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  #1  
Old 01-13-2012, 10:56 AM
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skcin skcin is offline
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Default Albatross

They played it in the background during the poker game on the TV show Parenthood this week.
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Old 09-19-2015, 08:27 PM
michelej1 michelej1 is offline
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[Excerpt from Red Dirt Report (Oklahoma)]

http://www.reddirtreport.com/dust-de...eams/neck-down

Andrew W. Griffin | September 19, 2015

This got me to thinking about a Dust Devil Dreams post I made back in May titled “Sleepwalk (Gnik nus).” I talk about the 1968 Fleetwood Mac song “Albatross” (released the year BTTF's Marty McFly was born) and how it was inspired by the Summer of ’59 instrumental hit by Santo & Johnny – “Sleep Walk.” A song the brothers Santo and Johnny wrote after having an "idea" at 2 in the morning. The song is used in 12 Monkeys, as you may recall.

That’s because Fleetwood Mac’s Peter Green, their guitarist at the time, was inspired by “Sleep Walk” to create “Albatross,” another dreamy instrumental.

As I wrote at the time: “As for the inspiration for “Sleep Walk,” it was recognized as a tribute to Buddy Holly, Ritchie Valens and The Big Bopper, who died in a plane crash earlier in the year (Feb. 1959) near Clear Lake, Iowa. Twelve years later, folk musician Don McLean would score a major hit with “American Pie,” which talks about ‘the day the music died,’ the day those three early rock musicians died in that plane crash in a snow-covered field. Perhaps Buddy Holly’s ghost is trying to remind us of something.”
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Old 09-19-2015, 08:30 PM
michelej1 michelej1 is offline
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Andrew W. Griffin | May 4, 2015 Red Dust Report [this is the earlier article mentioned in the current one above]

http://www.reddirtreport.com/dust-de...pwalk-gnik-nus
..
SLEEPWALKING

OKLAHOMA CITY – A few weeks ago, Fleetwood Mac rolled into town and gave the Oklahoma City audience just about every single Mac hit imaginable. And while there were a few that were overlooked, like “Sara,” most folks went home feeling pretty content.

In my review, posted the following day, I made a reference to some Fleetwood Mac songs that I would have loved hearing, even though they were from the pre-Lindsey Buckingham guitar days.

I wrote: “Yes, this was pre-Nicks and Buckingham, but the guitar of guys like Peter Green, Bob Welch and Danny Kirwan are not to be overlooked. Of course I can understand why we weren’t treated to more obscure faves like 1968’s oceanic instrumental ‘Albatross’ (which inspired The Beatles’ ‘Sun King’) and 1973’s spooky, jazzy ‘Hypnotized.’”

I was reminded of my “Albatross” reference when I learned something extraordinary today: Back to the Future director Robert Zemeckis is releasing a film in October 2015 – this fall – titled The Walk, a film starring Joseph Gordon-Levitt as French wire walker Phillipe Petit and based on the remarkable 2008 documentary Man on Wire. Petit successfully walked - covertly - on a wire connecting the north and south towers of the World Trade Center.

It was in Man on Wire that Fleetwood Mac’s “Albatross” was featured. (And recall that Lindsey Buckingham's "Time Bomb Town" was a signature song in the original Back to the Future). Of course it was in October 2015 where Marty McFly (Michael J. Fox) finds himself in the future, therefore, further syncing Back to the Future and 9/11 with Robert Zemeckis and his forthcoming Twin Towers high-wire film The Walk).

The news about this film, The Walk, has apparently been out for over a year and it had eluded me somehow. The director of Back to the Future, who seems to allude to the future attacks of September 11, 2001 in his trilogy, has taken on the role of symbolically resurrecting the Twin Towers by showing them in all their glory back in 1974, a year or so after they were completed?

Not only was “Albatross” (again, this song inspired by Fleetwood Mac’s instrumental “Albatross,” with Beatles guitarist George Harrison saying in 1987 of Lennon’s “Sun King,” “Let’s be Fleetwood Mac doing ‘Albatross,’ just to get going … that was the point of origin.”

“Sun King” is the second one in the Abbey Road medley. But it recently showed up reversed as "Gnik Nus."

On the 2006 Beatles compilation Love, used for a Cirque du Soleil show, Beatles producer George Martin had his son Giles Martin help him preparing the songs for the album. As Giles Martin noted in the liner notes: “Early on in the (Love) project, I had turned the cymbal backwards on ‘Sun King’ for an effect for ‘Within You Without You/Tomorrow Never Knows’ and I realized I’d turned the vocals around as well. My dad loved the melody line that this created and said that it’s exactly the sort of thing that John would have gone for. From this, ‘Gnik Nus’ was born.”

And the point of “origin” for Fleetwood Mac’s Peter Green, who wrote “Albatross”? Santo & Johnny’s 1959 steel-guitar based instrumental “Sleep Walk.” A song that was featured to great effect in Terry Gilliam’s 12 Monkeys, when advertisements for traveling to the Florida Keys played on the TV in the mental institution. Santo & Johnny recorded “Sleep Walk” at Trinity Music recording studio in Manhattan, not far from where the future Twin Towers would be built.

As for the inspiration for “Sleep Walk,” it was recognized as a tribute to Buddy Holly, Ritchie Valens and The Big Bopper, who died in a plane crash earlier in the year near Clear Lake, Iowa. Twelve years later, folk musician Don McLean would score a major hit with “American Pie,” which talks about “the day the music died,” the day those three early rock musicians died in that plane crash in snow-covered field. Perhaps Buddy Holly's ghost is trying to remind us of something.

That event hung heavy over America. Just as rock was really taking off, it suddenly dropped off, and the pop crooners of 1960-63 really took hold – until The Beatles and the British Invasion took over.

As we noted, the band Fleetwood Mac, formed in the late 1960’s, featured a troubled but talented guitarist in its line-up, the aforementioned Peter Green. He embraced the albatross in “Albatross” – inspired by “Sleep Walk” and inspiring The Beatles and “Sun King.”

Think of the albatross metaphor. The symbolism. Of course, we go back to the 18th century and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner who uses the bird as a symbol for someone who has a burden. Sailors thought it was good luck to be followed by an albatross and bad luck to kill one, so when one did, it was to say one had an “albatross around one’s neck.” Some might say the events of 9/11 are an albatross around the neck of America and the world, trapping us in a karmic time loop of hopelessness.

Writes Coleridge:

"Ah ! well a-day ! what evil looks
Had I from old and young !
Instead of the cross, the Albatross
About my neck was hung."

In the 1952 Bugs Bunny cartoon "Water, Water Every Hare," (a reference to a line in the aforementioned Coleridge poem) which I examined here, Bugs is dreaming. Or is he? He was definitely "sleepwalking," if that is what we can call it. Perhaps we have been collectively "sleepwalking" for nearly 14 years, since 9/11. Everything has taken a dreamlike quality.

Anyway, watching the trailer of The Walk was quite … eerie. The shot of the trident-shaped steel racing up the side of the tower, all the way to the top where we find Gordon-Levitt’s character preparing for his August 1974 wire walk is breathtaking. Psychologically, I can imagine, seeing the towers in their infancy will likely have an impact.

KEYS

As I noted earlier, Santo & Johnny's “Sleep Walk” (along with Fats Domino’s “Blueberry Hill”) really strike a chord (pun intended) in 12 Monkeys, a film based on Chris Marker's 1962 film La Jetee, released in the time period between Buddy Holly's death and the arrival of The Beatles, stateside, in 1964.

This powerful time-travel film features some very deep themes. And regarding that, I was quite interested in the research of Egyptologist Lynn Gibson, who is intemately familiar with ancient Egyptian religion and its esoteric meanings. She, along with Vedic expert Sunthar Visulvalingam, write how the ancient mysteries of Egypt are alluded to throughout Gilliam’s brilliant 1995 sci-fi film (recently relaunched as a SyFy TV series).

Gibson and Visuvalingam wrote, aat svabinava.org: “We felt that 12 Monkeys might serve as an excellent introduction to archaic, particularly Egyptian, religion through an apocalyptic science-fiction theme that's sure to resonate with contemporary viewers.”

Regarding the core, esoteric structure of 12 Monkeys, the researchers note: “12 Monkeys begins to make complete sense only as a (re-)scripting of the death of Osiris, his re-union with Isis, and his rebirth from her womb. Though there are allusions to other (including, like psychoanalysis, pseudo-) religious traditions, the plot, naming-conventions, dialogue and symbolism as a whole has been mined from and systematically constructed around the specifics of ancient Egyptian eschatology, such as expressed in The Book of the Dead. Like those of the pharaoh in the after-life, the adventures of James Cole translate into states of consciousness that an initiate would undergo under the supervision of the priests.”

For instance, the title of the film, 12 Monkeys, “is probably inspired by the twelve baboons portrayed on the west wall of the tomb of Ay, the vizier of Tutankhamun, who replaced the latter as pharaoh.”

They write that adventurer Giovanni Belzoni (noted in a recent Twilight Language post “Philae name game: Isis and obelisks”) , who fled his native Italy after Napoleon invaded it in 1798, and that Gilliam's choice of Philadelphia, Pennsylvania as the setting of 12 Monkeys was deliberate, noting, "Philadelphia is today's equivalent of the sacred temple island of Philae in the upper Nile, the last bastion of Egyptian religion that was patronized by the Roman emperors before the ancient worship, including the writing of hieroglyphs, were forbidden. Famous for its temple to Isis, the goddess of rebirth, island itself amounted to a primordial mound within the womb of the Nile. The temple contained a birth-house (mamissi) for Horus where his birthday was annually celebrated. Here the king re-enacted the mysteries of death and rebirth before his people, the temple-body of Isis being assimilated to the tomb. Since it was there that the (Egyptian) world ended, it's only fitting that the suppressed animal-gods be released again in Philadelphia."

It is also interesting that a European Space Agency probe, Philae, successfully landed on a comet late last year. It was part of the Rosetta spacecraft. The lander, now on the Churyumov–Gerasimenko comet, is in "safe mode" right now, until solar power is expected to reboot it sometime this summer. We shall see if that happens.

As noted at TourEgypt.net: “Belzoni did make some discoveries while in the Valley of the Kings, though in many instances, because hieroglyphs had not yet been deciphered, he had no idea who or what he had found. He almost literally stumbled into the tomb belonging to King Ay, but only noted a wall painting of 12 baboons, leading him to christen the chamber "tomb of the 12 monkeys." Or is that "moonkey"?

The year 1968 has been coming up a lot lately. August 1968 was when construction of the WTC's North Tower began. It was the year Back to the Future's Marty McFly was born. It was a time of strife and change in America and around the world. The most recent TIME magazine (always prescient, along with Newsweek) featured a cover of baton-wielding police chasing an African-American man down the street with the cover reading "America, 1968, with 1968 crossed out and 2015 added. "Hello 2015!"

In late 2013, here at Dust Devil Dreams, I wrote a piece called "Existentialist elements in 'Jacob's Ladder' and '12 Monkeys' sync/link both." I felt that Jacob Singer (Tim Robbins) in Jacob's Ladder and James Cole (Bruce Willis) in12 Monkeys play very existential roles in their respective films. In my sync piece I ask, "Is there something to do with the karmic wheel?" This, because Jacob's Ladder was written by Bruce Joel Rubin, who considered the story a modern interpretation of the Tibetan Book of the Dead, while it would seem that 12 Monkeys is a modern interpretation of the Egyptian Book of the Dead, something I hadn't clued into in that earlier post.

WIRES

Back to Man on Wire and the upcoming Zemeckis film The Walk.

I was thinking of the word "wire" much of last week, due to the riots in Baltimore and its connection to the HBO series The Wire, which I noted here.

And with that, I was thinking of the 1973, dystopian sci-fi film World on a Wire (Welt am Draht), directed by the late West German filmmaker Rainer Werner Fassbinder, a film considered "ahead of its time" by critics and dealing with a Matrix-like computer simulated world where it is not entirely clear if the human-like "identity units" are really human or if all of us here in "reality" are actually "identity units" believing we are human but actually controlled by outside forces. It raised - and continues to raise - a lot of questions, particularly as we examine popular culture from a synchromystic perspective, particularly as virtual reality gains interest and we are all more "wired," as it were.

It was also in 1973 when Marty's father George is killed, according to Back to the Future Pt. II, when Marty arrives in an alternate "1985." Perhaps we are in alternate 2015 and the universe is a hologram?

Back in 1981, when Steven Spielberg was filming E.T. The Extra-Terrestrial, it was his friend Robert Zemeckis who suggested that the friendly alien hide in Gertrude's closet amidst stuffed animals. That film, of course, starred Henry Thomas as the boy Elliott. It was Thomas who appeared as one of the logging workers who encountered a UFO in the 1993 film Fire in the Sky. Questions are raised, in respect to Travis Walton's alleged alien abduction, if it really happened. Walton and the other loggers are repeatedly questioned and the truth is never entirely clear. In the film, Thomas's character Greg, wears a Fleetwood Mac T-shirt.

Somehow, it all comes back to Fleetwood Mac. That Stevie Nicks knows something.
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Old 09-21-2015, 04:37 AM
Rubber Duck Rubber Duck is offline
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Isn´t this the "original" Albatross?:

https://www.youtube.com/watch?v=RAAT9UfI0rw
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Old 09-21-2015, 06:24 AM
lazy poker lazy poker is offline
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Quote:
Originally Posted by Rubber Duck View Post
Isn´t this the "original" Albatross?:

https://www.youtube.com/watch?v=RAAT9UfI0rw
. . . not bad, rubber duck, not bad at all!

admittedly there certainly is quite a similarity between "deep feeling" and "albatross", and i really should've noticed it myself sometime in all those umphty years.

martin celmins noted in his bio on peter green in connection of an incident, where green confronted eric clapton with the fact that he copied matt murphy's solos note for note on the "beano" album: "this point illustrates well the hand-me-down nature of the blues. one of peter's early inspirations for 'albatross' was 'a group of notes from an eric clapton solo played slower'. so who knows. perhaps matt murphy should get some remote credit for the hit instrumental." - at least chuck berry should, i'd say!
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Old 09-21-2015, 08:52 PM
BklynBlue BklynBlue is offline
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Fascinating that no one has ever brought this up. I admit that I was unaware of the Berry piece, or that he ever recorded a number playing a pedal steel guitar.

Berry was of course hugely influential on any number of Green’s contemporaries, Keith Richards most prominent, and John Lennon, but also, to a lesser degree, Clapton and Jeff Beck. Of the early rock ‘n rollers, Green always mentioned Little Richard as his favorite and of course performed a number of his songs during the Fleetwood Mac years.
But just because he never performed any Chuck Berry songs (that were captured on tape), doesn’t mean he did not know, or enjoy them.
Berry was heavily influenced by T-Bone Walker, who was also a model for Green’s personal favorite, B.B. King.

‘Deep Feeling’ was the B-side of ‘School Day (Ring Ring Goes the Bell)’ released in 1957 – the A-side is a classic, and it is easy to imagine an eleven year old Green enjoying Berry’s alliterative rhyming verse describing a typical school day and the joy and release found in playing songs on a jukebox when it was over.
The number was also released on a U.K. LP in 1964, called “The Latest and The Greatest”.

We will most likely never know where, or even if Green had heard ‘Deep Feeling’, but I believe that he did, and it lodged itself in his subconscious, and then was recalled when he began composing his own number.
I don’t believe that he “used” Berry’s piece as a foundation, in the way that he took Howlin’ Wolf’s ‘Look Who’s Talkin’’ for ‘I Loved Another Woman’ or the coda from Otis Rush’s ‘All Your Love (I Need Loving)’ for ‘Black Magic Woman’.

As to the story in Celmins’ book, it was Stan Webb who claims that he confronted Clapton accusing him of ripping off Matt “Guitar” Murphy with his playing on the Bluesbreakers LP without acknowledgement.
He does not give any specifics, and I’ve never seen anyone else level that particular charge against Clapton. I can’t imagine Green ever bad mouthing someone to make himself, or another musician look better.
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Old 09-22-2015, 06:27 AM
lazy poker lazy poker is offline
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Quote:
Originally Posted by BklynBlue View Post
As to the story in Celmins’ book, it was Stan Webb who claims that he confronted Clapton accusing him of ripping off Matt “Guitar” Murphy with his playing on the Bluesbreakers LP without acknowledgement.
i stand corrected - should've read this more carefully.
the essence of the matter remains, though.

and - as you mentioned - it's amazing that the connection (in whatever way) to "deep feeling" hadn't been brought up before. but that's the great thing about "the ledge" and that's exactly the reason i became a ledgie in the first place.

Quote:
Originally Posted by BklynBlue View Post
I can’t imagine Green ever bad mouthing someone to make himself, or another musician look better.
just on a sideline - well, maybe not for reasons of musical competition or something like that, but it is documented that he actually has been verbally truly offensive on the odd occasion (if we can believe celmins' book). but let's not go too far off-topic!

Last edited by lazy poker; 09-22-2015 at 06:33 AM.. Reason: update
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Old 09-22-2015, 04:38 PM
dino dino is offline
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Quote:
Originally Posted by BklynBlue View Post
.

As to the story in Celmins’ book, it was Stan Webb who claims that he confronted Clapton accusing him of ripping off Matt “Guitar” Murphy with his playing on the Bluesbreakers LP without acknowledgement.
He does not give any specifics, and I’ve never seen anyone else level that particular charge against Clapton. I can’t imagine Green ever bad mouthing someone to make himself, or another musician look better.
Correct.
And "Deep Feeling"...has a passing resemblance to the first part of the main riff of "Albatross", but it could just as well be incidental. Not, like, say the intro to "Stairway To Heaven" being lifted from "Taurus" by Spirit. Or Clapton's solo on "Strange Brew".

Last edited by dino; 09-22-2015 at 04:42 PM..
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Old 09-28-2015, 01:15 PM
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I've never heard this Chuck Berry track before, but it is a revellation to me ! I think there is no doubt it influenced the composing of Albatross, but there is no way Albatross is a rip off of this ,as has been suggested in some of the You tube comments I think Peter must have heard this (in his elder brothers record collection ?) and a few years later, when he was composing Albatross the sort of feel of that first verse of the Berry song came into his mind But harmonically Albatross is very different- resolving on Maj 7th chord - nothing like that in the Berry tune and very diatonic harmony E maj and Dm (I and II of the key ) only - so no blues format there but the feel and the beat and the slide guitar influences are all there in Deep Feeling But then that is what original composition is isn't it?- taking several influences that collide in your mind to make something a bit different !

So I'm essentially agreeing 100% with BklynBlue(or BB as I feel I should refer to him ) ) and agree with him that though Peter didn't record any Chuck Berry song, it's inconcievable that he was unaware of Chuck Berry -is there any guitar player who doesnt start of playing at least something by Chuck ,even if it's second hand via The Beatles or The Stones ?

Last edited by THD; 09-30-2015 at 12:50 PM.. Reason: Added added the afterthought about agreeing with BKLYN BLUE
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Old 09-28-2015, 01:46 PM
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Quote:
Originally Posted by lazy poker View Post
just on a sideline - well, maybe not for reasons of musical competition or something like that, but it is documented that he actually has been verbally truly offensive on the odd occasion (if we can believe celmins' book). but let's not go too far off-topic!
Peter grew up in a very tough area of London (at that time )Bethnal Green and being Jewish probably experienced a degree of anti semitism not to mention rival teenage gangs etc I would assume that he "knew how to look after himself "

Now I hav'nt read Clemens book (yet!- shame on me! )and the following story may indeed be in there, but FM did a free (?)gig at Parliament hill Fields in London ,and a fight broke out involving skinheads who ,I believe ,were trying to disrupt the event .A friend if mine who was there .told me that in mid performance .Peter jumped off the stage and waded into the affray . |Dont know if it's true but there you are that is what he told me !

Last edited by THD; 09-30-2015 at 12:51 PM..
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Old 09-29-2015, 01:08 PM
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i certainly do hope not getting meself into some kind of copyright infringement here, but for those not familiar with it - this is the story andy sylvester told to martin celmins:

"i had a tape once of mac, recorded live at a club near the oval cricket ground. christine was in the wings at the side of the stage watching the show. (...) peter introduced the band individually. when it came to john, pete mentioned how his bass player was a really shy person (...). pete then said something like 'you know it took john six months before he could even summon up the gall to hold christine perfect's hand.' then there was a big silence before peter said '... let alone f*** the arse off her!' john was really annoyed by this. he went up to the microphone and shouted 'you f***in' jew!' he managed to control himself but it was close."

well, . . . !
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Old 09-30-2015, 01:04 PM
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Quote:
Originally Posted by lazy poker View Post
i certainly do hope not getting meself into some kind of copyright infringement here, but for those not familiar with it - this is the story andy sylvester told to martin celmins:

"i had a tape once of mac, recorded live at a club near the oval cricket ground. christine was in the wings at the side of the stage watching the show. ................. :
I went to a show actually at the Oval cricket ground ,in a sort of function room called the Surrey Rooms , on 9th May 1969 Now perhaps this was a different gig from the one which you relate, but I never heard anything like that said by anyone and I did not noticel Christine there !

( Hopefully this is a link to the page where I recall that gig but you'll have to scroll down some way !

http://ledge.fleetwoodmac.net/showth...highlight=oval)

Last edited by THD; 09-30-2015 at 01:12 PM..
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Old 10-06-2015, 12:44 PM
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Today, 'Albatross' is celebrating its 47th birthday, along with 'Jigsaw puzzle blues', 'One sunny day', 'Something inside of me', 'Without you', the first version of 'Coming your way', and the USA overdub version of 'Need your love so bad'.

GJK
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Old 01-04-2016, 06:51 PM
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Pop Matters Review by Rob Caldwell 4 January 2016

http://www.popmatters.com/review/var...awaiian-music/

Various Artists

Hulaland: The Golden Age of Hawaiian Music

A thirst for anything Hawaiian took America by storm in the early 20th century, precipitated by musicians from what was then a U.S. territory (not yet a state) touring the mainland, and the improved accessibility to the islands provided by commercial airlines. In the rush to cash in on (or, less cynically, to extoll) the music, everyone from Dorothy Lamour to Louis Armstrong and Slim Whitman were recording Hawaiian flavored tunes. Many of the tunes captured the romance quite well, many were novelty songs, and many of the performers probably never even set foot on Hawaiian soil (as Edward F. Cline’s brief spoken word comedy bit, “Hawaii Calls”, on disc 1 goes: “How can you write such lovely songs about the lonely shore, the whispering palms and the moon when you ain’t never seen ‘em?” Answer: “That’s why…because I ain’t never seen ‘em.”)

A case in point, Fleetwood Mac’s classic instrumental “Albatross” is played here in a Hawaiian style by a Dutch guitarist (Wout Steenhuis). But does it really matter for us, the listeners? It’s a beautiful rendition, regardless. And that’s the point of this collection. It’s not trying to be a serious musicological study of traditional or “authentic” Hawaiian music (whatever that is at this point). Rather, it’s a sampling of music both from the Islands and music influenced by the Islands. It’s a collection “for the tourist, not the purist”, as the liner notes say.
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Old 01-15-2016, 06:43 PM
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"Does it come with wafers?"

I always like saying that.
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