Skip navigation

Tag Archives: World

Brazilian Music

The majority of this album is a genre of music called “axé”, which is a mixture of reggae, marcha, calypso, with a little bit of salsa. Axé hails from the city of Salvador in the Atlantic coastal state of Bahia in Brazil. You really only need to know one thing about Axé: it makes you feel like the guy on the lower left hand corner of the album’s cover.

"Deixe-nos dançar." Translation: "AWW HELL YEAH THIS IS MY JAM!"

Seriously, listen to any song on this album and try to sit still. No tapping the toes, no nodding the noggin, no flaring the nostrils. Complete and perfect stillness.

You can’t because it’s perfectly impossible to resist the Axé Effect. If you attempted a stationary position through Tânia Alves’ “Amor De Matar” your brain would end up boiling over through your ears and onto the the floor in a squishy puddle, upon which your roommate would perform the following dance maneuvers:

Yes, this album will make you shake your ass. Hard. I recommend inspecting any and all rivets that unite your badonk and pelvis before listening to Tempo De Bahia. If you don’t your bum bum could wiggle off completely, bounce down the hall, through the front door, down to the Greyhound station, and on its way to picking up a gig as a roadie on the El Debarge comeback tour. Frightening, yes, but entirely plausible.

I can’t help but feel a bit worried that this album will cause all sorts of problems once released upon the sedentary people of the United States. Americans have never used the muscles exhibited in the first video. They know how to line dance and mosh. If they’re feeling really wild they can opt to Jump On It. That’s it.

If this shit ever goes mainstream (which is very likely since it’s on the wildly popular Rebuilt Tranny’s Rat Rod Record Exchange) we’re going to see a 2,000,000,000% increase in hip, elbow, knee, and spinal dislocations in this country. 90% of of the workforce will be bedridden from axé-related injuries.  Almost the entire population will be without their life-giving Fourth Meals. How will Americans get their daily ration of bovine binders of extenders? It’s best not to visualize such horrors.

But would it be worth the complete loss of Crunchwrap Supremes for these sweet Brazilian jams? Naturalmente.

>>>Click here to download Tempo De Bahia at 320kbps

Tracklist

A1 Celso Bahia – Neguinhos 4:32
A2 Novos Baianos*  – Besta É Tu 4:24
A3 Moraes Moreira – Do Caribe 3:31
A4 Muzenza – Jamaica No Peito 2:56
A5 Chiclete Com Banana – I Love Chiclete 4:07
A6 Geronimo – Lambada Da Delicia 3:12
B1 Tânia Alves – Amor De Matar 4:16
B2 Banda Mel – Bagdá 4:29
B3 Laranja Mecânica – Mama África 4:57
B4 Missinho – Ouro De Orumila 2:59
B5 Moraes Moreira – Preta Pretínha 5:08
B6 Ara Ketu – Semente Da Memória 3:48

 

In 1966, the same year the majority of these songs were recorded, the Sutro Baths in San Francisco burned to the ground. The Sutro Baths, built in 1897 on the Pacific Ocean shoreline, was a 3-acre collection of salt water pools, water slides, taxidermy exhibits, and curiosities from the world around. The main attraction was, as the name implies, the temperature-controlled salt water pools, which held up to 1.7 million gallons of water and 10,000 swimmers on any given day. The structure itself was a spiderweb of steel girders which supported over 100,000 window panes, allowing swimmers to enjoy sunlight while taking a climate-controlled dip. Surviving pictures of the Sutro Baths are both alluring and terrifying.

Sutro Baths 1897 San Francisco

I hope they had their tetanus shots. Oh wait, that wasn't invented yet. Bummer.

The Sutro Baths are even more horrifyingly awesome when you watch them on video, as is evidenced here in footage taken by Thomas Edison in 1897.

So why is any of this important? The artists in this band grew up in a time when places like the Sutro Baths still existed. They were surrounded by remnants of the European Industrial Revolution, be it the bridges they took across town or the musty warehouses in which they held band practice. I feel that the music contained on this album reflects this environmental influence at its core. However, it is not an ode to the manufactured trappings of the early 20th century but rather a full-throttle attempt to break free from its rigid sense of order and symmetry.

Yet I find it ironic that machines were necessary in order to rebel against their world; a world created by steam engines and diesel geargrinders. After all, electric guitars and amplifiers are nothing more than machines. Yes, they’re sound-producing machines, sound which is interpreted as art that in turn stirs the gamut of human emotion. But essentially they’re nothing more than wood, steel, and wires brought to life by a mysterious electric demon.

Furthermore, I have a gut feeling that these artists’ very simple machines had a direct role in the fire that burned Sutro Baths to the ground. It could very well be that every one of these bands was practicing at the same exact moment on June 26, 1966. With the overdriven amplifiers all running at once they could have sent a cataclysmic electric surge from Europe, past schools of dolphins under the Atlantic Ocean, past herds of cattle on the Great Plains, blew a few fuses in Hoover Dam during a detour, and into the water heaters at Sutro Baths, causing them to explode in a ghastly ball of fire.

Why would a power surge from Europe target one seemingly innocent bath house thousands of miles away and not instead, perhaps, something for the greater good like frying the USSR’s entire radar control system? First, it’s a well-known fact that every man, woman and child in Europe during the 60’s was a closet communist, so the previously mentioned scenario doesn’t hold water. Second, San Francisco’s a hot spot for European tourists. I can’t walk around on the weekends without seeing an Italian in a funny hat, a Pole wearing weird jeans with funny pocket stitching, or a group of Germans barking and hacking out what they call their native tongue.

When you think about it the answer is quite simple as to why these European rockers, and one Canadian, decided to destroy the Sutro Baths. Every one of them, throughout their childhood, visited the Sutro Baths on family holiday. They, being used to Europe’s nude beaches, didn’t pack swimsuits and were forced by Sutro Bath employees to rent one of their turn-of-the-century wool numbers. These, of course, were entirely itchy and unflattering.

swimsuit 1900s wool one-piece

Looking good. Not.

American swimmers, cocky as ever with their post-war short shorts and polka dot bikinis, harangued the European fashion misfits to no end. I mean, they really gave it to them. It didn’t end at calling them Soggy Bottom Bambinas or Frumpy Frogs. They kept it real by administering wet, woolly wedgies. I’m talking real ass-rippers here, folks. Blood and shit exploding everywhere in a frothy, briny foam–all set to a chorus of teenage American laughter. This is a trespass for which the Europeans never forgave the Americans and the site of their humiliation: Sutro Baths. Can you blame them?

I’m still gathering data from European energy conglomerates and PG&E before I bring my case before the International Court of Justice. As such, I must make the legal disclaimer that these opinions are most likely the truth and are probably not false. So kiss my ass, legal types.

What I can safely say is that these European garage rockers did succeed in kicking my ass with a six string blast. And then some.

>>>Click here to download Searching In The Wilderness on 320 kbps MP3 from vinyl

Artist and Track Breakdown (Preview vids at the bottom.)

Searching In The Wilderness Muziek Express Op Art '66 Serie

1. Namelosers – But I’m So Blue

Sweden’s Namelosers deliver a fine, aggressive folk-punker with “But I’m So Blue”, the B-Side of a very confused version of Rufus Thomas’ “Walking The Dog”. Propelled by a powerful rhythm track, with terrific harp, strong vocals, and a chaotic guitar break, this 1965 track captures the Namelosers evolution from a standard beat group into archetypical Euro-Punkers!

Searching In The Wilderness "Muziek Express"

A2. Red Squares – You Can Be My Baby

The Red Squares “You Can Be My Baby” stands as one of the most powerful and well produced Mod Ravers of the sixties, in a league with the best releases by the Birds, Eyes, Creation, or Small Faces. Transplanted Englishmen, the Red Squares enjoyed much greater success in Sandanavia than in their native England.

Slashing guitar chords open this 1967 release, with strong, melodic vocals and chorus leading into the wild, Pop-Art style rave-ups, the vocals sounding clearer and convincing as mayhem occurs on the instrumental front.

An alternate version of “You Can Be My Baby” was also released, this take being much slower, with a thin, sparse production, almost demo quality, lacking most of the power and excitement for this issue, which stands as one of the best Swedish records of the sixties!

Searching In The Wilderness muziek express

A3. Motions – For Another Man

Holland’s Motions are generally considered to be one of the finest European sixties bands, sort of continental Remains. Led by songwriter-guitarist-singer Rob Van Leeuwen, their reputation rests on a handful of singles and E.P. tracks, and one fabulous album, Introduction to The Motions, from which this track is taken. Their range of styles was impressive, from Beatles style uptempo ballads to the full-throttle pop auto-destruct of “Everything That’s Mine”, a 1966 non-L.P. single. “For Another Man” is a good example of their more melodic style, with punchy acoustic guitar, irresistible hooks, and great vocals.

Muziek Express Searching In The Wilderness

A4. Sean Buckley and The Breadcrumbs – Everybody Knows

This 1965 U.K. Release is distinguished by Shel Talmy’s solid production, and is highlighted by some startling guitar work by Jimmy Page. The song and band performance merely serve as a springboard for an electrifying guitar break, as exciting as any session playing Page is credited with in the 60’s. See the excellent James Patrick Page – Session Man double LP for further examples of  some of his most inspired work.

A5. The Boys Blue – You Got What I Want

The Boys Blue were an early incarnation of the Sorrows, and released this version in late 1965.

Muziek Express Searching In The Wilderness

Ferocious, mutated post R&B guitar mayhem characterizes the In Crowd’s monumental 1965 feedback and overload orgy of strangled guitars, howling vocals, wailing harp, a truly brutal rhythm attack, compression, leakage, demented 6-string axe murder, and the Parlophone kitchen sink, all combined into a sage witch’s brew of HELL RAISING FURY!

Steve Howe joined the In Crowd (the embryonic Tomorrow) in mid 1965, apparently in time to play guitar on this track.

“Things She Says” is certainly one of the greatest records of the entire R&B/Beat explosion, and is re-issued here for the first time ever. Roll over Beethoven, and tell Crawdaddy Simone the news!

Muziek Express Searching In The Wilderness

A7. Cherokees – Little Lover

“Little Lover” is a track off of The Cherokees scarce 2nd Australian LP, a rare example of the band favoring hard-driving, aggressively electric approach. Fuzzy guitar, upbeat vocals and an enthusiastic performance lead into a wild guitar break, perhaps offering future members of Radio Birdmen early inspiration.

A8. Outsiders – Won’t You Listen

How great are the Outsiders? One listen to this and one look at the cover photo should give you a good idea!. “Won’t You Listen” is off of the Outsiders absolutely outrageous first LP on the Dutch “Relax” label. Amphetamine guitar leads over a pace, changing tempo almost at random, with Wally Tax’s vocal and harp somehow keeping pace with the instrumental pandemonium.

Muziek Express Searching In The Wilderness

A9. Muswell Ravens – All Aboard

The Muswell Ravens entertain with this previously unissued 1965 studio recording. “All Aboard” is distinguished by sloppy, exciting guitar breaks and a drunken, leering vocal delivery. This track is straight ahead rock’n’roll oiled up by liberal applications of Nut-Brown Ale.

B1. A Passing Fancy – I’m Losing Tonight

Brutal Detroit-style electric guitar kicks off this Bo Diddlin’ pounder. “I’m Losing Tonight” is rivalled only by the MC-5’s “Looking at You” and the Underworld’s “Go Away” for sheer electric intensity and attack.

Hailing from Canada, A Passing Fancy released a crappy psychedelic styled album in 1967, including a truly awful version of this track. Fortunately, it was re-recorded for 45 release, and stands today as one of the best Canadian releases of the 60’s.

Muziek Express Searching In The Wilderness

B2. Outlaws – Keep A Knockin’

England’s Outlaws contribute a Scream Lord Sutch style version of “Keep A Knockin'”, a 1964 Joe Meek production, highlighted by a succession of stunning guitar breaks contributed by a teenage Ritchie Blackmore, heard here displaying the technique that made him, along with “Little” Jimmy Page and “Big” Jim Sullivan, one of London’s most in demand session guitarists during the period 1963-1966.

Muziek Express Searching In The Wilderness

B3. Q-65 – It Came To Me

Holland’s Q-65 released a large number of excellent 45 and LP tracks, and “It Came To Me” is certainly one of the best of them. The production is excellent, lending both the vocals and guitars a bright, clear sound full of bite and energy. Driven by an amazingly solid rhythm track, “It Came To Me” stands as a milestone of European Beat/R&B, and sounds just as exciting today as it did 45 years ago.

Muziek Express Searching In The Wilderness

B4. The Golden Earrings best ever performance was relegated to the B-side of their 1st single, and was has never been re-issued until now. “Chunk of Steel” is fabulous, a great song, lyrically intriguing and musically adventurous. Heavily Beatles influenced, the vocal interplay on this 1965 release is counterpointed by biting guitars, pounding drums, and a driving production.

Muziek Express Searching In The Wilderness

B5. Cuby and The Blizzards – I’m So Restless

A high energy rocker, “Restless” by Holland’s Cuby and The Blizzards, the B-side of their first single is a wild, guitar raving, mod flavored Euro-beat blast off!

Muziek Express Searching In The Wilderness

B6. Snobs – Heartbreak Hotel

The ridiculous outfits the snobs popularized do nothing to detract from their spirited approach to raving-up anything from “Buckle Shoe Stomp” to “Heartbreak Hotel”. Enjoying most of their admittedly limited success in Sweden, this 1965 released features and awesome live, wild sound. A video performance on the “Red Skelton” TV show in late 1964 has reportedly survived, rekindling Snob-mania amongst those already in the know. One could hardly do worse than to join them.

B7.The Buzz – You’re Holding Me Down

Having previously done business as the Boston Dexters, who released a strong single with “Nothing’s Gonna Change Me” In 1965, England’s The Buzz hooked up with eccentric producer Joe Meek in 1966 to record this, their sole 45. The full range of Meek’s studio genius is displayed on this recording, with highly compressed vocals being blasted by staccato bursts of machine gun guitar, all drowning in a cesspool of echo and feedback. This release stands as one of Joe Meeks finest: wild, adventurous, no holds barred experimental rave-up.

B8. Alan Pounds Gets Rick – Searching In The Wilderness

OUT-FUCKIN’-RAGEOUS!

 

Germany Deutschland Oktoberfest Cincinnati Munich Lederhosen Prost Stein Sauerkraut Spatzl

Click here for a random Rebuilt Tranny Post!

download below

Since 1976 Cincinnati’s held it’s annual Oktoberfest festival at the heart of downtown to celebrate the city’s German heritage. Over the years Oktoberfest in Cincinnati, or Zinzinnati as it’s known during the festival, has steadily attracted more and more visitors. Now, with over 500,000 people annually, Cincinnati’s Oktoberfest celebration is the biggest North America and the second largest in the world behind the big daddy partei in Munich.

The beer, the brats, the oompa bands and the girls in short German dresses it a pleasant affair for everyone in attendance…well, almost everyone. Last year, during “The World’s Largest Chicken Dance,” I bore witness when things went horribly, horribly wrong for one tiny dancer.

Oktoberfest Cincinnati Munich Lederhosen Prost Stein Sauerkraut Spatzl Chicken Dance Beer Dunkel Warsteiner Ale Keg Polka

Weird Al: Harbinger of Death

It was seemingly a typical Oktoberfest day on Fountain Square. As usual, I arrived early to make sure that my favorite beer, Christian Moerlein Fifth & Vine, would be in good supply while I built up a hefty level of trunkenheit to thoroughly enjoy the kitsch that is Oktoberfest.  I don’t know about you but watching dachshunds wearing big styrofoam hot dog buns race is a hell of a lot more enjoyable if you’re kicked back with a few dozen pints of lager.

Oktoberfest Cincinnati Munich Lederhosen Prost Stein Sauerkraut Spatzl Chicken Dance Beer Dunkel Warsteiner Ale Keg Polka Daschund Weiner Dogs Racing Fountain Square

Looka me go! Mein torso ist so streamlined! Züm züm!

Well, last year everyone had the same idea as me and started getting loaded early. Men, women, grandfathers, grandmothers, aunts, uncles, baby daddies and baby mommas were all getting sauced ASAP so the incessant sound of the clanging glockenspiels would induce pleasure rather than a Rhine-load of pain. I even saw a few stroller-rollin’ babies rockin’ a bottle of the brew, jimmy-rigged with a rubber nipple. Granted, they were mostly drinking weak-ass Bud Light, but still…babies need to drink responsibly.

Oktoberfest Cincinnati Munich Lederhosen Prost Stein Sauerkraut Spatzl Chicken Dance Beer Dunkel Warsteiner Ale Keg Polka Daschund Weiner Dogs Racing Fountain Square

Somebody get this little dude a stein, stat.

It got to the point that by early afternoon the entire crowd of half million was entirely shitfaced. Those that weren’t puking into the gutters were doing all sorts of terrible things. I witnessed furious leiderhosen-on-leiderhosen dry humping on Vine Street. On 5th I spied kids using the aforementioned wiener dogs as footballs in terribly accurate reenactments of Carson Palmer’s playoff game knee snap. On Walnut I saw one guy poop in a tuba. And everyone was spilling their beer–precious, precious beer–all over the place. It was horrendous.

Oktoberfest Cincinnati Munich Lederhosen Prost Stein Sauerkraut Spatzl Chicken Dance Beer Dunkel Warsteiner Ale Keg Polka Daschund Weiner Dogs Racing Fountain Square Burger King Crown Wizard Glasses

Convicted Tuba-Pooper

Everything was getting real at a maddening pace when, suddenly, a voice came over the PA system from Fountain Square’s main stage. “Listen up you sons of bitches, I got something to say.” It was Nick Lachey and he was wasted. Well, wasted wouldn’t really do it justice. It would be fairer to say that there was a life-size marionette of Nick Lachey up on stage being operated by an amateur puppeteer. The only thing that held him up was two Thai women in shiny golden dirndls…at least I think they were women; they looked pretty buff. But I digress.

“I’m Nick Lachey, you pussies, and it’s (hiccup) it’s time for The World’s Largest Chicken Dance!” The crowd let out a tidal wave of cheers, burps and ticklish laughter in response. “Nick Lechey says get up to the stage and shake your tail feathers, you Midwestern hillbilly shits….uh, I mean sexy Cincinnatians!” And with that cordial invitation 500k drunken wahoos (myself included) stormed Fountain Square and somehow lined up single-file, row upon row…hungry for Nick Lachey’s command.

Oktoberfest Cincinnati Munich Lederhosen Prost Stein Sauerkraut Spatzl Chicken Dance Beer Dunkel Warsteiner Ale Keg Polka Daschund Weiner Dogs Racing Fountain Square Burger King Crown Wizard Glasses

Hometown Hero, Dance Führer

The music started instantly. “Duh nuh nuh nuh nuh nuh nuh, duh nu nu nu nu nu nuh, duh nu nu nu nu nu NUH, *CLAP* *CLAP* *CLAP *” went the battle cry. And on it went; over and over and over. As time elapsed the pace gradually increased. It was imperceptible at first but with each chicken-like movement I could feel the lactic acid building from wing to beak. When I thought I could take no more I looked up at Nick Lachey with eyes that screamed, “Why Nick Lachey, why?” He only responded with laughter and another crank of the PA’s tempo knob.

This is where things get blurry. It’s a pretty emotional memory, so bear with me. I remember there was a younger married couple in front of me doing the poultry jig. In between the two there was a young boy in a stroller, no older than two, destroying the contents of a 2-foot glass boot stein. When the song started the couple were spaced a safe distance from their tipsy toddler. But as Nick Lachey turned the Chicken into a Wild Turkey the couple lost all bearing of time and, more terribly, space.

Without warning the woman, a curly-headed brunette wearing jort overalls, started kicking her Keds high with each clap. One of these wayward kicks landed squarely on the right temple of her sauced son. This sent him flying to the left, and into the path of the prematurely balding husband. He too, at the whim of Nick Lachey’s demonic knob fiddling, found his legs with a mind of their own…stomping and stomping to their own delight. Their son, now passed out from a combination of drink and traumatic stroller tipping trauma, never saw the Reaper’s cold hand. The husband’s top-siders came down on the crown of his son’s skull and out spilled the memories of a first birthday, of first snowfall, of his first German pilsner.

But the man, wearing tortoise-shell glasses prescribed for myopia, didn’t stop stomping. The music had complete and utter control of him. If anything, his speed increased…controlled by the twitching fingers of Nick Lachey.

And you may ask yourself, “Why didn’t I read anything about this in the papers?” Well, the reason is both simple and disgusting. The latter half of Cincinnati’s summer had been a particularly dry one. Because of this the concrete tiles on fountain square were particularly porous. Mix this with the fact that the chemical engineer with P&G didn’t stop clucking and kicking until his son, from head to toe, was completely liquified. Simply put, the aqueous remains of his son were thoroughly absorbed by the tiles of Fountain Square. His parents’ inebriation was so complete they plum forgot they had a son, skeletal system and all, when they sobered the following week. It’s a tragedy from top to bottom, yes sir.

So, this year when you visit Zinzinnati’s Oktoberfest, make sure you pour some Doppelbock out for Little Billy. It’s been a while since he’s had a good German draft.

Oktoberfest Cincinnati Munich Lederhosen Prost Stein Sauerkraut Spatzl Chicken Dance Beer Dunkel Warsteiner Ale Keg Polka Daschund Weiner Dogs Racing Fountain Square Burger King Crown Wizard Glasses mustard

Dig In!

>>>Click To Download German Beer Drinking Music on 320 kbps MP3

Tracklist

1. Ein Heller Und Ein Batzen

2. Die Blauen Dragoner

3. Oh, Du Wonderschoener Deutscher Rhein

4. Schwartzbraun Ist Die Hazelnuss

5. Unter Dem Doppel Adler

6. Morgen Marschieren Wir

7. Steig Ich Den Berg Hinauf

8. Waldeslust Ich Den Berg Hinauf

9. Das Schoenste Auf Der Welt

10. Glaube Nicht Ans Rehbocknest

11. Wenn Die Soldeaten Durch Die Stadt Marschieren

First off, I want to say thanks to Jeremy and Yoshiko for translating the album name and track titles for the site. If it hadn’t been for those two love birds this post would have been labeled “Japanese Spaghetti Dinner”. The Koto and Shamisen, mixed with an accordion on the first track, evoked images of Yakuza and Mafiosos caught in a mortal struggle for the last piece of garlic bread during an ill-conceived dinner date.

According to Yoshiko the title of this album has a double meaning. “Ruten directly translated means “never ending change,” or something of that nature. In this case, though, it probably means a wandering musician who doesn’t have a particular destination.” Pretty nifty.

The rest of the album cover, mainly the track descriptions, uses pretty antiquated Japanese wordage and wasn’t translated. Maybe you happen to know early 21st century formal Japanese script really well and want to take a look. You can peep them here:

Front

Back

Koto Musicians

Sachiko Tanaka

Shigeru Kubo

Shamisen Musicians

Sadano Jyou

Jyou Ji

>>>Click here to download Ruten

Tracklist

1. Ruten

2. Street Corner In Shanghai

3. 13th Night Of Lunar Month

4. The Moon In Otone

5. Parting Vessel

6. News From Shanghai

7. Little Song Of Nozaki

8. Atami Blues

9. Green Horizon

10. Manchurian Girl

11. Tokyo Love Story

12. Meiji Woman



Click here to download barrels of fun at 320 kbps!

Festival season once again reared its drunken head in Covington this past weekend. I figured I’d share a little sweet treat to celebrate the upcoming months of Hudy Delight, Goetta Balls and common-law love in the Commonwealth. Here’s a collection of traditional Dutch carnival music to creep your balls off. The album features the following jolly time instruments:

The Carillon

Introducing Willem, the star attraction for ladies' night at the Amsterdam public library.

The Music Box

Kiss your 808 goodbye!

 The Barrel Organ

There are also a lot of other instruments on here that don’t seem to exist anymore in a functional capacity, at least on the first 3 pages of any YouTube or Google Image search. These include but are not limited to the canary organ, the tongue organ, and the belly organ. The weenis organ is featured on the rare 7″ epidermis-colored bonus disc for this album that, unfortunately, isn’t in my collection.

It’s my hope that someone will take this album and sample a bit of it in the worst way possible. That, of course, would be in the same vein as the following song by Mark Mothersbaugh:

Please, I need it…so badly.