In the spirit of the season, I wanted to share some of my favorite releases of the year. Such a nuts year for music, with huge leaps of brilliance happening in so many radically different genres! Obviously this isn’t meant to be exhaustive or authoritative; just some personal highlights. Quite a few of these are giant major label releases, so I’ll be taking down those download links quickly or leaving them off accordingly. Let me know if links are broken. Happy new year!
Previously: 2017 | 2016 | 2015
Tracklist:
1. Margo Guryan – Think Of Rain
2. Javier Somarriba – Contigo Llegaron Los Colores
3. Joni Mitchell – God Must Be A Boogie Man
4. Wendy & Bonnie – Children Laughing
5. Nadi Qamar – After Glow
6. Maki Asakawa – ふしあわせという名の猫
7. Once – Joanna
8. Affinity – I Wonder If I Care As Much
9. Linda Cohen – Arroyo
10. Mariangela – Memories of Friends
11. The Cyrkle – The Visit (She Was Here)
12. Judee Sill – The Archetypal Man
13. Quarteto Em Cy – Tudo Que Você Podia Ser
14. World Standard – Loving Spoonful
15. Robbie Basho – Orphan’s Lament
16. Psychic TV – White Nights
17. Colin Blunstone – Smoky Day
18. Mary Margaret O’Hara – You Will Be Loved Again
19. Pat Metheny, Lyle Mays & Nana Vasconcelos – Estupenda Graça
One-off psych-folk record from musician-actress-model Nancy Priddy. As I understand it, her label dropped the ball on promotion, and though I imagine 1968 audiences would have been very enthusiastic about an experimental psych-folk-pop album with lush instrumentation, tasteful application of distortion, and girl-group inflections, the record never made it very far into the world. Since then it’s become a quiet collector favorite, and it’ll only take you a few seconds to appreciate why.
The range of moods, textures, and vocal personas that Priddy, who co-wrote the whole thing, touches in the span of just over half an hour is remarkable. It’s perhaps most clearly embodied in the shapeshifting “Mystic Lady,” which turns tonal corners with surprising speed and yet still feels utterly seamless, moving between psych folk balladry, sunshine pop, baroque horns, and a particularly good gospel-soul breakdown finisher. It sounds like enough to give you sonic whiplash, but Priddy carries it impressively well, especially considering that this was the only full-length she ever made. (She had previously recorded backing vocals for Songs of Leonard Cohen, and went on to cut a single with Harry Nilsson and contribute to Mort Garson’s Signs of the Zodiac, but effectively retired from music shortly thereafter to continue her acting career.)
I love that none of these songs are love songs, at least as far as I can tell. I also love the flexibility of Priddy’s voice–my favorite mode of hers is quietly salty, slinging words around with a touch of unamused thorniness as on opener “You’ve Come This Way Before.” Elsewhere, she veers into sultry Judy Garland-esque jazz vibrato, ethereal straight tone, and yé-yé-esque coyess. Her implementation of vocal harmonies–presumably some of which include backing vocalists, though I’m unable to find their names anywhere–is gorgeous. Perfect production by Phil Ramone. A real powerhouse of a record. Good for fans of Honey Ltd., Dusty Springfield, Jefferson Airplane. Listen in headphones if you can. Enjoy!
Please enjoy this Halloween special of Getting Warmer for NTS Radio. Featuring overtones, appalachian folk, Tibetan chant, a Delia Derbyshire side project, baroque psych, Kwaïdan, Throbbing Gristle, and lots more. You can download an mp3 version here.
Just a note that there are some things in here that are startling and disturbing, or at least I think so, so if you don’t like listening to scary things I would suggest giving this one a pass.
Tracklist:
1. Buffy Sainte-Marie – Poppies
2. David Hykes & The Harmonic Choir – Gravity Waves
3. Dorothy Ashby – The Moving Finger (excerpt)
4. White Noise – Love Without Sound
5. Karen James – Ghost Lover
6. Throbbing Gristle – Hamburger Lady
7. Ghedalia Tazartès – Une Voix S’en Va
8. Syd Barrett – Golden Hair
9. Monks of the Monastery of Gyütö – Sangwa Düpa (excerpt)
10. Geinoh Yamashirogumi – Osorezan (excerpt)
11. Tōru Takemitsu – II. Yuki (The Woman of the Snow)
12. Anna Homler & Steve Moshier – Sirens (excerpt)
13. Lead Belly – In The Pines
14. The Caretaker – My Heart Will Stop In Joy
15. Dead Can Dance – Wilderness
16. Dorothy Carter – Along The River
17. Jean Ritchie – The Unquiet Grave
A record comprised entirely of mama likembi, a homemade instrument consisting of a grouping of African thumb pianos (aka likembe, mbira, or kalimba), meant to be played with the fingers rather than the thumbs. Before his conversion to Islam, Nadi Qamar was known professionally as Spaulding Givens, and you may know him as a revered jazz pianist and composer. Born in Cincinnati in 1917, of “Seminole, Cherokee, and African heritage,” he recorded extensively with Mingus in the early 50s and performed with Max Roach, Charlie Parker, Oscar Pettiford, Lucky Thompson, and Buddy Collette. His later career saw him focused on African instrumentation and ethnomusicology: he produced several large-scale performances of his own compositions, toured with Nina Simone, taught voice, piano, and orchestra at Bennington for seven years, and made a series of mama likembi records for Folkways,* some of which are highly instructional and technical audio guides.
The Nuru Taa African Musical Idiom is gorgeous. Under deft hands, Qamar’s mama likembi sounds like a harp, a classical guitar, a koto, and still like itself. Cloaked in a thick layer of roomtone, these recordings feel just as small and intimate as one might hope. You can hear she shifting of Qamar’s clothing, hear his hands brushing up against wood. And you can hear him shifting in and out of different tunings, “draw[ing] from many sources to project a contemporary Black expression,” as he writes in the liner notes. Though Qamar’s interest in music’s spiritual potential is plain, this is shy, discreet music, ideal for background music while working or even for meditation. It’s also excellent music to hole yourself up indoors with when it’s suddenly very cold outside.
*If you’re unfamiliar with Folkways, it’s a terrific catalogue to sift through if you have a free afternoon or ten. It was founded in 1948 to document “music, spoken word, and sounds from around the world” and was acquired by the Smithsonian Institute in 1987. Since then, the Smithsonian has kept all of their 2000+ titles available on their website.
Here’s my most recent episode of Getting Warmer for NTS Radio. As I’ve mentioned before, our current political trashcan fire has left me feeling pretty sapped, so while this mix isn’t particularly high-concept, I wanted it to be a collection of songs that make me really happy, that feel light (though they’re not necessarily light in terms of subject matter). Highlights include sunny, sparkling Pakistani pop from Nazia Hassan and a gorgeous, Enya-tinged figure skating ballad with very lol lyrics from Sally Oldfield. You can download an mp3 version of it here. Sending love to anyone who needs it.
Tracklist:
1. Aretha Franklin – Daydreaming
2. Ame Strong – Tout Est Bleu
3. Mr. Twin Sister – Power Of Two
4. Nazia Hassan – Dum Dum Dee Dee
5. V.O. Mashisa (Dub)
6. Kid Creole & The Coconuts – I’m A Wonderful Thing, Baby
7. Al McCall – Hard Times
8. Lynsey de Paul – Strange Changes
9. Kimiko Kasai – バイブレイション (Love Celebration)
10. Asha Bhosle – Raat Jo Tune Deep Bujhaye Mere The
11. George Benson – Gonna Love You More
12. The Heptones – Black On Black
13. 川辺ヒロシ – キミトナラ
14. Sally Oldfield – Giving All My Love
Apologies for a few weeks of silence–I fractured a finger in a bike accident recently, and while I’m happy to be otherwise unscathed it’s made typing a nuisance. I’ve also been feeling so depleted by and sad about our ongoing Supreme Court drama that I haven’t had it in me to think about much else. But, it’s fall, which means I’m listening to Robbie Băsho, and maybe you should too.
Though Băsho’s life was tragically cut short by a freak chiropractic accident, he accomplished so much in his twenty years of making music and left us an impressive catalogue to celebrate. He went to military school, then pre-med. He painted, sang, played trumpet, played lacrosse, lifted weights, wrote poetry, and changed his name to Băsho after the Japanese poet. He went through phases of cultural and musical obsession, including Sufi, Buddhist, Hindu, Japanese, Indian classical, Iranian, Native American, English and Appalachian folk, Western blues, and Western classical “periods.” He “used open C and more exotic tunings and he developed an esoteric doctrine for 12- and 6-string guitar, concerned with color and mood. He spoke of ‘Zen-Buddhist-Cowboy songs’ a long time before Gram Parsons mentioned his vision of Cosmic American music.” He studied under Ali Akbar Khan. He pushed for a broader appreciation of the steel-string guitar as a classical concert instrument. He made 14 studio albums in 19 years. He wrote “a Sufi symphony” and another for piano and orchestra about Spanish and Christian cultures coming to America. He’s considered one of the geniuses of American folk and blues, and yet his name often gets lost in conversations about John Fahey, Leo Kottke, and Sandy Bull.
Visions Of The Country was recorded at what was arguably the peak of his musical power, two years before he played the concert recorded in Bonn Ist Supreme(you’ll notice some of these songs show up there as well). It’s a sprawling love song to America, and it seems to exist fully outside of 1978, with Băsho’s voice and sensibility looking both backwards, to early Americana folk and blues; and forward, with his explicit borrowing from global music traditions. He contributes some gorgeous whistling, most notably on “Leaf In The Wind,” and his whistle is every bit as theremin-like and expressive as his singing voice would suggest.
This is a potentially blasphemous thing to say about such a singular guitarist, but my personal standout is “Orphan’s Lament,” which features only Băsho accompanying his signature quaver on a slightly out-of-tune piano being played with the kind of abandon you might expect to hear after a few drinks. I love that the piano part alternates between a very pastoral folk melody and sounding almost like a hammered dulcimer. His voice is at its most brutally effective and emotively pure here, which is to say, blast this in headphones if you want to do some real ugly crying: “Born for love and nothing more/Given away cause we was poor/Will you wait, will you wait for me?” Băsho himself was orphaned as a baby, and the liner notes dedicate this song as follows: “To all the little orphans of the rainbow; and may they find the gentle hand of the Creator.”
Still, though he gives airtime to piano, strings, voice, and whistle, he never lets us forget what he can do with a guitar. I love that Visions of the Country houses a few bare bones guitar parts that feel more in line with what a 2018 audience might associate with “folk music”–“Blue Crystal Fire,” for example, could hardly be more simple, and yet it’s broken wide open by, yet again, that plaintive and tremulous voice. Elsewhere, we hear more classic Băsho guitar construction: long builds of dazzling finger picking with big, cascading crescendoes, and always so much warmth. I’m reminded of his assertion that nylon-string guitars were suitable for “love songs,” but that steel-string guitars could communicate “fire.”
Take this for an afternoon walk if you’re able. I hope you enjoy it.
“My philosophy is quite simple: soul first, technique later; or, better to drink wine from the hands than water from a pretty cup. Of course the ultimate is wine from a pretty cup. Amen.”
At a time when self-care is as much a multibillion dollar industry as it is a punchline, it seems wise to look back to a more substantial model for the articulation and maintenance of self. I’m confident that no better an example can be found than Jeriann Hilderley’s wonderful 1978 avant-folk record, Jeritree’s House of Many Colors. Jeritree is both persona and methodology, one that Hilderley inhabits and directs. Coming from a tradition of sculpture and instrument-building, she describes her work as “ritual dramatic music (creating conscious space that is healing, releasing and expressive), women’s music (diving deeply into my own womoon-self for the materials…) and creative music (creating a whole new world of meaning that comes out of the particularities of my existence).” Healing, specifically healing oneself through self-directed activity, is a central theme.
I haven’t found a lot of biographical information on Jeritree, save for the wooden yet enchantingly solipsistic jacket text. The LP was distributed by Kay Gardner‘s Wise Women Enterprises in Maine and lists a P.O. Box at Madison Square Station. 1978 was an extraordinarily generative time for the downtown music scene, which would soon give rise to New Music America, an annual nomadic festival showcasing New Music. House of Many Colors is a record equally at home with the Takoma stable as it as among members of this scene who experimented with vocals, such as Shelley Hirsch, Kirk Nurock, and Anna Homler.
“Sea Wave,” the nine minute opener, is buttressed by rolling, cacophonous cymbal crashes. To say that these evoke, symbolize or otherwise represent the ocean’s violent cycles would be entirely wrong. These thunderous crescendos are waves. They physicalize the music, inscribing the body of the listener and binding her to its rhythmic imperative. Hilderley’s vocals are shimmering specters that emerge from the stereo and linger in space long after the record has stopped spinning. Less about communicating or aligning the song with a particular style or expressive mode, they are a kind of personal evidence in the offing. The album’s title number (alternately, “Symphony of Little Sprouts”) is shortened from a 30 minute ritual performance piece and is described as a “meditational healing chant.” For me, the true delight here is the final piece, “Through Your Blue Veil,” a stirring devotional tune in which Hilderley somberly returns her lover’s assorted virtues, somewhat tarnished (“I give you back your perfect mouth/Less perfect since I have known you”). Its emotional power is shocking, disarming, and without comparison.
Hilderley’s vocals work against the marimba’s casual agreeability, and, as is the case with Robbie Basho, I imagine them to be the record’s polarizing aspect. While the instrumentation is an ode to the sonic and psychoacoustic possibilities of the marimba, her mournful warble has more in common with jazz and soul singers, taking her project out of the folk register. Billie Holiday, Nina Simone, and even Maya Angelou’s 1957 one-off Miss Calypso all come readily to mind. Hilderley worked closely with recording engineer Marilyn Ries to “milk” the marimba’s rich overtones, drawing on Japanese, Mexican, African and Central American traditions.
The power of House of Many Colors is in many ways demonstrative, and it more closely resembles a kind of praxis than a display of artistic talent or ambition. Its politics operate on a broad formal level, without slogans or entreaties to identify or exclude. I am reminded happily of the experiments of Brazilian artist Lygia Clark, who by 1970 had given up plastic art for individualized psychotherapeutic encounters, or what she called “ritual without myth.” I can think of no better way to describe Hilderley’s stunning achievement.
This is a mix of mostly Spanish, Brazilian, and American orchestral pop music, largely from the 60s–cinematic songs that you would want to listen to while driving along a sunny coastline. It also includes some recent field recordings that I did on the Maltese coast, sounds of the mountains in the outskirts of Barcelona, inside the Barcelona subway, the jungles in Puerto Rico, and the mangroves of southern Florida.
Tracklist:
1. Waves in Dwejra Bay at the collapsed Azure Window, Gozo Island, Malta. June sunset 2018
2. Antonio González “El Pescaílla” – Chica de Ipanema
3. Antón García Abril – Sor Citroën
4. Breakwater in l’Escala, Spain. July afternoon 2018
5. Los Stop – El Turista 1.999.999
6. Augusto Algueró – Será El Amor
7. Frogs and a fountain in the Abbey of Montserrat, Spain. July night 2018
8. Henry Mancini – Party Poop
9. Canoeing in the mangroves, outskirts of Hobe Sound, Florida. August evening 2018
10. Papa Topo – Milano
11. Evinha – Estorinha
12. Alfonso Santisteban – Brincadeira
13. Crickets in a night hike by Collserola mountains just before raining, outskirts of Barcelona. July night 2018
14. Elsa Baeza – Dubeque Dublin
15. Antón García Abril – El Turismo Es Un Gran Invento
16. Taking the subway to rehearsal, Barcelona. July evening 2018
17. Alfonso Santisteban – Manías de María
18. Flipper’s Guitar – Coffee-Milk Crazy
19. Wildlife in Toro Negro rainforest, Puerto Rico. August night 2018
20. Me singing a vocal harmony
21. Le Mans – H.E.L.L.O.
22. Cicadas in Devil’s Millhopper, Gainesville, Florida; and weather forecast in Spain. August evening 2018
23. Marcos Valle – Êle E Ela
24. Stereolab – Miss Modular
25. ユキとヒデ (Yuki & Hide) – 白い波 (White Waves)
26. Los Mismos – Puente A Mallorca
My most recent episode of Getting Warmer for NTS Radio is an all 60’s special, which means that in addition to making a good case for the comeback of short songs, I was able to fit a lot into an hour. Featuring: a teenage Dolly Parton, a spaced out Joe Meek oddity, brutal heartbreak soul, a take on “Bend Me, Shape Me” that weighs a thousand tons, Peruvian garage rock, Ronnie Spector spitting pure rage at an unnamed man, an absolutely deranged Brian Wilson-produced version of “In The Still of the Night,” a cameo from the queen of rockabilly, an Indonesian Beegees cover, and of course, plenty of girl groups.
I love how 60s vocals sound as if everything is being sung with the caps lock on and too many exclamation points–they really grab you by the throat. I love how a song about a woman being disinterested in having sex manages to be anything but prudish or coy, and instead sounds like a venomous, gravelly diatribe delivered from somebody’s dirty basement. I love the unabashed melodrama and the blown-out, gritty production. I love how markedly less prim the musical ethos was than what preceded it, how much more raw and punk. This is one of my favorite musical eras and a lot of these songs make me cry–perhaps least explicably, “Egyptian Shumba,” which is still one of my all-time favorites–so I hope you enjoy this music as much as I do! You can download an mp3 version here.
Tracklist:
1. Lou Christie & The Tammys – Outside The Gates Of Heaven
2. The Exciters – Get Him
3. Timi Yuro – What’s A Matter Baby (Is It Hurting You)
4. The Cookies – Softly In The Night
5. The Cats Meow – La La Lu
6. Little Frankie – I’m Not Gonna Do It
7. Claudine Clark – Party Lights
8. The Models – Bend Me, Shape Me
9. Screaming Lord Sutch – Don’t You Just Know It
10. Wanda Jackson – Fallin’
11. The Ronettes – He Did It
12. The Honeys – In The Still Of The Night
13. Joe Meek – Orbit Around The Moon
14. Rosie Lopez – I’ll Never Grow Tired
15. The Crystals – He’s A Rebel
16. Dream Team – There He Is
17. Los Saicos – Ana
18. The Ikettes – I’m Blue (The Gong-Gong Song)
19. The Tammys – Egyptian Shumba
20. Dara Puspita – To Love Somebody
21. Ben E. King – Don’t Play That Song (You Lied)
22. The Shannons – Little White Lies
23. Solomon Burke – If You Need Me
24. Dolly Parton – Gonna Hurry (As Slow As I Can)
Here’s my newest episode of 
One-off psych-folk record from musician-actress-model Nancy Priddy. As I understand it, her label dropped the ball on promotion, and though I imagine 1968 audiences would have been very enthusiastic about an experimental psych-folk-pop album with lush instrumentation, tasteful application of distortion, and girl-group inflections, the record never made it very far into the world. Since then it’s become a quiet collector favorite, and it’ll only take you a few seconds to appreciate why.
The range of moods, textures, and vocal personas that Priddy, who co-wrote the whole thing, touches in the span of just over half an hour is remarkable. It’s perhaps most clearly embodied in the shapeshifting “Mystic Lady,” which turns tonal corners with surprising speed and yet still feels utterly seamless, moving between psych folk balladry, sunshine pop, baroque horns, and a particularly good gospel-soul breakdown finisher. It sounds like enough to give you sonic whiplash, but Priddy carries it impressively well, especially considering that this was the only full-length she ever made. (She had previously recorded backing vocals for Songs of Leonard Cohen, and went on to cut a single with Harry Nilsson and contribute to Mort Garson’s Signs of the Zodiac, but effectively retired from music shortly thereafter to continue her acting career.)
I love that none of these songs are love songs, at least as far as I can tell. I also love the flexibility of Priddy’s voice–my favorite mode of hers is quietly salty, slinging words around with a touch of unamused thorniness as on opener “You’ve Come This Way Before.” Elsewhere, she veers into sultry Judy Garland-esque jazz vibrato, ethereal straight tone, and yé-yé-esque coyess. Her implementation of vocal harmonies–presumably some of which include backing vocalists, though I’m unable to find their names anywhere–is gorgeous. Perfect production by Phil Ramone. A real powerhouse of a record. Good for fans of Honey Ltd., Dusty Springfield, Jefferson Airplane. Listen in headphones if you can. Enjoy!
Please enjoy this Halloween special of 
A record comprised entirely of mama likembi, a 
Here’s my most recent episode of 
Apologies for a few weeks of silence–I fractured a finger in a bike accident recently, and while I’m happy to be otherwise unscathed it’s made typing a nuisance. I’ve also been feeling so depleted by and sad about our ongoing Supreme Court drama that I haven’t had it in me to think about much else. But, it’s fall, which means I’m listening to 
My most recent episode of