Look, life can’t be all hacking through the jungle with a machete or leading a team of frogmen in a suicide mission attempt to sabotage an enemy U-boat. Sometimes, you find yourself sloughing out of your shoulder holster (don’t worry — you’ve got a Pistolet Makarova under the pillow, just in case), pouring two glasses of champagne, and gently (or roughly — it’s up to you and your partner) lying an elegantly appointed man or woman down on the carpet in front of the fireplace. In these moments just before and during intimacy, there were two important things you must have properly in place. First, check your breath. Second, make sure you have some proper love making music on the hi-fi.
It’s been several years now that I’ve been searching for the elusive album by British actor Peter Wyngarde. Around these parts, Wyngarde is revered for his role as Jason King, the swingin’ international man of mystery, adventure novel writer, and part-time espionage agent he played on the series Department S and, later, in his own spin-off series, Jason King. The man spent his days solving unsolvable mysteries, penning potboilers, wooing ladies, drinking champagne and scotch for breakfast, and puzzling over which of his many puff ties to wear with his silk lounging robe.
It’s nothing all that unusual these days to run across people who celebrate the music in Bollywood films. And I don’t mean just the people of India. In the past decade, there has been a small but steady flow of Bollywood film music compilations packed with fantastic funk, go-go, disco, and even the occasional traditional number. Even people who don’t follow Bollywood can probably drop RD Burman’s name, though they’ll likely call him “that guy from Slumdog Millionaire.” But there is another world, one populated not by Asha Bhosle or any sense of respectability. The Bollywood b-grade horror film is where we like to play, and it’s about time someone celebrated the music from those fantastically terrible movies full of rubber fright masks.
The older Pakistani films that I’ve watched have struck me as being at once both primitive and forward-looking. (And I must add that the Pakistani films I’ve watched might not be representative of the country’s cinematic output as a whole.) Though technically crude, these films use the type of stuttering editing rhythms and fragmented visuals that wouldn’t come into vogue in the West for years –- and then only to be criticized for displaying the influence of MTV. As the first volume of The Sound of Wonder demonstrates, Pakistani film music from that same period likewise had one foot in the future — often with the other foot inhabiting territory no less strange to the unaccustomed ear.
Under normal circumstances, I consider turning to a discussion of the weather to be a sign that conversation has failed. There are exceptions of course, for extreme circumstances, but by and large if you are making small talk about the weather with someone then it’s bets to cut your losses and move on. Perhaps study up on a few more interesting topics for your next chance encounter. I also generally try to avoid putting a specific time stamp on the date on which something was written for Teleport City, as it rarely makes sense years or even weeks removed from that date. However, today in New York City it is almost twenty degrees. So to warm up, not only am I indulging in this brief time-stamped discussion of the weather, but I thought it was an appropriate day to prepare ourselves for breezy summer holidays. Now, whether you are driving along the Amalfi Coast in a Ferrari Daytona, hopping a jetliner to Monaco, or setting out to map a hitherto unexplored tributary of the Amazon River equipped with nothing but a machete, everyone knows the single most important thing to prepare before departure is your soundtrack. So we offer up to you some suggestions that blend both vintage and modern interpretations of music that will prepare you for whatever may occupy you during your warmer days.
“My dear girl there are some things that just aren’t done, such as drinking Dom Perignon ’53 above a temperature of 38 degrees Fahrenheit. That’s as bad as listening to the Beatles without earmuffs.” — James Bond, Goldfinger
When you think spies, chances are you think of James Bond. Unless, that is, you happen to be looking at deported Russian spy Anna Chapman’s photo spread for the Russian edition of Maxim (there’s a 99% chance that any article about these photos will be titled “The Cold War Heats Up”). There are plenty of elements that go into making and so have become defining factors of the Bond films. The clothes, the cars, the exotic locations, the women, the booze — and of course, the music.
“This was no disciplined march; it was a stampede–a stampede gigantic and terrible–without order and without a goal, six million people unarmed and unprovisioned, driving headlong. It was the beginning of the rout of civilisation, of the massacre of mankind.” — HG Wells, The War of the Worlds
My parents were always willing to indulge my state as kind of a weird kid. One year for Christmas, they got me an LP with which I would become obsessed as a kid, and one that continues to find it’s way into my playlist. It was a bizarre amalgamation of rock opera and old time radio play, featuring the voice talent of none less than Richard Burton: Jeff Wayne’s Musical Version of The War of the Worlds. It was an impressive package for a young lad to receive, with artwork that spanned the entirety of the gatefold cover and a full-color booklet of more artwork and the story of how the record came to be. The War of the Worlds was, at the time, one of my all-time favorite books, or as all-time as you can have at the age of eight or nine. It was one of the first novels I read, along with Dracula and Frankenstein and probably something involving Encyclopedia Brown or someone. While those around me devoured the sorts of books one expects elementary school children to read, I reveled in the utter decimation of my planet, the desperation of mankind on the brink of extinction. I watched producer George Pal’s War of the Worlds film adaptation, and while I loved the movie, I was disappointed that it wasn’t the same as the book I’d grown to so adore. Similarly, I used my grass cutting money to buy a copy of the infamous Orson Welles radio broadcast of the story on cassette. Again, though, while it was great, it wasn’t my War of the Worlds — in that it wasn’t really HG Wells’ War of the Worlds.
Our good friend and fellow MOSS agent David Foster at Permission to Kill asked me to write about five of my favorite movie soundtracks. I decided for my Liner Notes to pick five soundtracks that seem to clash entirely with the movie they accompany, and yet work perfectly.
France Gall might not have had the sophisticated mystique of Francoise Hardy, the it girl “oomph” of Sylvie Vartan, or the continental sensuality of Bardot, but she was nonetheless an integral part of the Yeh Yeh Girl pantheon. It could even be said that her young age — 15 at the time of signing her first recording contract — made her the most accurate reflection of that uniquely French musical movement’s teeny bopper audience. As such, she presented a guileless naiveté that perhaps made her an ideal blank slate upon which some of France’s best professional songwriters could project their pop fantasies — the most well known of those being Gall “family friend” Serge Gainsbourg. Because, really, who better to entrust your teenage daughter’s fortunes to than Serge Gainsbourg?
Writing about Northern Soul as a genre defies some of the easy shorthand that a part time music critic and admitted hack like myself might otherwise reach for. And by that I mean that, despite its name, it is a musical movement defined not by how and where the music was created and played — as opposed to, for instance, “Philly Soul”, or “Delta Blues” — but by how and where it was consumed and curated. In my case, learning that it was, in fact, a British musical movement based around overlooked American soul records — and hence an antecedent to contemporary DJ and “crate digger” culture — was one of those “a-ha” moments that sees something perceived only dimly from the periphery of experience suddenly come sharply into focus. Aiding that focus was Charly Records’ just released double disc Up All Night!: 56 Northern Soul Classics, which not only provides an expansive musical overview of the scene, but also stands as a testament to its enduring appeal. The set combines two seminal Northern Soul compilations first released by Charly on vinyl in the early 90s and again on disc a few years later. In the reissue process, the label this time around also saw fit to include a brief but informative set of liner notes from veteran music journalist Bob Fisher and a generous helping of bonus tracks that include some of the best tunes on the comp overall.