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JectWon said:He should have been played by an Asian woman. It's clearly what he was trying to morph into.
I know we really shouldn't keep dwelling about these recently deceased musicians, and I agree that it's probably a better idea to keep all the discussions in The 2017 RIP Thread. I just personally feel that David Axelrod in particular shares a pretty big significance for me, and a lot of you out there. Maybe we can just all share some appreciation for the man one last time.
I guess it never really connected with me to think of him as a religious artist. I wasn't sure that the Electric Prunes management had the original concept for Mass in F Minor, or if that concept was conceived with David Axelrod in the studio. I knew that it's inclusion in the movie Easy Rider was definitely a landmark for David Axelrod's career. However, that album was nothing in comparison to the magnificent Release of an Oath. The story of Axe kicking out the original Electric Prunes to make that album is now infamous. I feel that his work with Carol Kaye, Earl Palmer, Don Randi, and Howard Roberts was truly masterful. Songs like "Holy are you" displayed equal parts cinematic, orchestral, dark, soulful, and fun.
When I first listened to Release of an Oath it completely skipped past me that the Kol Nidre was basically Jewish church music. I knew there was some religious tones on that album, but the concept didn't push past the surface for me. I was at Fingerprints record store in Long Beach California when I came across my copy. The guy at the counter asked me if I heard the western sounding album by Axelrod. This was sometime in 2003, and I was totally a know it all Timmy dig-a-lot at this point. I knew that Axe did a bunch of shit in the 50's that I didn't have much knowledge about, but this guy clarified that there was another religious David Axelrod album that sounded like a psychedelic western made in the 70's.
This of course grabbed my attention, because this was around the same time that I discovered the comic book Blueberry, and Alejandro Jodorowsky's El Topo. Little did this guy know that if someone would mention a Psychedelic Western to me at this point of my life the hairs on my arm would stick up, and my spider sense would go crazy. Of course I kept my record digging poker face on, and acted like I've known about this record my whole life.
Me:"Oh yeah man, of course I heard that record are you kidding me.. What was the name of it again?"
Record clerk: "Messiah"
Me: "You guys got any copy's of it here?"
Record clerk: "It's past through here a few times, but we don't have any in store. Good luck finding one!"
So, I did a deep Google search for the Messiah record, but at the time not much popped up. I forget if I was doing Napster or Soulseek at that time. I just remember that Youtube didn't link to an audio clip of every record in existence at that time, and it was still hard to do research about records without knowing people, talking about it here on the strut, asking record dealers, or record store clerks. It actually took me a few years before I found a copy of this record on the wall of a local record store at a price I couldn't afford.
Later I got a chance to find the song online so I could finally hear Axelrod's so-called "Western", and it was FUCKING GREAT! I'm surprised I never hear people talk about this album, because to me it sounds like Ennio Morricone meets David Axelrod. Earl Palmer, and Carol Kaye return as the ultimate rhythm section, and it picks up right where the Release of an Oath sessions left off. You got Howard Roberts back in full on Jimmy Page shred face mode. Only this time David adds Cannonball Adderly. My ears had a total Hallelujah moment, and I've been looking for an affordable copy of this record in the wild ever since.
Rest in Peace Axe, Cannonball, Earl, Howard. Your music was and still is transcendent!
I'm actually excited to hear this reissue by Light in the Attic. Has anybody heard these yet?
Production by Miles Davis & Teo Macero with performances from Harvey Brooks, Billy Cox, Herbie Hancock, John McLaughlin, Mitch Mitchell, Wayne Shorter, and Larry Young, along with Hugh Masekela and members of The Jazz Crusaders.
When I first was discovering Betty Davis I thought she had a great look and amazing story,but found some of her music lackluster. It wasn't till much later when I was leading a funk band we started covering If I'm in luck I might get picked up. I then got a new appreciation for what she does with her vocals. Which I feel is particularly original, and very un-feminine. The only other vocalist I can think of that was so abstract and funky was Annette Peacock.
So anyways this reissue is creating a little buzz on the internet. I was wondering if any of you guys have heard it yet?
Also, is it just me or does this docu look odd as fuck...
SPlDEY said:David Lynch is one of the surrealist directors that I hate the most. That being said I thought Eraserhead, elephant man and Mullholland drive were excellent compelling films. b,121b,121Mullholland drive made 100% sense to me, until the film switched over. Then it left me thinking WTF until the end of the film, and made me question understanding any of the film. Probably was the only film that has ever done that. It begs for being rewatched, and I think after multiple viewings that you gain a full understanding of where the narrative is trying to explain. b,121b,121Blue velvet and lost highway are super overrated. b,121b,121I still haven't seen inland empire yet, but I'll probably catch it on rental. b,121b,121I still wish jodorowsky would've directed dune. b,121b,121- spidey
I think it's entirely human to feel this incessant desire to want to organize information in your head. For example 999999999999999999999999 is much more satisfying then 28-7418-2#9C74274-821787874878f. I think the problem most people in America have with understanding complicated films is that they are naturally trying to figure out a Beginning, Middle, End and possibly even a moral deep meaning.
The reality is that nature is not designed to give you a satisfying experience. Things typically just happen, and it's up to you to find your own meaning to it. I noticed that most directors that focus on the language of visuals have understood that compelling art is not necessarily about the story you are telling. If you think deeply about it, leaving things up to your interpretation is the medium that all great creators work. Chefs, Architects, Engineers, Writers, Picasso, Salvador Dali, Fellini, Houdini, God. I don't think that Lynch himself couldn't even begin to imagine the depths of what people see in his films. I find it commendable that in his art he never intentionally tries to manipulate you into how to think or feel.
That's the beauty of this Mulholland Drive, and all of his films. It's intentionally grotesque, disjointed and some parts just feel wrong, but there are some deeply memorable moments that somehow resonate with you on some level and somehow wind up deep into this mental visual library of every film you've ever watched. Like the strange guy behind the trash can, baby wants Blue Velvet, the unexplained blue cube in the handbag, Bill Pullman going nuts on the sax, Strange baby with the measles dying. David Lynch works in this magic realm of unsettling minutiae hidden deep within your mind that you didn't even know existed.
ppadilha said:I watched it late one night and had the volume down low so as not to wake up the baby, but I do remember the story being crazy. Isn't there a part where they stay in some huge mansion making acid or something?