Mar

18

In 1980 Bernard Szajner composed a short piece of music for Amnesty International’s campaign against the death penalty, and then expanded it to a full-length recording. The original artwork included the Declaration on the Abolition of the Death Penalty, and Szajner dedicated the album to Amnesty International (he tried to donate all royalties to that organization, but their constitution made it impossible for them to accept donations in such fashion).

‘Some Deaths Take Forever’ is a concept album that is dark, brooding, and futuristic; an inventive album firmly rooted in rock, much like other quirky recordings of the era by Gary Numan, Jean-Michel Jarre, Robert Fripp and pre-ambient Brian Eno. Szajner’s day-job as a visual effects artist helped him recruit top-notch musicians from such influential European groups as Magma, Heldon, and Gong, who effectively add color, rhythm and texture to his robotic and hypnotic keyboard work. The first three tracks, subtitled ‘First Phase’, are sombre electro, as we follow a condemned prisoner into prison with the brooding ‘Welcome (to Deathrow’, to wait despairingly in his cell until the final ‘Execution’ devolves into fuzzy drones, feedback screams and whines, building the dread until sudden silence ends the side. The rest of the album, ‘Phase Deux’, probes the dark and dismal reality of lengthy imprisonment, with often reflective, hypnotic trancey music interrupted sporadically by the inconsequential sounds of a pocket radio; concluding with the sad, elegant ‘A Kind of Freedom’, a paean to man’s ability to hope while in seemingly hopeless situations. Most surprisingly, listening to ‘Some Deaths Take Forever’ is not really a gloomy listen, but manages to suggest the strength of human spirit and the values of justice and humanism, despite its dark subject matter.

Szajner (somewhat controversially) remixed and re-edited the long out-of-print album for the 1999 CD release on Spalax, so it is a bit easier to locate a copy. Exploring themes of death and imprisonment, Bernard Szajner’s ‘Some Deaths Take Forever’ created an urgent and unsettling minor masterpiece that deserves to be recognized as a classic of 80’s French Cold Wave and experimental electronica, and as such is highly recommended to all fans of those genres.

Mar

7

Subtitled ‘Ladi Geisler Play’s Russia’s Greatest Hits’, Volume 2 is a typically-capable Geisler record, featuring many of his own arrangements of traditional folk melodies plus such Russian-themed pop hits as ‘Those Were The Days’ and Jarre’s love song from the epic Dr. Zhivago, ‘Lara’s Theme’. Geisler again shows his marvelously fluid ability to simply create tone and expression, by turns rousing and dreamy, melancholic and upbeat, always spot-perfect. Balalaika and electric guitar are tackled with equal ease, while his long-term collaborator Horst Wende provides perfect fills, counterpoints and melodic support on accordian, marimba, and organ. As usual with these collaborators they have a difficult time sticking specifically to the restraints of the genre, for example injecting a mariachi horn section into ‘Casatchok’ or banjo in ‘Those Were The Days’, still it’s all in upbeat good fun. Another quiet gem, this album is recommended to all fans of easy listening guitar, as are all the solo recordings of one of the least-heralded guitar wizards of the 20th century.

Mar

7

It’s not really surprising that it took until 1968 for guitar wizard Ladi Geisler to release his first solo album; for his entire career he has been quietly in the supporting cast, capably and anonymously providing stellar support for dozens of German artists and bandleaders. ‘Guitar a la Carte’ finds Geisler exploring popular and lesser-known Latin tunes, from such standards as Malaguena and Spanish Flea to lesser-known pieces by Waldir Azevedo and Milton Nascimento. Rich in detailing and texture, Geisler’s performances are fluid, dynamic, and creative; the arrangements constantly serving up little surprises, a fuzzbox solo on Malaguena, a Djangoesque fill on Spanish Flea, and so on; with old pal Horst Wende providing melodic support on marimbas, piano and organ. This is a lovely record that should be heard by guitar fans of Chet Atkins, Tommy Emmanuel, or Les Paul, for example; and will be a welcome addition to any easy-listening collection.

Mar

5

A fan looking at the cover could be forgiven for thinking this was another run-of-the-mill disco era Delgado record; after all, ‘Music Box Dancer’ has been covered so many times, by so many artists, that even its unforgettable melody has become somewhat passe. That judgement would be a mistake, for this album is a gem - brisk, lively, superbly played and arranged, a dance record that distills much of the trademark Delgado sound into one of his best party records. Accomplished pianist Wende/Delgado was always ready to jump on a happy melody, and was literally the first to tackle this poppy Canadian hit, the same year it was released while it was still gaining steam on international charts. Yes, there are disco tracks, but not generic thumpers - the steady drum beats are enhanced by lively snares and cowbell, rhythmic bongos, marimbas, funky guitars, Geisler’s trademark snappy bass, all turning those songs into a smiling invitation to the dancefloor. He revisits familiar territory, updating his staple ‘Cielito Lindo’ with a galloping new arrangement by Joe Kirsten; entitled ‘Disco Mexicano’ it is mainly defined by quality steel-guitar work by Ladi Geisler, supported with sweeping strings and solid marimba play by Delgado himself. Geisler returns to the steel guitar on ‘Disco Tropicana’, a dreamy reworking of the traditional Hawaiian ‘Aloha Oe’ that he embellishes with Superfly-ish wah-wah as it evolves into a percussive footstomper. The slowest song is a Gato Barbieri version of Rodrigo’s classic ‘Concierto de Aranjuez’, with a surprisingly sublime performance on guitar, flute, strings, and trumpets, building warmly then lovingly riding Geisler’s acoustic guitar to a suitably low-key finish. Delgado/Wende shines on this record, with top-notch playing, production and arrangements; while some are certainly better than others, there isn’t a single duff track here. If you are curious why his records sell so consistently, this later work is not a bad place to start; and if you are a Roberto Delgado fan, you should add the lively and entertaining ‘Music Box Dancer’ to your collection immediately.

Mar

5

By 1974 it seemed that Greek music was going to carve a permanent place in western pop; ‘Never on Sunday’ and ‘Zorba the Greek’ had conquered screen and stage, Vicky Leandros, Demis Roussos, and Nana Mouskouri were established pop stars, and Mikis Theodorakis and Manos Hadjidakis had proven there were serious composers of considerable merit. Naturally it made a perfect opportunity for a Roberto Delgado record, and Horst and his pals stepped up with ‘Bouzouki’. That instrument, of course, takes center stage from the opening notes; the virtuoso Ladi Geisler’s adept bouzouki performance is reinforced by handclaps, dreamy voices and typically funky backup as the band meanders through a selection of pop hits. Horst ‘Delgado’ Wende is more than usual in the background, contributing occasional marimba and accordion flourishes, content to let the horns, voices, flute, insistent bouzouki and rhythm guitar lead the way. In typical Delgado fashion, the record does not stay stylistically on topic; for example, the horn section can’t resist sticking a mariachi fill into ‘To Treno’, while ‘My Friend the Wind’ references Ennio Morricone more than any Greek composition. Pleasant but unengaging, ‘Bouzouki’ is more an easy listening than Hellenic, appealing only to Delgado fans, and should be avoided by anyone seeking even a whiff of authenticity in Greek music.

Mar

4

The importance of music to Polynesian culture has always been a blind spot to Westerners and Easterners alike; without a written language, these sweet voices and languid melodies had the social task of collecting and passing on vital science, history, and social etiquette from generation to generation. Songs contained information on how to cultivate food, navigate stars, keep a family happy, and maintain genealogical histories, connecting an entire civilization on small islands separated by vast seas. When the United States forcibly annexed Hawaii in the 19th century, the citizens back home were told that the ignorant savages of these remote islands welcomed American protection and guidance, when, of course, nothing could be further from the truth. When the last Queen of Hawaii, Liliuokalani, toured the United States on the lecture circuit, she sang her own beautiful songs and chants pleading for her country’s independence; exotica-seeking attendees ignored the content and went home humming the happy melodies, dreaming of a pacific paradise and ignoring the disease-ridden reality at the heart of the Queen’s story.

For generations since, the story has been the same, and the Hawaiians, a genial people, eventually went with the flow. Hawaiian song and dance gripped the public imagination repeatedly, and traditional waiata evolved into hula songs and simple-minded sweet ditties. Hawaiian music became a theme for Cliff Edwards hamming it up as Ukulele Ike, Dorothy Lamour flirtatious and vivacious in a sari, Esther Williams vying with hula-skirted Rita Moreno, Elvis Presley’s languid mooing; and it is this Hawaii, of course, that Horst Wende references on ‘Blue Hawaii’. To him and his Hamburg crew it didn’t matter that no real musicologist would associate Hawaiian music with trombone, accordion, hammond organ, flute, electric guitar or electric bass guitar; evoking the public perception of polynesian paradise was all that mattered. Taken with all that in mind, this is a nice album; it moves languidly, with appropriate soft voices, gentle rhythms, ear-perking harmonics and excellent performance, covering much of the ersatz Hawaiiana of previous decades - Pagan Love Song, Blue Hawaii, Honolulu Ragtime Doll, and so on. As can be expected, guitar whiz Ladi Geisler is featured prominently, most notably on ‘Hawaii Tattoo’, with nice dual guitar interplay and an insistent backbeat leading into a swinging accordion lead. Unapologetically inauthentic and nicely executed, ‘Blue Hawaii’ is a slight Delgado work that will no doubt make long-time fans happily sway in their living room, wishing they had little umbrellas to put into their drinks.

Mar

3

As this album opens with the Francis Lai’s overplayed ‘Love Story’ theme in a bland ‘Manuel and the Mountains’-style arrangement, it is easy to assume this will be another forgettable Delgado commercial release; then, suddenly, there is a little jolt of adrenalin when an outstanding brief mariachi horn burst serves as a delayed fanfare. It gets better and better from there - ‘Latin Flutes’ emerges as a strong entry in the Delgado catalogue, a collection of fascinating moods and rhythms characterized by vibrant horn arrangements and fine stereo detailing. Thematically consistent and precisely played, the flute-central arrangements make this more reflective than other Delgado latin workings. Consistently upbeat as ever, these rhumba and samba arrangements are rhapsodic and romantic, often light and delicate. Each song naturally focuses on Herb Geller’s feel-good flute melodies, in turns countered or supported by Wende himself on Hammond organ, marimba, and vibraphone. Lovely as all this is, what makes many of the ‘Latin Flutes’ songs truly stand out are the brass arrangements. Trumpeters Charly Tabor, Werner Gutterer, Manfred Moch and Ack van Rooyen, and trombonists Ake Persson and Jiggs Whigham are superb throughout, contributing big fat lows, rousing fanfares and perky mariachi embellishments, inducing feelings of longing, contemplation, satisfaction and optimism. Yum. Highlights include the playful ‘Salambo Nr. 1′, in which the-often unobtrusive Ladi Geisler contributes a wonderful fuzz guitar part, and the Delgado-penned ‘La Boliviana’. If you are a fan of Roberto Delgado, you most certainly won’t be disappointed by ‘Latin Flutes’ and should add it to your collection at the first opportunity.

Mar

3

‘Hits a la Fiesta’ is exactly as it sounds, a reworking of late 70’s pop and disco hits in a latin manner, a la Delgado. Easy to dismiss, but hard to dislike, it displays all the Delgado hallmarks - stolid performances and arrangements, compelling latin percussion and dynamic horn parts, Geisler’s compelling knackbass and Wende’s proficient malletwork. What brings it down is the songs - late 70s pop was more style than substance, a sonic simple-minded wasteland that deserved to be trampled beneath the emerging styles of punk, new wave, and alternative rock. Delgado has always been adept at tarting up sweet and simple melodies, and does his work capably here; but reworking such dross as ‘Daddy Cool’ or ‘Da Doo Ron Ron’ only results in uber-dreck, no matter how well done. The three Abba covers are theoretically a perfect platform for Geisler’s patented knackbass style, but they really only serve to remind us of the dull banality of commercial disco music. Still, it’s impossible to really hate the record, as there are moments when the sheer ability and talent of this ensemble emerge and entertain the unskilled listener. More trivial than essential, ‘Hits A La Fiesta’ is a piece of processed sliced cheese from the Delgado larder, maybe a guilty pleasure for those whose appetites go in that direction, but unflavorable and non-nutritious for those with a more refined musical diet.

Mar

3

Marimba a la Carte’ was a top seller for Roberto Delgado in 1968; decades later it is hard to imagine why. Horst Wende’s marimba playing is capable and, at times, adept; but the arrangements are average and the choice of material, tired. It is a perfunctory recording, as the band goes through the motion on some of the Delgado staples - Cielito Lindo, Vaya Con Dios, Pata Pata - as well as such anachronistic vintage pop hits as Terry Gilkyson’s ‘Memories Are Made of This’ and Blue Barron’s ‘Cindy oh Cindy’. Whatever the reason for its commercial success, the album is bland and uninteresting by Delgado standards, and now will most likely only appeal to completists or marimba fanciers. If you are looking for reasonable background music for a chatty cocktail party, this will be an acceptable choice; otherwise just leave it in the discount bin.

Feb

28

1965’s ‘Caramba’, suitably subtitled ‘Hot Rhythms From South America’, was a huge break-through record for Roberto Delgado and his ensemble, selling millions of copies world-wide and establishing them as a force in the marketplace. Neither as passionate as Prado or sweet as Cugat, ‘Caramba’ and its hot rhythms stake out a happy middle ground, where beautiful couples dance on the beach in front of a blazing fire, before retiring, aroused and happy, to their air-conditioned hotel rooms.

It still sounds fresh today, a superbly-produced collection of rhumba-inspired melodies that can still fill a dancefloor. Wende uses all his musicians terrifically on this one; the horn section is bright and articulate, while drummer Rolf Ahrens steps up repeatedly to provide suitable polyrhythmic support. Most noticeable is the brilliant guitar work of quiet superstar session man Ladi Geisler, who repeatedly steps in with impeccable leads and perfect timing. Geisler also plays the bass, his distinctive ‘knackbass’ style giving all the songs a real feel of immediacy, guaranteeing listeners will feel an impulsive thrill in the urge to jump up and dance. Still in print, ‘Caramba’ is a perfect party platter and a great start for anyone curious as to why Delgado remains an iconic figure in the world of schlager and world music.

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