Non sono solo i film ad avere le colonne sonore. Anche i libri ce l'hanno, quella che viene definita "audio companion". Spesso ce la facciamo da soli, altre volte ce la propone l'autore, in coda o in cima al libro, suggerendo una serie di canzoni. Questa invece è - come dire - "ufficiale". Un vero e proprio cd, con tanto di note di copertina, ad accompagnare il libro di Greil Marcus del 1989, "Lipstick Traces: A Secret History of the 20th Century", di cui esistono anche due edizioni italiane. 500 pagine, in cui viene raccontata una "storia alternativa" del XX secolo, attraverso avanguardie musicali e non, che prova a intessere trame fra situazionismo, punk ed altro. Sul disco, 27 tracce. Ventisette canzoni, ma anche "cose" che canzoni non sono, dal 1928 al 1992.
Si legge, sulle note di copertina:
"Succede. Ti senti estraneo. Sei altro. Non c'è niente nella tua cultura, nella tua esperienza, che si avvicini a come ti senti. Vorresti essere altrove. E se non puoi andare altrove, allora vorresti vedere distrutta ogni cosa. Questi pensieri ti scoppiano in testa. Non riesci a dormire, digrigni i denti. La testa ti fa male. Non riesci a star fermo.
Allora entri in una stanza. vedi, oppure senti, quattro persone che stanno facendo rumore, qualcosa che ha a che fare con i limiti dell'elettricità e lo spazio della stanza: come girando un interruttore, e la tua vita cambia per sempre. Dal niente, il terreno è stato ripulito e le possibilità sono davanti a te.
Può succedere solo una volta. Può accadere prima e dopo, come precognizione, come scosse di assestamento, tentativi coscienti di riuscire a catturare di nuovo quel riconoscimento: quando trovi il piffero che suona il brano giusto.
Questa raccolta esiste per ragioni diverse: per divertimento, per essere suonata leggendo un libro con parole e immagini, per riscrivere il Punk nei termini di una storia femminile ancora celata. Soprattutto, risolve un problema di percezione, quello di riprendersi il primo ascolto di "Anarchy in the UK" dei Sex Pistols.
Quasi 17 anni dopo dalla sua prima uscita, "Anarchy in the UK" suona stanco. Generalmente non è riconosciuto come un classico del rock, la sua familiarità, suonato da generazioni di gruppi Punk e Rap, ha fatto sì che la canzone abbia perso la sua immediata efficacia. Come fare ad ascoltarla in un modo nuovo?
Tutto ciò che viene dato per scontato, come il modo in cui Dio avrebbe progettato, come il modo in cui gli esseri umani pensano che debba essere, va immediatamente rifiutato, perde la sua realtà, perde la sua attrazione. E si intravvedono due cose: che il mondo che ci hanno educato ad accettare è un inganno ed una finzione, e che un altro mondo è possibile.
Una sensazione, allo stesso tempo, galvanizzante e terrificante. Alla fine di questo viaggio di sessanta minuti, avrete un'immagine composita che vi riporterà al punk originale. Cominciamo, con un risolino.
1. The Slits "A Boring Life"
A 1977 demo, recorded by Ari Up (vocals), Tessa Pollitt (bass), Viv Albertine (guitar), and Palmolive (drums). One of the few documents of that 1977 sound. (Originally released on 'Once Upon a Time in a Living Room', Y/Rough Trade, 1980, UK).
2. The Orioles "It's Too Soon To Know"
A No. 1 R&B hit in the USA in 1948, and also a more spectral hit among whites, the sort the chart couldn't fully register: 'a meeting of cultures' in a segregated society. Composed by a white Jewish songwriter named Deborah Chessler, performed by a black Baltimore group at first called the Vibra-Naires: Sonny Til (lead), George Nelson (second lead), Alexander Sharp (tenor), Johnny Reed (bass), and Tommy Gaither (guitar). (Originally released on It's-a-Natural, 1948, US).
3. Trio Exvoco "L'amiral cherche une maison à louer" (Tristan Tzara, Marcel Janco, Richard Huelsenbeck)
Composed 1916, performed in the same year at the Cabaret Voltaire in Zürich, recreated here by Trio Exvoco (Hanna Aurbacher, Theophil Maier, and Ewald Liska). Written, sung, and chanted in German (Huelsenbeck), French (Tzara), and English (Janco): 'proto rock 'n' roll'. (Recorded 1980; from 'Dada For Now', Ark, 1985, UK).
4. Jonathan Richman "Road Runner"
Accept no substitutes. (Originally released on Beserkley, 1975, US).
5. Guy Debord - Excerpt from soundtrack to 'Hurlements en faveur de Sade'
A film first shown in Paris in 1952 at the Ciné-Club Avant-Garde. See Debord, 'Society of the Spectacle and Other Films' (London: Rebel Press, 1992), for a translation of the screenplay ("Howlings in favour of Sade").
6. The Roxy, London - Ambience
From the two nights at the end of April 1977, recorded by Mike Thorne for the album 'The Roxy London WC2 (Jan-Apr 77)' (EMI, 1977, UK) - an accurate reflection of English Punk's early gamut, with X-Ray Spex, Wire, Buzzcocks, Slaughter & The Dogs, Eater, Johnny Moped, and the Unwanted).
7. Jean-Louis Brau "Instrumentation Verbale (Face 2)"
A 1963 recording in the style of 1950 ultra-lettrist Paris sound poetry. (Originally released on Achèle, 1965, France).
8. Buzzcocks "Boredom"
Recorded by the late Martin Hannett in Manchester, 12/76. Mostly put down in one take by Howard Devoto (vocals), Pete Shelley (guitar), Steve Diggle (bass), and John Maher (drums). (Originally released on New Hormones, 1/77, UK).
9. The Adverts "One Chord Wonders"
Second version, recorded by T. V. Smith (vocals), Howard Pickup (guitar), Gaye Advert (bass), and Laurie Driver (drums) for 'Crossing the Red Sea with the Adverts'. (Originally released on Bright Records, 1978, UK).
10. Raoul Hausmann "phonème bbbb"
Berlin dada sound poetry, composed 1918, performed 1956/57. (From 'Poèmes phonetiques complètes', S Press Tapes, 1978, W. Germany).
11. Gang of Four "At Home He's a Tourist"
Recorded as the band's second single by Jon King (vocals, melodica), Andy Gill (guitar, vocals), Dave Allen (bass), and Hugo Burnham (drums). (Originally released on EMI, 1979, UK, and on 'Entertainment!', EMI, 1979, UK / Warner Bros., 1980, US).
12. The Adverts "Gary Gilmore's Eyes"
Personnel as on "One Chord Wonders." (Originally released on Anchor, 1977, UK).
13. Kleenex "Ü (angry side)"
Recorded in London by by Regula Sing (vocals), Marlene Marder (guitar), Klaudia Schiff (bass), Lislot Ha (drums) from Switzerland. (Originally released on Rough Trade, 1979, UK). [liner notes erroneously states this to be recorded in Switzerland]
14. Guy Debord - Excerpt from the soundtrack to 'Critique de la séparation' (Dansk-Fransk Experimentalfilmskompagni, 1961)
Music: Bodin de Boismortier, 'Allegro movement, Op. 37 - Concerto in E Minor in five parts'. Narration: (Debord): "The sectors of a city are, at a certain level, legible. But the meaning they have had for us, personally, is incommunicable. like the clandestinity of private life. of which we possess nothing but pitiful documents." See Debord, 'Society of the Spectacle and Other Films', as above, for a translation of the screenplay ("Critique of Separation").
15. The Clash - Stage talk, Roundhouse, London, September 23, 1976
Joe Strummer recorded while supporting Crazy Avan and the Rhythm Rockers. (From the Jon Savage Archive).
16. Mekons "Never Been in a Riot"
Recorded 1977 with Andy Corrigan and Mark White (vocals), Ken and Tong (guitars), Ros Allen (bass), Jon Langford (drums and vocals). (Originally released on Fast Product, 1978, UK).
17. LiLiPUT "Split"
Kleenex after a name change; as above, with Chrigel Freund replacing Regula Sing on vocals, plus Angie Barrack, saxophone. (Originally released on Rough Trade, 1980, UK).
18. Roman Bunka, Holger Czukay, Raymond Federman etc. "röhrenhose-rokoko-neger-rhythmus"
from 'dr. huelsenbecks mentale heilmethode' ("Dr. Huelsenbeck's Psychological Salvation System"). Written and produced by Herbert Kapfer and Regina Moths as a radio play for Bayerischer Rundfunk, Munich, Germany, 1992 - an aural biography/autobiography of Huelsenbeck, but on this track the all-night argument over "Negro poetry,", aesthetic dictatorship, and untrammelled desire that was Berlin dada. (Originally released on Rough Trade Rec., 1992, Germany).
19. Essential Logic "Wake Up"
Recorded by Lora Logic (alto/tenor saxes, vocals), David (tenor sax), Phil Lip (guitar), William Bennett (guitar), Mark Turner (bass), Rich Tea (drums). (Originally released on Virgin, 1979, UK).
20. Kleenex "You (friendly side)"
Details as on "angry side" above.
21. Gil J. Wolman "Megapneumies, 24 Mars 1963 (Face 1)"
In the invention of ultra-lettrist sound poetry, Wolman was Braque to Jean-Louis Brau's Picasso, or vice versa. (Originally released on Achèle, 1965, France).
22. The Raincoats "In Love"
Recorded by Ana da Silva (vocals, guitar), Vicki Aspinall (vocals, violin), Gina Birch (vocals, bass), and Palmolive (drums). (Originally released on Rough Trade, 1979, UK).
23. Guy Debord - Excerpt from soundtrack to 'Hurlements en faveur de Sade'
Details as above.
24. Marie Osmond "Karawane"
Dada sound poem composed and first performed by Hugo Ball in Zürich in 1916, performed by Osmond on the syndicated US television program "Ripley's Believe It Or Not", c. 1984. As host of a special show on sound poetry, Osmond was asked by the producer to recite only the first line of Ball's work; incensed at being thought too dumb for art, she memorized the lot and delivered it whole in a rare 'glimpse of freedom'.
25. Bascam Lamar Lunsford "I Wish I was a Mole in the Ground"
A traditional Appalachian ballad: 'one little mole is enough to bring a whole mountain down.' (Originally released on Brunswick, 1928, US - taken from 'The Anthology of American Folk Music', compiled by Harry Smith and released by Folkway Records, 1952).
26. Mekons "The Building"
Performed by Mark White (vocals, foot). (Originally released on 'it falleth like the gentle rain from heaven - The Mekons Story, 1977-1982', CNT, 1982, UK).
27. Benny Spellman "Lipstick Traces (On a Cigarette)"
Composed by Allen Toussaint. (Originally released on Minit, 1962, US)."
Il disco, comprensivo di musica e immagini, lo trovate qui:
Lipstick Traces A Secret History Of The 20th Century
ma non prendetevela con me, è solo un documento!
fonte: http://zerogsounds.blogspot.it
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