VOTD 06/23/2026

 NON: Pagan Muzak (Greybeat)

Purchased through eBay

This blog is something of a diversion, a trifle, a shade frivolous. I've been both intending to, and questioning, whether I should write about this and similar records. Here goes. 

There are some records that, if someone looked them over after I'm gone, I might have felt embarrassment. I don't mean The Ethel Merman Disco Album, which I freely admit I own. 

So what is there to be embarrassed by this record? Its appearance doesn't seem to be outrageous: a front image of some sort of tomb or temple lined with skulls, the back a single image of the artist, all in stark black and white.

And the record itself is novel: a 7" album housed in a 12" cover, with seventeen lock grooves one side one, repeated on side two. Playable at any speed. Standard 33+1/3 sounds right, the tracks largely like machine sounds. To be played loud. A hole drilled off center for off-axis playback. 

In other words, a very novel release, quite original in its presentation and performance, in ways that I've seen repeated since. The RRR-100 7" has fifty lock grooves on each side (I happen to be one of them), one hundred artists represented. RRRecords upped the ante with RRR-500, five hundred artists in toto on a 12" LP. RRR-1000 takes it even further, though I understand there are tracking issues with that one depending on your turntable. 

My friend tENTATIVELY, a cONVENIENCE released an LP with an off-axis hole cut. I wouldn't accuse him of aping NON, just that it's a similar technique. He's also released an album with multiple lock grooves.

So why am I potentially embarrassed to own this record?

NON is one Boyd Rice. NON is the "band" name for his noise-oriented projects. There are many (and often conflicting) reports about Boyd: that he can be great company, engaging, funny. A well-documented prankster, lover of EZ listening records. He was also supposedly an absentee father to a special needs child, a "Men's Rights" advocate, priest in the Church of Satan. There's a video of him happily talking to American White Nationalist Tom Metzger about how you never see black people at his noise concerts. An asshole Fascist/White Nationalist.

Allegedly. Allegedly allegedly allegedly. I don't know any of these things first hand, though I have watched the Metzger video, easily found on Youtube. You have access to Google, look for yourself.

I first came to know about Boyd through the Re/Search Industrial Culture Handbook. In some ways I was most impressed with him, because (according to the text) he had the purest of intentions: he enjoyed noise music, and the sound of things like skipping records. None of the neo-paganism of Genesis P-Orridge, or the occultism of Z'ev, or systems paranoia of SPK. Someone who enjoyed creating and listening to noise. To me, that's a high calling; if you don't find music you want to hear, make it yourself. That in itself is honorable.

Since the time I bought this record (a prize in my eyes at the time), I've seen too much evidence of his fascist leanings. Is it all a joke to him? The fact of him recording with Death In June (known to be Nazi sympathizers) doesn't help his case. But what do I know?

There are many examples of bands/artists playing with fascist and even Nazi imagery. Sometimes ironically, sometimes not, and sometimes who knows? I'm thinking of a tape released by Ramleh on Broken Flag records, Rockwell Hate. It uses an audio letter sent by George Lincoln Rockwell, founder of the American Nazi Party, to his followers. The cassette is played while the band provides a backdrop of blistering power electronics. My sense is that it's a joke, that they're making fun of that racist moron by supplying a backdrop of the ultimate entartete musik. Hitler would have never approved.

That's just my intuition, but again, what do I really know? If I'm proven wrong I will happily rescind my comments. I face the fact that it might become necessary for me to remove this posting. 

I'm also thinking of Sid Vicious wearing a swastika t-shirt. I'm certain he just wanted to outrage people. 

So where am I left with Boyd Rice and NON records? Isn't the history of the arts filled with shitty people? Gesualdo murdered his wife in cold blood, as I've written here before. That happened four and a quarter centuries ago. At the time terrible; now, an interesting footnote? And what of Miles Davis' and Charles Mingus' know abuse of women?

Nonetheless, I just don't think I can abide by what could be Boyd's racist and fascist leanings. I hate to waffle on things like this; it's just that the facts are murky.

I should probably sell this. Too bad, I love weird lock groove records like this. 

CDOTD 06/18/2026

 James Crabb & Geir Daruagvoll: Duos for Classical Accordions (EMI Classics)

This was a promo copy I claimed when I worked at Borders

"Welcome to Heaven! Here's your harp! Welcome to Hell! Here's your accordion!"

Stupid old joke. Truth is both instruments are beautiful in each its own way. If anything I find the accordion more confounding. How does anyone play the damned thing, especially the non-twelve tone keyboard right hand, button box concert accordion?

How do you get to Carnegie Hall? Practice practice practice. Another old joke. 

Furthermore, the accordion can be highly expressive, something that's not built into the harp. Oh, it's expressive in an ensemble when you need that run of plucked notes. But the harp has hardly any dynamic range, unlike the accordion which can be gentle or aggressive. 

When I worked at Borders in the mid-90s, interest in CDs was at its height, or just cresting. DVDs were just being introduced. The store was not allowed to sell the promotional copies of CDs we received, so as a worker you could claim discs for yourself when they had outlived their purpose. There are a few amazing discs I got this way: Esa-Pekka Salonen conducting an all-Bernard Herrmann recording, historic recordings of Dock Boggs, this, others I'm forgetting. We'd claim discs by putting a Post-It note with our name on the cover. Most of us were respectful; I didn't try to claim a Boyz II Men disc just because I knew I could sell it (a not-so-open secret among workers). 

And who besides me was going to claim a CD of classical duets of accordion music? Only someone who intended to sell it later, if they could. And, the program! Duo accordions Stravinsky's Petrushka, Tango, and top it off with Pictures at an Exhibition. Hella yeah! 

I chose this disc without resorting to my randomizer, because yesterday was Stravinsky's birthday. 

As Petrushka plays, I find myself missing Stravinsky's orchestral colors. He was a solid and interesting orchestrator. Inversely, the accordion does have a way of bringing out the clownishness. Some of the work sounds perfectly suited for this format. What it's not missing is content. Two accordions, four hands, that covers a lot of ground. And it's probably more engaging than a two piano arrangement of the same piece, which I think exists. 

In my mind, I'm imagining Stravinsky hearing this and writing something specifically for duo accordions. I'm sure he would have challenged them, and more likely than not it would have been great.

Tango in this orchestration is great too. Makes me wish I could see this, in a concert hall, in the front row. Feel those accordion bellows physically. 

My understanding of Pictures at an Exhibition is that Mussorgsky himself intended to orchestrate the work, but didn't live to see it through. Ravel's orchestration is the famous one but not the only; I once heard a radio performance of a Stokowski orchestration. It seemed like a pale version compared Ravel; if anything, a lesser response to Maurice's work. 

I miss the colors of Ravel's orchestration, this is still amazing in some parts. While I appreciate Ravel's use of alto saxophone on "The Old Castle", it sounds great on two accordions. Respect.

I'm hopeless as a keyboardist in any respect. Ten thumbs. I love the piano, and there's so much incredible music written for it. But I would give serious consideration to being an accordionist given the chance. 

VOTD 06/13/2025

 Frank Zappa: Jazz From Hell (Barking Pumpkin)

Purchased from Leechpit Records, Colorado Springs

I remember when this record arrived at WRCT, 1986. There's a listing for the musicians on the back cover. I don't think I understood then how sequenced this album sounds now. 

It's so tight, like a noose around a neck. (Hyperbole?) Frank always wanted absolute perfection in his musicians' performances. But what does that mean? What is perfection? And does the pursuit of perfection impede the possibility of expression?

In some ways, this album sounds dated to me. By sounding clean and "modern", he dates the LP to a certain time period. Early digital, transferred to analog playback.

I have really tried to appreciate and listen to Frank's Synclavier albums. Really. Are they a true reflection of Frank's vision? Or, just maybe, they're mechanized simulacrum of really good bands he's led? 

Jesus Christ. The second and third cuts on side one are...boring. And track four isn't much better. But I recognize that I'm hearing this after years of teaching MIDI sequencing techniques.

So what stands out? "Night School" and "G-Spot Tornado", the opening cuts on sides one and two, at least aren't boring. The latter sounds hyper-sequenced, but at least it's at the service of a lively composition. An arrangement played live appears on The Yellow Shark. I'd recommend that album over this one. 

I'm listening to side two of this album, and for crying out loud it can be annoying. There's some sonic and mental relief on side two, track three: "St. Etienne". Frank solos over a one-two chord as he often did. This is probably where the back cover credits enter into the picture.

I must say...for all of Frank's seeking of musical perfection at a micro-level, he probably understood the beauty of a flexible, in-tune, lean band. At least I hope. Personalities! Or was perfection too important to him? I guess we won't know. 

When I bought this at Leech Pit Records in Colorado Springs, I also bought the two-CD Civilzation Phase III. I generally don't like Frank's Synclavier-based albums, but...who knows?

CDOTD 06/01/2025

Sons of Ra: Standard Deviation (The Laser's Edge)

Purchased new from the band

I have to say, it takes some balls to call yourself Sons of Ra. Evokes you-know-who. 

I opened for them at Bantha Tea Bar in the Garfield neighborhood last week. It's a tiny space, never meant to contain a band that sounds this big. I did an opening duet set with Patrick Breiner. Patrick told Manny Theiner to give his fee to that headliner. I took my $15 and bought their current CD with it. Patrick's a mensch beyond mensch, does that make me a jerk?

Manny described them as being like Last Exit, the heavy hitting supergroup of Peter Brotzmann, Sonny Sharrock, Bill Laswell, and Ronald Shannon Jackson. I'd say...maybe not so much, but I'm interested in revisiting that group. I'd say closer to Sonny Sharrock's Ask the Ages, but that album's such a classic, that's not fair either. 

It's not exactly jazz, SOR are mostly a power trio with the bassist doubling on saxophone. I hope I don't sound cynical when I say, they get a lot of mileage out of their reverb effects, on a similar way to Killing Joke. But far more jazzy.

Opening the disc and the concert: a take on Coltrane's "Alabama". I say, be careful. That's a powerful work. 

They performed well, but the pieces come off more effectively in studio versions. Less muddy, partly due to the space. My own experience recording is the opposite: it's very difficult to capture the live essence in the studio. When they need power chords, it comes through clearly on record. There's also a lot more saxophone here than I remember in concert. 

I can't help but turn this inwards. Is this better than the second CD by my old band Water Shed 5tet? In general, probably yes, but I think my album was more original. Give the kids a break though, they're working hard and more dedicated to touring and promotion than I'm capable. 

And I'll probably sound like a jerk but, listening to them, I felt like I could do something similar but better. Sons of Ra, should you read this, prove me wrong! I'm a battered-down old man clinging to relevancy. Nonetheless, you do have room to grow.