Archive for the ‘World Beat’ Category

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Sacred Dub Podcast

May 18, 2009

I ran across the wonderful Sacred Dub website over a year ago, when preparing for a big Bill Laswell marathon radio show.
Its discography on Laswell’s music was indispensable in my research into the murky waters of his work. At the time, I realized that they were podcasting, but was under the impression that they were either only sporadically ‘casting or had just begun.

Well, they are now at 50-plus shows. Each show runs the gamut of Laswell-related artists. Considering the length and breadth of his work, it’s more a question of who’s not involved.

Check them out here.

Subscribe via iTunes here.

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Joe Strummer Appreciation Day

March 28, 2009

For me anyway…

I just got around to watching The Future is Unwritten and remembered how much I appreciated Joe Strummer’s music and cultural/political outlook throughout the years. He was the person – via The Clash – that made me aware of the world at large and what was going on in it as a teenager. I probably wouldn’t have known anything about what was going on in Central America if I didn’t become obsessed with the album Sandinista! after my Mom bought it for me for Christmas one year (I begged her, thinking she’d take one look at the cover and buy something safer instead. Thanks, Mom!). I wanted to know what the songs and liner notes were about and it led me down the garden-path to leftist politics, at the tender age of sixteen or so. Take that, Tipper Gore!

It was a punch to the gut when he died. Even though I hadn’t followed his latest musical projects that closely, I became a fan of his radio stints, where he would offer these free-wheeling excursions into music from all over the world. It made it obvious that despite his aspirations to rock stardom in The Clash, he simply loved music and its ability to give voice to people and their struggles the world over. It made some of his global hodge-podges on Clash records and subsequent bands – some more successful than others – make much more sense. He saw music as a unifying force and the people’s megaphone for change.

Enough sermonizing…

Here’s an open dex of his BBC radio show London Calling, reprised in 2007 with intros and outros mentioning the five year anniversary of his passing. These shows are great. Joe plays music from all over the world and across timelines. They’re rather brief, but he talks about why the songs matter to us.

Here’s a guest slot he did on WFMU in 2001, not long before his untimely death.

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Laibach Radio Special

October 14, 2008

For a brief period of time, here’s the three hour Laibach special I put together on the 10th.

Kathy of the Autonomy Hour was kind enough to help and pitch during the pledge breaks, which I left in because I didn’t really feel like editing it too much and KBOO could really use a few spare shekels if you have them. So you’ll have to sit through a sermon or two to get the soup, so to speak.

Here it is volks:

Download part 1 (70.9 megs @ 192kbps)
Download part 2 (82.3 megs @ 192kbps)
Download part 3 (94.1 megs @ 192kbps)

Look at playlist here.

Cut straight to my interview with Ivan “The Terrible” Novak here.

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Turkish Psych-Rock pt. 3: Selda

October 4, 2008

The real gem of this 60/70’s Turkish rock triumvirate: Selda Bagcan.
Her stuff is much more over the top both in terms of vocal performance and instrumentation and studio technique. There’s ample fuzzy guitars and everything’s ladled thick with syrupy reverb.
Here’s what The Dusty Groove says about Selda:

Funky breaks and fuzzy guitars — one of the most amazing albums to come out of the Turkish scene of the 70s — and one with a sound that really defies categorization! Although the sweet image of a girl and guitar on the cover might make you think the record’s a folk set, the overall production is heavily electric — filled with fuzzed-up touches on the guitars, and usually supported by some funky drumming that gives most of the record a cool Eastern break sort of feel! Lyrics aren’t in English, but they’re oddly compelling even if you don’t know what they mean — as Selda’s voice has a weird other-wordly quality, and comes off with the same tripped-out qualities as the music! <link>

This album was found in the back of the record library at KBOO by the lovely Ms. Brooke, after she, Devin and I were on a Turkish rock binge. We all immediately fell in love with it. The CD featured the scratchy, distorted sounds of well-loved vinyl. Don’t let that put you off; I found that it added to its charm.

Download Selda (81 megs @ 192 kbps, Rapidshare)

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Turkish Psych-Rock pt. 2: Erkin Koray

October 4, 2008

A little less croonin’ and a lot more rockin’. Erkin really knew which end of a guitar to strangle and there’s loads of fuzzed-out riffing and soloing here. He also apparently developed the electric bağlama and featured it on many of his albums.

Erkin Koray (born June 24, 1941), has been in the Turkish rock music scene since the late 1950s or early 1960s. He is widely acclaimed as being the first person to ever play rock and roll in Turkey; in 1957, he and his band gained notoriety by playing covers of Elvis Presley and Fats Domino. He was also one of the first Turkish musicians to embrace the electric guitar and modern amplification.

By the late 1960s, he was already a major figure in Turkish psychedelic music and Anatolian Rock, beginning with his first psychedelic single Anma Arkadaş in 1967. Koray followed this with a number of singles, both by himself and in collaboration with others, that established him as a force to be reckoned with on the Turkish rock scene. Koray became a controversial figure in Turkey during the 1960s and 1970s; he was actually assaulted in Istanbul, and on one occasion stabbed, for having long hair. <wik>

Download his album Elektronik Turkuler here (63 megs. Rapidshare)

I do not remember where I originally downloaded this from; I’ve had it for some time. Props to the original uploader.

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Turkish Psych-Rock pt. 1: Cem Karaca ve Apaşlar

October 4, 2008

Pal Devin just gave me this amazing compilation of singles by the mighty Turkish folk rocker Cem Karaca and his original band – before going solo – Apaşlar.

About Cem:

In 1967, he started to write his own music, forming the band Apaşlar (Apachees), his first Turkish-language group. In 1969, Karaca and bass-player Serhan Karabay left Apaşlar and started an original Anatolian group called Kardaşlar (Brothers).

In 1972, Karaca joined the group Moğollar (Mongols) and wrote one of his best-known songs, “Namus Belası”. However, Cahit Berkay, the leader of Moğollar, wanted an international name for his band, and he left for France to take the group to another level. Karaca, who wanted to continue his Anatolian beat sound, left Moğollar and started his own band Dervişan (Dervishes) in 1974. Karaca and Dervişan sang poetic and progressive songs.

In the 1970s, Turkey’s image was damaged by political violence between supporters of the left and the right, separatist movements and the rise of Islamism. As the country fell into chaos, the government suspected Cem Karaca of involvement. At times he was accused of treason for being a separatist thinker and a Marxist-Leninist. The Turkish government tried to portray Karaca as a man, who was unknowingly writing songs to start a revolution. One politician was quoted as saying, “Karaca is simply calling citizens to a bloody war against the state.”  <wikipedia>

Download Cem Karaca ve Apaşlar (83.9 megs., Rapidshare)
21 amazing tracks with tracklist!

I’ve become a sucker for this fuzzed out Turkish psychedelic rock. Karaca’s stuff is a little more soulful and reverb-laden and not as prone to fuzztone guitar abuse like Selda, but I find his songs haunting.

Devin’s the St. Paul of Cem Karaca; he’ll play them for anyone and they become a convert, including me.

Cem’s the King, as far as I’m concerned.

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Free Master Musicians of Jajouka bootleg

April 4, 2008

And it’s officially endorsed by them, to boot.
You can get it at their official MySpace presence, if that sort of thing grabs you.
Visit it here.
Recorded on their first European tour in 1980 with then-leader Hadj Abdeselam El Attar (current leader Bachir Attar’s father), this was released by Staalplat against the wishes of the band in the early Nineties. Apparently there’s a schism between two dueling factions of Musicians, with the Attar-led performing under the more traditional spelling of the village name (Jajouka) and one that trades with the misspelled name that came about from Brian Jones famous album Brian Jones Presents The Pipes Of Pan At Joujouka.

In either case, this is an amazing album. I really recommend listening to it. The last track Arraks Peht Al Komar pt.2 is amazingly hypnotic.

UPDATE: For more background on the Musicians, go to this link to hear a fascinating BBC4 documentary on them, which provides much background and interviews with folks involved. <Link to download>

Thanks to The Master Musicians of Joujouka for the tip.

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