Snaptone Glimmerbeam I

"All I'm Sayin', Pretty Baby"

[This is one post in a series about my music mixes.  The series list has links to all posts in the series and also definitions of many of the terms I use.  You may wish to read the introduction for more background.

Like all my series, it is not necessarily contiguous—that is, I don’t guarantee that the next post in the series will be next week.  Just that I will eventually finish it, someday.  Unless I get hit by a bus.]


When it comes to music, I don’t actually care that much for instrumentals.  I like to be able to sing along to my music—despite not being very good at it—and it not having any words sort of puts a damper on that.¹  Still, there are quite a few places where downbeat instrumentals can land in my mix universe: if they’re dark and somber, they go on Shadowfall Equinox (which is almost entirely instrumentals); if they’re dark and trippy, they go on Smokelit Flashback (which is typically anywhere from a third to half instrumental); if they’re dark and creepy, they go on Phantasma Chorale (which is composed mostly of songs that, even when they have vocals, don’t have intelligible words).  But what if they’re upbeat instrumentals?  You know, the sort of song you might like to listen to as you snap your fingers, walking along in the summer sunshine, pleased with the warmth on your skin and the world in general ...

Well, in that case, they go on Snaptone Glimmerbeam.

One of the first instrumentals I can remember really digging from my album collection was Faith No More’s “Woodpecker from Mars.”  The great thing about this tune is that it feels like, at any minute, Mike Patton will launch into some cool-ass vocals.  He never does, of course, but the song rocks anyway.  Next in that vein was Hot, by Squirrel Nut Zippers.  This is an utterly amazing album, which I’ve talked about before,² but I don’t know if I properly explained how good it is.  “Life-changing” would be only mildly hyperbolic here.  It includes not one but three instrumental tracks, the best of which is almost certainly “Memphis Exorcism.”³  It rollicks along, almost demanding that you snap your fingers in time with it.

But the honor of being considered the mix-starter I give to Combustible Edison’s “Vertigogo,” which is the opening music for the movie Four Rooms.  In fact, that soundtrack is almost entirely composed of Combustible Edison, who do a sort of retro-exotica with a lot of jazz and lounge leanings.  They’re only about 80% instrumental, once you leave the sounddtracks and get into their actual albums, and some of Miss Lily Banquette’s vocal numbers are quite stunning.⁴  But it all started with the Four Rooms soundtrack, which is a cornucopia of bridges, as we’ve heard several times in this series.⁵  But the opening theme is longer and more upbeat and just way too fun not to put somewhere.  Thus it gave me the idea to combine it with the two tracks above, give it the opener slot, and thus this mix was born.  Fun side note: the only songs on the Four Rooms soundtrack which are not by Combustible Edison are two by Mexican band leader Esquivel, one of which is so awesome that I threw it in here as well.

Which brings us to electronica.  I never dug most electronica: techno can be fun for about a minute and a half (which is when I start to get sick of it), house and D&B are often too loud and chaotic for my taste, and EDM can be awfully esoteric.  And what they all have in common: nearly all of it is quite repetitive, and I don’t dig that.  Except ... well, ambient and other forms of minimalist music can be repetitive, and trip-hop can be repetitive, so perhaps I’m painting with too broad a brush.  What’s the difference?  Well, obviously, all those electronica forms are strongly upbeat, while the ones I like are way more downbeat—hell, a lot of ambient doesn’t even have a beat.

So I quickly learned that there’s one form of electronica that I do like, quite a lot: downtempo, sometimes called “chill.”  Of course, after (at time of writing) 5 volumes of Smokelit Flashback and 7 of Shadowfall Equinox, this is probably not news to you.  A lot of downtempo is instrumental (as is a lot of ambient), and that’s lovely.  Most of it finds its way to one of those two mixes.  But, every once in a while, a solidly downtempo album will have a more upbeat track on it.

Now, don’t get me wrong: “upbeat” downtempo is only upbeat in relation to other chill tracks, obviously.  But, still, what am I to do with them?  Assuming they’re good enough to go somewhere, they certainly won’t fit on either SFb or SfE.  So, here they are.  The two most obvious choices were probably Bonobo’s “Kong” and “In the Bath,” by Lemon Jelly.  Both are amazing downtempo artists that we’ve seen on Smokelit Flashback⁶, Paradoxically Sized World⁷, Cantosphere Eversion⁸ and Moonside by Riverlight⁹  But “In the Bath” is a bit of silly fun that wouldn’t fit on any of those, while “Kong” is not so much upbeat as just smooth and happy-making.  Both work well here.

Other downtempo artists and tunes I thought worked well here are Amon Tobin, who brings us “Keepin’ It Steel,” which is sort of the chill version of industrial; “Something for Madeleine” by the Karminsky Experience Inc, which gives us a rolling beat punctuated by organ and trumpet; and A Forest Mighty Black, whose “Fresh in My Mind” is too good not to appear somewhere, and, while still pleasant, is a bit more mellow and thus makes a great closer.

For a more freeform, jazz-like approach to instrumentals, there’s a few great options that I had to throw in.  Banyan, the solo project of Jane’s Addiction drummer Stephen Perkins, is sort of psychedlic jazz.  They give us “Lovin’ Them Pounds,” with some great clarinet, trumpet, and bass by Mike Watt (formerly of the Minutemen).  Shadowy Men on a Shadowy Planet, most famous for doing the theme to Kids in the Hall, are more of a bass-heavy guitar band, with strong surf rock leanings.¹⁰  “They Don’t Call Them Chihuahuas Anymore” [sic] is a fairly typical outing for them, and it leads beautifully into the somewhat bizarre sound of Gary Sredzienski & the Serfs, who fully embrace their surf music sound and combine it with, of all things, polka.  “A Good Looking Cossack!!” is, in my opinion, about the best example of their sound, sounding just a little bit like both at once, without ever really sounding like either.  Finally, Smokey Bandits¹¹ are here with the very first tune of theirs I ever heard: “Holidays in the Sun.”  It’s great, happy tune that I’m glad to finally have somewhere to put.

Another solid instrumentalist, Chris Joss puts out songs that sound like they ought to be in movies—I don’t think I can describe it any better than that.  In particular, he’s quite eclectic, and few of his songs sound the same.  I think I first heard “Count the Daisies” (which showed up on Paradoxically Sized World I) on my old cable provider’s “zen” channel (the source of many great finds, and I was sad to see it go).  Then I picked up the album and found gems like “Magic Tubes,” which ... well, I don’t think I can adequately describe it.  There’s a lot going on in this song, which you really have to check out.

Snaptone Glimmerbeam I
[ All I'm Sayin', Pretty Baby ]

“Vertigogo [Opening Theme]” by Combustible Edison, off Four Rooms [Soundtrack]
“Lovin' Them Pounds” by Banyan, off Anytime at All
“Memphis Exorcism” by Squirrel Nut Zippers, off Hot
“She Walks on Fire” by Royal Crown Revue, off Walk on Fire
“Mexican Sausage Link” by Chingón, off Mexican Spaghetti Western
“Holidays in the Sun” by Smokey Bandits, off Debut
“Sentimental Journey” by Esquivel, off Four Rooms [Soundtrack]
“Keepin' It Steel (The Anvil Track)” by Amon Tobin, off Supermodified
“Something for Madeleine” by The Karminsky Experience Inc., off The Power of Suggestion
“Magic Tubes” by Chris Joss, off Teraphonic Overdubs
“In the Bath” by Lemon Jelly, off Lemonjelly.ky [EP Compilation]
“Kong” by Bonobo, off Black Sands
“They Don't Call Them Chihuahas Anymore” by Shadowy Men on a Shadowy Planet, off Sport Fishin'
“A Good Looking Cossack!!” by Gary Sredzienski & the Serfs, off Cruisin' the Creek
“La La Love You” by Pixies, off Doolittle
“Woodpecker from Mars” by Faith No More, off The Real Thing
“Rock & Roll, Part II” by Gary Glitter [Single]
“Mick's a Hippie Burning” by Big Audio Dynamite, off Megatop Phoenix
“Lost in the K-hole” by The Chemical Brothers, off Dig Your Own Hole
“Fresh in My Mind” by A Forest Mighty Black, off Mellowdramatic
   

Total:  20 tracks,  74:11

Now for the less likely candidates.

I can’t even tell you why “She Walks on Fire” by Royal Crown Revue is on this mix.  It’s not instrumental, first of all.  Not even sorta-kinda instrumental like “La La Love You” is.  Perhaps it’s because the words are so irrelevant to the music—they’re completely unnecessary, and, once you start paying attention to them, sort of silly.  So definitely don’t pay attention to them.  Consider them just another instrument that comes together to give this song a peppy, expansive feel.  (Which the words totally don’t support, by the way: yet another reason to just ignore them.)

This also explains why the only truly non-instrumental song on the volume doesn’t provide the volume title.  “La La Love You” by the Pixies does.  And it’s not really instrumental either, but, since it only has about 3 or 4 lines repeated over and over, I don’t really think of it as truly vocal either.  But it’s an absolutely amazing track, for sure.

Robert Rodriguez’s Chingón, with their spaghetti western æsthetic, may also seem like an unusual choice here, but I think they work perfectly well: I’ve already referenced Four Rooms, which features one segment directed by Rodriguez, after all.  “Mexican Sausage Link” is a short tune with some fine mariachi-style guitar work as well as some lonely trumpet, and it flows beautifully after the Latin-flavored “She Walks on Fire.”

Big Audio Dynamite’s insanely good album Megatop Phoenix is probably most useful for its plethora of bizarre bridges between songs; I stole two for Cantosphere Eversion, and I’m stealing another one here: “Mick’s a Hippie Burning” is really four or five different things all jammed together, and yet they flow, and then flow beautifully into “Lost in the K-hole” by the Chemical Brothers.  In a similar vein to what counts as “upbeat” for downtempo being a good fit here, what can be considered “downbeat” on an album primarily consisting of acid house also works out to just about the right tone for this mix, and I’ve always considered this track somewhat psychedelic, but in more of an optimistic way than a mellow one.

Finally, I’ll mention the “guilty pleasure” of the set: Gary Glitter’s “Rock & Roll, Part II,” which is these days commonly associated with live sporting events.  I never quite got that.  I don’t think of it as a football song or anyhthing like that: it’s just a fun track that makes you happy.  I suppose you can use it to be happy while watching sports if that’s your bag.  But I think it can be much more than just that.



Next time, I think we’ll finally go back to the 80’s.

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1 Although I will happily “sing” the guitar parts, trumpet parts, or any other bits I can find.
2 E.g. on Salsatic Vibrato I.
3 Althought the other two are great too, and we’ll probably be seeing them on future volumes.
4 As I’m sure we’ll hear in the fullness of time.
5 Specifically, on Phantasma Chorale and Salsatic Vibrato.
6 Lemon Jelly had two tracks on SFb I and II, while Bonobo was on volume V.
7 Bonobo appeared on volumes I and II.
8 Lemon Jelly on that one.
9 Bonobo showed up on MbR II.
10 Although, amusingly, they’ve constantly rejected that label, even specficially titling one song “We’re Not a Fucking Surf Band.”
11 Who I talked about most extensively on Paradoxically Sized World V.