Wusste ich bis vor Kurzem nicht: Erlkönig hat eine Zweitbedeutung.
Gemeint ist ein noch geheimes Fahrzeugmodell, das man aber vielleicht schon hier und da sichten kann. Scheint in einschlägig kraftfahrzeuginteressierten Kreisen von grosser Bedeutung zu sein: Hast du den neuen Erlkönig von John Deere schon gesichtet? Nein? Soll drüben beim Nebelstreif hinter den alten Weiden rumstehen!
Berichtet wurde mir das von einer Bekannten, die auf dem Land aufgewachsen ist. Dort spielte das in der lokalen Presse offenbar eine wichtige Rolle, ob dieser oder jener Bauer einen neuen „Erlkönig“ – gemeint waren die jeweils neusten Traktorvarianten – auf dem Hof hätte. Es hätte richtiggehende Erlkönigjäger*innen gegeben, Journalistinnen und Journalisten, die Photos von Traktoren machten. Abenteuerlich, leidenschaftlich. Einfach Erlkönig.
Das wird Menschen, die sich für Automobil-Magazine interessieren, nicht überraschen. Dort ist der Ausdruck „Erlkönigjäger“ völlig geläufig, sogar eine Art Berufsbezeichnung.
Aber ich hatte ja keine Ahnung. Germanistik, quo vadis?
Rated as: Box Set
Album Status: Definite, Complete Recordings
Specific Genre: Folk Rock, Psychedelic Rock, Roots Rock, Country Rock
Main Genre: Rock, Psychedelia
Flow, River, Flow
Oh dear, it’s that rare beast: a practically perfect box set! How about that. This handily sized box collects the remastered bonus track–reissues of all Byrds albums put out by Columbia/Legacy. These reissues usually featured more than half a dozen bonus tracks each. The box thus contains, quoting AMG’s John Bush, „over 90-percent of their career, basically everything they released, all 12 albums (aside from their 1973 reunion album recorded for Asylum)“.
This isn’t entirely accurate, as it’s only 11 albums – but 13 CDs. Bonus-CD 7 is comprised of early Gram Parsons‘ International Submarine Band tracks and alternate tracks from Sweetheart of the Rodeo. Add another bonus CD called Unissued (CD 11) which collects excellent bonus material from their original (Untitled) album. This includes unreleased studio tracks that didn’t make the album, the studio version of the album’s live „Lover of the Bayou“, an additional interesting Little Feat cover marking the band’s way into the swampy and southern areas of roots rock. Notably, Little Feat’s debut album wasn’t even published yet when the Byrds covered them on their album. This is really all you might want from a box set like this, the missing reunion album notwithstanding.
With boxes, I personally prefer if the original albums are left alone on a CD and the bonus material comes on separate CDs. But since this collects remastered reissues that already had bonus tracks on them, that wasn’t an option. Well, so be it. I especially enjoy that the liner notes are not just dedicated to the nostalgia of some prominent fan or an attempt at further mythologizing: Every track is listed with essential information, recording date, previous releases, writing credits, et cetera. While each of the album tracks get a short informative paragraph providing context, the information is a bit scarce concerning the alternate takes of the bonus CDs. A little more historiography would have been nice there: I mean, why are there alternate Sweetheart of the Rodeo-takes with Gram Parsons on lead vocals that had been overdubbed with vocals by Roger McGuinn for the published album? Why is there zero context provided about the previously unissed studio and live takes on bonus CD 11 (titled Unissued)? I know you can read all about these things elsewhere, but these boxes are the decentralized mini-archives to collect such lore.
The box comes in a minimalistic and nice (very affordable) package, sports vinyl replicas and fits in your shelf next to other CDs. Even if you’re not an absolute fan, this is the box to get – they are an extremely important band going through several interesting phases which make for a nice journey here: from sand-bleached, mellow pop folksters to psychedelic Westcoast rokoko to Creedence Clearwater Revival-inspired roots & desert rockers. All phases have stellar highlights. So: here it is, the quintessential psych-folk-roots-rock band represented in a near perfect setting, at least for box set standards.
Rated as: Album / Live
Album Status: Genre Recommendation
Specific Genre: ECM Style Jazz, Minimal Jazz
Main Genre: Jazz
Undertones: Avant-Garde Jazz, Post-Minimalism, Modern Classical
Label: Ronin Rhythm Records
1 Intro 2 Mon Bijou 3 MM
Echolocation for emotion
Did you ever hear someone enjoy the space around them? You can now. Recorded in the vast hollow interior of the box girder bridge Monbijou in Berne (CH), Sha’s solo debut – just him on bass clarinet, some sax work – lures you into a literal acoustic and social off-space.
The interior of a box girder has no uses. It has no function other than to create an exterior, supporting the structure of the bridge, carrying its traffic. The dimly, if at all lit 300-plus meter corridor of the Monbijou bridge is not a space open to the public, it isn’t even a room by the social meaning of that word. It is cold, it is dark and about the only noise in there is the faint booming of the motorized traffic washing over it. Sha’s decision to record there, gives away some clues what this kind of solo performance has to deliver in even a more familiar setting.
There are no co-musicians to react to here, there is no audience to the proceedings: Who lives under a bridge? In a way, the cavern echoes and the sound of the motor vehicles replace a band and audience on this record, or at least that musical sense of community achieved through exploring solitude. The structure of the piece, with long stretches of improvisation, gives Sha the option to incorporate the outer-world noises into the composition – that is, to use the bridge and its space as a partner for interplay. This becomes acutely evident almost seven minutes into the centre piece, where Sha floats on an ebbing drone, momentarily lost in an eastern-influenced melody – and a rumbling thunder (by a truck or some deep-sea leviathan) crashes loudly into a pause, perfectly timed, causing Sha to spiral into the first of two frantic parts, built around the beat of tone-hole slaps. This coincidence and its sound couldn’t be replicated in any planned way, and the effect is stunning.
Monbijou consists of several distinct vignettes, composed throughout the years and woven into a 30-minute suite. They are part of the same drift. Their coherence is partly due to the monumental setting, of course, but stems mostly from the spacious but clearly articulated sound Sha developed for the performance in the bridge.
This sound keeps the technical gadgetry to a minimum. Sha does use loops, but they mostly consist of a slight drone that only seems to emphasize the faint wave-crashing of the traffic above. A similar effect of tidal movement – ever moving, never changing – is created through the alternation of long, diligently structured phases of circular breathing with pensive, melodic parts, stretching out into the cavities of the bass clarinet and the surrounding tunnel.
While the former compositional elements can become almost hectic and flickering with their hypnotic arpeggios, sharp clicks and percussive slap tongue technique (especially spectacular in the third act of the ‘suite’), the latter create the emotional foundation of the album: whenever the soothing, meditative drone ebbs away, the invisible world above the bridge responds from a distance. While the very idea of a solo performance might evoke images of an internal monologue, Monbijou reaches outwards and is essentially a work about the hidden space around us, as defined by the sounds we make. Echolocation for emotion, if you will, beaming through a 300-meter instrument and its inhabitant.
PS. This text is basically the online „liner notes“ Sha uses on bandcamp etc. I conceived that text as a review from the beginning, even though it has a sort of PR-function, I guess. It’s just a really excellent live album, check it out.
Rated as: Archival / Live Album
Album Status: Obsolete
Specific Genre: Psychedelic Rock
Main Genre: Rock
Undertones: Blues Rock, Hard Rock
1 Intro / God Save the Queen 2 Message to Love 3 Voodoo Child (Slight Return) 4 Lover Man 5 Machine Gun 6 Dolly Dagger 7 Red House 8 In From the Storm 9 New Rising Sun
… and the man with the guitar!
Note: this review and rating refers exclusively to the extended yet incomplete Live Isle of Wight ’70 1991 re-issue.
This is not a bad or boring entry in the never-ending stream of live-Hendrix releases. It’s just that there are so many live releases, and so many issues, re-issues and re-re-issues of so many concerts that there are bound to be better performances captured elsewhere, statistically speaking. As some of Hendrix’ live works are pretty frustrating though, this specific version of the Isle of Wight concert still holds up as one of the comparably decent live albums. There are numerous versions of this with wildly differing content, so watch out for the specific tracklist of prospective acquisitions. This CD is a heavily edited and shortened version, obviously going for the approach to deliver the less erratic versions of the set, and even go as far as to edit „Machine Gun“ from 22 down to 12 minutes. This is neither the original six-track LP version Isle of Wight released in 1971, nor the complete concert Blue Wild Angel, released 2002/2004: It falls in between the two, as it is longer and more satisfyingly representative than the short 1971-version, but it’s not the whole ordeal, skipping historically (if not musically) interesting bits like the „Sgt. Pepper“-opening.
This is a typical release of the CD-era: doubling the run-time of the Vinyl-release, aiming for an actual “concert” experience, while containing the unfocused concert with Hendrix disgruntled by technical problems and unwilling to play his „old numbers“. Hendrix often complained about similar things on stage, sometimes more, sometimes less jokingly. Here, you can really tell that the stoned rock festival environment held him back from delivering the kind of music he was interested in, and he hates it. Weirdly, this might be my favourite constellation of his co-musicians – in theory: Billy Cox on bass is simply groovier than the (otherwise excellent) Noël Redding, and while Buddy Miles contributes to my favourite Hendrix-live album, the Band of Gypsys (1970), as much as Cox and Hendrix, Mitch Mitchell’s nervous hyper-jazz-hard-rock percussion will always be the perfect counterpart to Hendrix’ more experimental musings. But the two don’t mix and no one here lives up to their potential.
Anyhow, this particular issue is strictly not a recommended buy anymore. If you’re not enough of a Hendrix-fan to want the complete Blue Wild Angel, this edited version won’t add anything to your experience.