Give Us This Day Our Daily Sauce

Ahh, the plight of a disc jockey.

This is a really cute country western song about being a radio DJ. And Hank should know. A little bit about West Texas’ own Harral from LoneStarStomp:

Hank Harral began his singing career as “The Happy Yodeler” at KGRS and KDGA, in Amarillo. By 1933 he packed up and moved across the border to Clovis to be a disc jockey (“Hank the Cowhand”) at KICA. After 14 years on the board, he relocated back to Texas, and KSEL in Lubbock, where he formed his group, the Palomino Cowhands (with Ace Ball on guitar, Cecil Hadaway on fiddle, Harvey Wilson on steel guitar, Curley Thomas on bass, and Sam Baker on piano). Between 1949-1950, the group recorded a handful of songs at the station, which were later released by the Dallas-based Star Talent label, including “Dream Band Boogie.”

See you all real soon - good lord willing and the creek don’t rise!

—-Eddie

Better than The Rolling Stones

This song is off a compilation called Brazilian Nuggets, which is a great longstanding collection of Brazilian groups covering tons of U.S. and British psych/rock songs. Also included is a bunch of incredible original shit, a small leg in the greater framework of 60’s Brazilian psychedelia - which like every other country’s psychedelic movement was unique and distinct from the more familiar English-speaking bands who influenced them. Portuguese sounds better than English, so my mind is made up. I’m all like, “Whatever, Rolling Stones.”

—-Eddie

Punk from 1960!

There are a select few songs that I have a hard time believing were recorded before the punk era. This is one of them.

There’s practically no information about Morty Shann and the Morticians. Norton Records pressed a 45 of their two known songs a few years ago, which they say were recorded in 1960. That would mean these guys, whoever they were, predated not only The Ramones, but also The Sonics and The Trashmen.

This is some of the wildest music recorded in this era, and I’ve yet to hear anything from this time as out-of-control as this, with the possible exception of Hasil Adkins.

I’m reminded of the scene from the very funny movie “Walk Hard” where Dewey Cox discovers cocaine, and insists on playing his music as loud and fast as possible. “Ain’t nobody gonna wanna listen to music like this,” his guitarist says. “You’re standing there, playin’ as fast as you can, singing like some sort of…punk.”

I can’t help but imagine that whoever pressed this track by Morty Shann and the Morticians in 1960 thought the same thing.

-Nick

A Plea To The Opponents and Skeptics of Lifestyle Bacchanalia:

I propose to you on behalf of all the any-time drinkers, functioning alcoholics, and otherwise it’s-5-o’clock-somewherers, that we, the imbibers, have been empirically proven to execute our daily tasks and duties with finesse and ease while being in some way intoxicated. On the seldom occasion when our inhibitions get the better of our judgment, it is often calculated and accounted for from a previous and more-sober disposition. We hereby implore you to disregard the amount of alcohol consumed during the course of fancy dinners, casual get-togethers, or household activities, and that our behalf understands well that the same volume taken in might have dangerously dissimilar effects on your average Jane. I charge that we are not your average Janes and Joes, and that we, the chosen children of the grain, rye, malt and juniper, are in no need of assistance in this our most natural and harmonious state.

Besides, what’s the use in getting sober when you’re just gonna drink again?

—-Eddie

There are many treats here gained

Just when I had thought Genghis Blues had taught me all I needed to know about the hypnotic beauty and endless pairing-possibilities of Tuvan throat singing, this guy comes along and ruins everything. Ruins is the wrong word.

Oiun was a political prisoner of the 60’s Russian regime in Tuva. In classic dictatorial S.O.P., they vilified him for being a musician and stuck him in a work camp for 33 years, which is when most of his work was conceived. The sombre accordion breathing behind this guy’s unique Tuvan technique is breathtaking, and more than paints a picture of what those 33 years might have felt like.

Enormous treat at 3:00 when he turns the whole thing upside down in what I can only imagine as some desperate climax or relief from the sadness of the rest of the tune.

—-Eddie

We Want More! We Want More!

If you listen to this song and you’re not picturing a high speed car chase, you’re doing it wrong.

-Nick

Johannesburg, 1945

Given the location of this African oldie, it’s probably not a huge surprise that this was recorded in a proper studio rather than in the field. All of the tracks on this compilation of early (1920s-early 1950s) African toons were recorded in studios - pretty common considering music industries were developing all over (especially in South Africa). It’s weird to hear this and think about how new the lapidary power of recording was to these folks who had been doing this for years ‘unnoticed’. I guess I mean it’s weird to hear something so confidently laid down this early, when at the same time abroad there were field recordings of musicians feeling somewhat uncomfortable with the technology, who came off a little wooden or goofed up a tune they’ve played for years. There’s a ton more of it outside this particular comp.

Which reminds me! Don’t forget to pay tribute to the mighty Ghost Capital who makes it his/her personal business to share rare ass international recordings from their giant kick-ass collection.

—-Eddie