, The Time Machine (1960)

While Mimieux's readings aren't particularly remarkable, the producers wisely chose the most ornate translations of six poems from Les Fleurs Du Mal, Baudelaire's florid & death-obsessed masterpiece (first published in 1857). While many translations over the years have sought to create less mediated readings of the poems, condensing the syntax a bit to more accurately reflect the precision of Baudelaire's poetry, it is the translations by Edna St. Vincent Millay & George Dillon that evoke the sickly smell of rotting funeral flowers English readers have come to expect from the poet. And couching Baudelaire's "sickening green-house atmosphere" in luxurious, slow-falling petals of sarod, sitar & tabla, creates the perfect aural equivalent to Nicholas Roeg & Donald Cammell's orientalist mindfuck noir, Performance (1970).

The Baudelaire libretto for Track Three, "The Murdered Woman":