Category Archives: The Ghost Of A Saber Tooth Tiger

THE DEMISE OF THE MASK (VOL. 8)__Bread & Circus ___

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Hello All.

Welcome to Volume Eight of the MixTape series: The Demise Of The Mask. –(Volume One here)__(Volume Two here)__(Volume Three here)__(Volume Four here)__(Volume Five here)__(Volume Six here)__(Volume Seven here)-

I’ve got quite a treat MixTape here for you as this one features a triple-play by Hamilton Leithauser: first there’s “We Can’t Be Beat” from the last album by his always fantastic group The Walkmen, 2012’s Heaven; then there’s a selection from Leithauser’s 2014 debut solo studio album, Black Hours; and finally there’s the song “When The Truth Is…” from last year’s stunning record I Had a Dream That You Were Mine, which is a collaborative work with Rostam Batmanglij (the former multi-instrumentalist and producer of Vampire Weekend).

You’ll also hear Aretha Franklin, some Beastie Boys, the lovely “Rainbows In Gasoline” by the duo of Sean Lennon and Charlotte Kemp Muhl who record together under the moniker of The Ghost of a Saber Tooth Tiger (or GOASTT), and a fine example of why John Lennon was one of the greatest of rock ‘n’ roll vocalists with The Beatles‘ tune “All I’ve Got To Do.”

As well, there are two selections from the Parliament-Funkadelic collective: first there’s a cover of The Beatles by incendiary yet so sweet guitarist Eddie Hazel from his 1977 solo debut Game, Dames and Guitar Thangs, which features incredible vocals by The Brides of Funkenstein (the duo of Dawn Silva and Lynn Mabry, who prior to joining the P-Funk collective were members of Sly and the Family Stone); later on you’ll catch the revolving, kaleidoscopic groove of “Supergroovalisticprosifunkstication” from Parliament‘s 1975 masterpiece, Mothership Connection.

Oh and I can’t forget to mention the rendition of Magic Sam‘s All Of Your Love” done with grit and precision by The Rolling Stones and taken from their joyous record of blues covers released at the end of last year, Blue & Lonesome.

Among a whole bunch of other great sounds this mix also features two figures who are perhaps the most poetic recording artists of Uruguayan music: Jaime Roos and Eduardo Mateo. The song “Viviendo” is from Roos’ third record, Aquello released in 1981. There is a translation done by my father below for those that are interested:

Viviendo (Living) by Jaime Roos [translated by Julio Calero]
I remember you
You’re the One
Who could understand  it
No big deal
That we do not love each other
You could understand it
.
Friend, where abouts may you be?
What seas may you be sailing?
Soon we’ll cross paths
And I’ll find you
Living
You’ll find me
Living
.
You’ll hear
The world was
And will be a marvel, I already know
It could be
My voice
Coming out of a nightmare that’s gone
.
Friend, where abouts may you be?
What seas may you be sailing?
Soon we’ll cross paths
And I’ll find you
Living
where abouts may you be?
Living
Alone, perhaps
Living

Throughout his long career Jaime Roos has continued to make an interesting mix of rock and folk with the more traditional sounds of Uruguay like candombe, milonga, tango and murga. He’s still out there performing and I highly recommend that if you ever have the opportunity you should definitely catch his show!

 Eduardo Mateo‘s “Niña” is a sweet tune done by a pure musician, and its recording comes with an interesting story. By the time Mateo’s phenomenal band El Kinto had officially disintegrated in the early part of 1970 most of Mateo’s friends and associates were already convinced that he had gone completely insane. Despite the fact that these same people viewed him as a musical genius, they did not know what to make of his habits of disappearing for days at a time, either to lock himself up somewhere in a rented room to explore new realms on his instrument while searching for spiritual enlightenment through chemicals, or to wander the streets with nothing but pajamas and a guitar—there was always a guitar, a rare constant in this man’s unhinged life. Once, my uncle saw him walking the streets at night with one foot aligned with the curb, the other with the gutter, so that he was forced to maintain an awkward and drastic limp to his gait—how’s that for a metaphor?!

Speaking of this period in Mateo’s life, Uruguayan singer Verónica Indart had this story to tell:

“The last time I saw him was in the first years of the 1970s. I was

with Héctor, my husband, and Mateo arrived. He entered, he took

up the guitar, and he sat down to play by the window, looking at the

sea for a long while. We listened to him. When he finished, he got up,

he set down the guitar and he went out the door without a greeting.

That was Mateo. He arrived, gave us his music and went on without

greeting us, because it was not necessary” (Lion Production, 2006).

In 1971, for those who were fortunate to have heard Mateo play there was no doubt of that man’s overwhelming talent—mental illness or not; however, beyond a handful of tracks there existed little recorded evidence of it. This would soon change due to the influence of talented singer Diane Denoir, and through the dedication and passion of producer Carlos Píriz. Píriz, a recording technician who had worked for the live, music television show Discodromo had recently started the record label De la Planta along with Jorge “Coyo” Abuchalja, guitarist for the group Los Delfines. The ethos behind this venture was to maintain a Uruguayan label that was dedicated to Uruguayan musicians, providing them with better production, recording techniques, and better distribution than the then norm. Fortunately, through Píriz’s connections, they were able to secure regular studio time at ION Studios in Buenos Aires, Argentina, where the recording technology was far superior to that found in their native country (four tracks as opposed to two at most, for example).

In October of 1971 one such artist they chose to present to the public was the singer Diane Denoir. As she was recording a fair amount of Mateo’s material for her De la Planta debut, she felt it was only appropriate that the artist himself accompany her on some of the tracks. Having convinced Mateo to take the trip, Píriz quickly took advantage of the rare opportunity by persuading him to stay and record a solo LP for the label. However, in spite of Píriz’s optimistic plans to complete the recording in one week, he soon found that dealing with this erratic artist would be an ultimate test of endurance and patience.

The sessions went like this: Mateo had an alphabetic notebook,

and stuck in each page he had bar napkins upon which his songs

were written. If he knew the first letter of the title of the song he

wished to play, he would find the correct napkin, which would help

him remember the melody, so that he could recreate the original idea

he had envisioned when he had composed the song in the first place.

Remembering the songs was only the first obstacle […]. Mateo

would record songs one day, and erase them the next. “The first day

he recorded three or four things,” Píriz recalled. “The following day

he came in and said, ‘erase them. For Mateo, they are all wrong.’

We erased them. And that process of erasing the previous day’s work

continued for four or five days. At that moment, I understood that this

would be the system for the whole disc […]. I decided that I will be the

person who says what was well-recorded, or not, and I began to keep

all the material.”

On other days, Mateo went to ION studios only to say that he was not

inspired, and would return the next day. Then there were the days that

he appeared at the studio, and asked, “What time do we record tomorrow?”

“The same as today, at four o’clock,” Píriz would say. “Okay I am going,

until tomorrow,” was Mateo’s only reply (Lion Production, 2006).

 –

This whole arduous process continued for two months, until one day when Mateo said to the producer that he was stepping out of the studio to buy a pack of cigarettes, and never came back. He had returned to his streets in Montevideo. Píriz was left holding hours of recordings of these fragmented sessions—the only proof that Mateo had even been there. A labor of love, Píriz would then spend the better part of a year assembling these into the album that would be released in December of 1972: Mateo Solo Bien Se Lame.

One of the thirteen brilliant compositions that Píriz extracted from the chaos is the twisted beauty that is “Niña.” Through his dedication, Píriz was able to capture on this record the complex sensitivity of this troubled artist. Seeing as how, other than a rare background vocal here and there, Mateo created every sound on this album himself, his essence truly shines through each composition. There is a translation of the lyrics done by me below:

Niña (Little Girl) by Eduardo Mateo [translated by Bobby Calero]
Little girl that always has a light
showing you what you do not want.
Do not fear the birds
if they say your life with their trills.
It should be that you understand;
that’s why what comes next is what has gone.
Always in a white dress,
you go but beware;
The devils in the guise of angels
will notice you talking.
Does it shame you that you don’t care
what has been soiled?
Yuu…yu-le-lé yu-lé.
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If you dig the mix then please feel free to pass & post it along; if you dig an artist then please support them and go out and pick up some of their stuff. Oh, If you dig the blog overall there’s always the “FOLLOW BLOG VIA EMAIL” button somewhere down at the bottom

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A MOUTHFUL OF PENNIES PRESENTS:
__The Demise Of The Mask (Vol 8)__Bread & Circus ___
  • Pick Pocket – Andy Votel
  • I Want You (She’s So Heavy) – Eddie Hazel (The Beatles cover)
  • All I’ve Got To Do – The Beatles
  • Rock Steady – Aretha Franklin
  • Secondary Modern – Elvis Costello & The Attractions
  • Church On Tuesday – Stone Temple Pilots
  • Been & Gone – Annette Peacock
  • Royal Cream / I Am Fire – The Afghan Whigs
  • I Wish I Could Hear My Mother Pray Again – The Staple Singers
  • Medicine For A Nightmare – Sun Ra
  • Supergroovalisticprosifunkstication – Parliament
  • Kissing My Love – Afrique
  • Dub The Mic / Gratitude – Beastie Boys
  • All Of Your Love – The Rolling Stones (Magic Sam cover)
  • Viviendo – Jaime Roos
  • We Can’t Be Beat – The Walkmen
  • Alexandra – Hamilton Leithauser
  • When The Truth Is… – Hamilton Leithauser + Rostam
  • Rainbows In Gasoline – The Ghost Of A Saber Tooth Tiger
  • Que Tristeza – Cal Tjader
  • Niña – Eduardo Mateo
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[Pick Pocket - Andy Votel]

[Pick Pocket – Andy Votel]

[I Want You (She’s So Heavy) – Eddie Hazel (The Beatles cover)]

[I Want You (She’s So Heavy) – Eddie Hazel (The Beatles cover)]

[All I’ve Got To Do – The Beatles]

[All I’ve Got To Do – The Beatles]

[Rock Steady – Aretha Franklin]

[Rock Steady – Aretha Franklin]

[Secondary Modern – Elvis Costello & The Attractions]

[Secondary Modern – Elvis Costello & The Attractions]

[Church On Tuesday – Stone Temple Pilots (photo by Mick Hutson)]

[Church On Tuesday – Stone Temple Pilots
(photo by Mick Hutson)]

[Been & Gone – Annette Peacock (photo by Richard Davis, 1972)]

[Been & Gone – Annette Peacock (photo by Richard Davis, 1972)]

[Royal Cream / I Am Fire – The Afghan Whigs (photo by Piper Ferguson, 2014)]

[Royal Cream / I Am Fire – The Afghan Whigs (photo by Piper Ferguson, 2014)]

[I Wish I Could Hear My Mother Pray Again – The Staple Singers]

[I Wish I Could Hear My Mother Pray Again – The Staple Singers]

[Medicine For A Nightmare – Sun Ra (art by Oliver Barrett)]

[Medicine For A Nightmare – Sun Ra (art by Oliver Barrett)]

[Supergroovalisticprosifunkstication – Parliament]

[Supergroovalisticprosifunkstication – Parliament]

[Kissing My Love – Afrique]

[Kissing My Love – Afrique]

[Dub The Mic / Gratitude – Beastie Boys]

[Dub The Mic / Gratitude – Beastie Boys]

[All Of Your Love – The Rolling Stones (Magic Sam cover) (photo by Kevin Winter, 2016)]

[All Of Your Love – The Rolling Stones (Magic Sam cover) (photo by Kevin Winter, 2016)]

[Viviendo – Jaime Roos]

[Viviendo – Jaime Roos]

[We Can't Be Beat - The Walkmen]

[We Can’t Be Beat – The Walkmen]

[Alexandra – Hamilton Leithauser]

[Alexandra – Hamilton Leithauser]

[When The Truth Is… – Hamilton Leithauser + Rostam]

[When The Truth Is… – Hamilton Leithauser + Rostam]

[Rainbows In Gasoline – The Ghost Of A Saber Tooth Tiger]

[Rainbows In Gasoline – The Ghost Of A Saber Tooth Tiger]

[Que Tristeza – Cal Tjader]

[Que Tristeza – Cal Tjader]

[Niña – Eduardo Mateo]

[Niña – Eduardo Mateo]

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All the best to you and yours!—  –   ————-______-________ ->BOBBY CALERO[—+=-_________________If you dig the mix then please feel free to pass & post it along; if you dig an artist then please support them and go out and pick up some of their stuff. Oh, If you dig the blog overall there’s always the “FOLLOW BLOG VIA EMAIL” button somewhere down at the bottom.

_           _________________   _  ___   _ _________ __________->

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A MOUTHFUL OF PENNIES PRESENTS: DENDRITES (Vol. 1)

Who will be

“How the hell should I know?” Mireille said to herself. “How could anyone, when we don’t even know what these bundles of qualities we carry and call the self is right now at this moment?” She had read somewhere “to be living is to be thinking.” This statement was made with the intention of being inclusive to all organisms on earth, and she found it beautiful in this respect. But as for herself, she often wished a way for this sentence to somehow exist as a curtailed “…to be…” and nothing more.

This wish was not a matter of numb pursuits towards some honeyed sopor; this had nothing to do with oblivious bliss or even lines. Those consoled by the style of nihilism might admire that anesthetized end as noble and offer a rhetorical, “What good was a ruin if not of your own design?” Yet Mireille did not desire to attain a life as an amputee grateful to be let loose from the distraction of limbs and their demands. She could not venerate her stumps as indicative of enlightenment. It was more to do with simply wanting to no longer consider the left foot, ponder the right—Mireille just wanted to walk.

“Whether in circles or forwards for now who really cares?”

Despite the presence of several “Top Ten Reasons To Click Here” style articles, there was nothing there on the screen that she felt was of immediate interest. After a distracted scroll down her digital profile’s wall, she logged off. Her phone was returned to its place. If you, Dear Reader, have found yourself experiencing any form of exasperation at all at this point, please explore your being for the animal’s wondrous faculty for empathy and consider just how Mireille might feel. She did not want to think about any of this.

“…to be…”

Nothing more.

Yes. All this thought, this brief foray into the clutter of ontology that she now found herself engaged in, even all this was something she considered: “fine, but just too much.” Particularly as she could foresee it as always and only an orchestra inevitably conducted through the ligaments and sieves of semantics. She did not want to live “the-movie-in-the-brain.” Mireille had grown weary of feeling that—being by biological design and perhaps some other as of yet unquantifiable element, necessarily mitigated through time-bending protein memory and sensory portals—our experience of existence had unavoidably resulted in a tape delay.

Mireille had grown weary of feeling that our experience of existence had unavoidably resulted in a tape delay.

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Dendrites-1

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Press Play – Stone Temple Pilots

The Sparrow Looks Up At The Machine – The Flaming Lips

Too Deep – The Ghost Of A Saber Tooth Tiger

Indigo Child (Interlude)/Far Side Of The Moon – Tinashe

Fire On Your Feet – Pop Levi

Bear Witness – Dr. Octagon (aka. Kool Keith)

Montara – Madlib

So Far To Go – J Dilla (ft. Common & D’angelo)

Woo Hah!! Got You All In Check – Busta Rhymes

The Bully – Richard Swift

Owl – The Child Of Lov (Ft. MF DOOM)

The Freak Folk Drop By Dressed Up For Each Other – Mushroom

The Leopards Featuring Gardenia And The Mighty Slug – T. Rex

She’s Leaving Home – The Flaming Lips (ft. Julianna Barwick, Phantogram, Spaceface)

Being For The Benefit Of Mr. Kite! – The Beatles

Eht Dnarg Noisulli – Pharoahe Monch (ft. The Stepkids)

Daylight Savings – Imani Coppola

Data data – Jorge Drexler

Let It Ride – Robert Glasper Experiment (ft. Norah Jones)

Mysteries – Yeah Yeah Yeahs

Posthuman – Marilyn Manson

Dyin’ To Live – André 3000

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A MOUTHFUL OF PENNIES PRESENTS: DENDRITES (Vol. 1)

  • Press Play – Stone Temple Pilots
  • The Sparrow Looks Up At The Machine – The Flaming Lips
  • Too Deep – The Ghost Of A Saber Tooth Tiger
  • Indigo Child (Interlude)/Far Side Of The Moon – Tinashe
  • Fire On Your Feet – Pop Levi
  • Bear Witness – Dr. Octagon (aka. Kool Keith)
  • Montara – Madlib
  • So Far To Go  – J Dilla (ft. Common & D’angelo)
  • Woo Hah!! Got You All In Check – Busta Rhymes
  • The Bully – Richard Swift
  • Owl – The Child Of Lov (Ft. MF DOOM)
  • The Freak Folk Drop By Dressed Up For Each Other – Mushroom
  • The Leopards Featuring Gardenia And The Mighty Slug – T. Rex
  • She’s Leaving Home – The Flaming Lips (ft. Julianna Barwick, Phantogram, Spaceface)
  • Being For The Benefit Of Mr. Kite! – The Beatles
  • Eht Dnarg Noisulli – Pharoahe Monch (ft. The Stepkids)
  • Daylight Savings – Imani Coppola
  • Data data – Jorge Drexler
  • Let It Ride – Robert Glasper Experiment (ft. Norah Jones)
  • Mysteries – Yeah Yeah Yeahs
  • Posthuman – Marilyn Manson
  • Dyin’ To Live – André 3000

———————–BOBBY CALERO——————————-

A MOUTHFUL OF PENNIES PRESENTS: THE LONG ROLL THROUGH HIM TO HER

Hello All,

Just a quick pop-in to present a little audio roll for the month of August.

Now, I’m back off to some other projects I got goin’.

–Enjoy Yourself–

 

THE LONG ROLL THROUGH HIM TO HER

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As always, if you dig any of the artists presented here I strongly encourage you to explore their work  further and pick up an album or two.

A MOUTHFUL OF PENNIES PRESENTS:

THE LONG ROLL THROUGH HIM TO HER

Embryo – Black Sabbath

Hello Sunshine – Damien Jurado & Richard Swift

Summertime Rolls – Jane’s Addiction

Hey Bulldog – The Beatles

Preso Voy – The Beets

Will O’ The Wisp – Miles Davis

Vernie – Blind Melon

A Visitation Of Energy – Johnny Depp (Jim Morrison)

Some More – Funkadelic

Midnight Sun – The Ghost Of A Saber Tooth Tiger

She’s Fine, She’s Mine – Bo Diddley

Cycle – Beck

Little Monkey (Live 3/19/04 at KVRX) – Devendra Banhart

House Carpenter – Bob Dylan (Self Portrait Outtake)

Hollywood Forever Cemetery Sings – Father John Misty

Penduli Pendulum – Bobbie Gentry

A Las Orillas Del Vilcanota – El Polen

Song for Aries – Cactus

Love – Country Joe & The Fish

Barabajagal – Donovan

You Can’t Beat Two People In Love – James Brown & Lyn Collins

Lay Lady Lay – Brothers & Sisters (Dylan)

Night Beat – Chuck Berry

The Floating Bed – Elliot Goldenthal

Blues In The Night – Frank Sinatra

Moonlight Lady – Iggy Pop

Tender Beasts Of The Spangled Night – Beck

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EmbryoBlack Sabbath

Hello SunshineDamien Jurado & Richard Swift

Summertime Rolls Jane’s Addiction

Hey BulldogThe Beatles

Preso VoyThe Beets [art by Matt Volz. 2011,

Will O’ The WispMiles Davis

VernieBlind Melon

A Visitation Of EnergyJohnny Depp (Jim Morrison)

Some MoreFunkadelic

Midnight Sun The Ghost Of A Saber Tooth Tiger

She’s Fine, She’s MineBo Diddley

CycleBeck

Little Monkey (Live 3/19/04 at KVRX) – Devendra Banhart

House CarpenterBob Dylan (Self Portrait Outtake)

Hollywood Forever Cemetery SingsFather John Misty

Penduli PendulumBobbie Gentry

A Las Orillas Del VilcanotaEl Polen [photo by Billoguo]

Song for AriesCactus

LoveCountry Joe & The Fish

BarabajagalDonovan

You Can’t Beat Two People In LoveJames Brown & Lyn Collins

Lay Lady LayBrothers & Sisters (Dylan)

Night BeatChuck Berry

The Floating BedElliot Goldenthal [El Sueño (La Cama) by Frida Kahlo, 1940]

Blues In The NightFrank Sinatra

Moonlight Lady Iggy Pop [cover by Charles Burns, 1990]

Tender Beasts Of The Spangled NightBeck

 

——————Bobby Calero————————-