Many years ago I had an argument with an old friend of mine, about the fact that there was now also punk in China. I thought it was great that Chinese punks were touring and releasing records in Europe. In contrast my friend would argue that once again Western cultural imperialism had prevailed, not leaving China a chance to develop a separate identity. He said that even the most rebellious punk musik is still only the by-product of much larger Western industries, that are destroying traditional, authentic cultures around the world. Even though we are the same age and both grew up with the same pop- and rock music, in this case we couldn´t see eye to eye.
I remembered this conversation, when reading one of Stuarts posts on his always amazing Radiodiffusion Internasionaal site recently. Without putting a label on it, my friend had taken up a stance similar to the one taken by many ethnomusicologists, who are searching for music that has not been contaminated by Western influences. Stuart introduces his article with the polemic question: “What do ethnomusicologists and Cultural Revolutions have in common?” Answer: “They both hate rock´n´roll.”
He further argues that “Music is, and has always been, the product of cross pollination from the begging of time – back to the begging of civilization. (…) And it’s those collisions of cultures that produce some of the most amazing music – at least to my ears. Only in the most totalitarian states has Western influences been shut out.”
He then illustrates his point by posting a record from North-Korea.
In the summer of 1999 my girlfriend and went on vacation in Thailand. We spent three very enjoyable and relaxing weeks at the beach on a hippie island. In fact this was the best vacation I ever had: nice people who never bother you, great food that is so healthy that you can´t even get fat from it and of course great beaches. A couple of days before our departure we took the train to Bangkok and stayed in the city. One day my girlfriend went to see the huge golden lying Buddha. I didn´t want to go with her, because I was determined to find some vinyl records. The owner of our hotel had told me that there were thrift-stores and record-stores in Chinatown. Sweating and nervous I fought my way through Bangkok , a city of 12-million people. The first record shop didn´t want to sell me anything at all. The second pointed me to a corner of the shop with Western music. I respected that, because it seemed that, except maybe for their own Thai culture, everything was for sale in Bangkok. In the third store however, I was welcomed in a friendly manner by a young man. I remember that I was surprised that the store seemed to have multiple copies of a lot of old records that had never been played. When I asked if I could listen to some of the records the young man, who didn´t speak English, motioned me to wait. An old Chinese lady wearing full make-up, a pinned-up hair-do, a Kimono and a cigarette holder then played and sold me these records. I swear, this is how I bought these records.
This music is a fine example of the said cultural collision, of traditional Thai music connecting with rock´n´roll. When I played this record at home, my friend really liked it.
Johnny Guitar is a band. It has been featured on the first Thai Beat A Go Go compilation released by Subliminal Sounds and the Shadow Music Of Thailand compilation released by Sublime Frequencies. Radiodiffusion Internasionaal has written about Johnny Guitar and posted two tracks from the Johnny Guitar LP. I saw that LP in the Bangkok record shop but didn´t buy it because I only buy 45s. What an idiot I am! I´ll never see it again.
I always shied away from posting these records because I don´t know anything about these groups, nor when they were released. I don´t know Thai and even if I´d taken the time to transcribe the Thai letters, I wouldn´t know how to put them into this article. But this record is puzzling in many ways. So I´m a little ashamed to simply give these songs numbers. Who is this couple and what is the meaning of the hand signs? What´s the story behind the painting of the natives in the background? Maybe somebody can help.
For those knowing Thai, here´s the lyric sheets to the songs that came with the record:
Johnny Guitar were among the so-called Shadow Music groups from Thailand, groups that were influenced by the British instrumental rock´n´roll group the Shadows. That influence can clearly be heard in these songs. The sleeve on the other hand doesn´t look like a rock´n´roll record, a record made for teenagers, at all. It looks like it was made to appeal to an older, more conservative Thai audience. Or maybe Johnny Guitar was such a cool group that they decidedley chose a traditional Thai image to counteract their new music. I´d like to believe it was the latter.
Johnny Guitar hit in Thailand with Supanahong in 1966. It is featured on the first Thai A Go Go compilation.
The teenage girl with the bee-hive hair-do cuddling-up to a, most probably religious, statue makes me believe that the group was very conscious of the fact that they were combining traditional Thai music with rock´n´roll. The young girl, that is rather Western looking, contrasts nicely with the traditional Thai imagery. It´s the perfect design for the music to be heard on this record
Of course the title of this record is not Ultra High Fidelity. I just don´t know Thai. Hopefully somebody will help out with the names of the songs and the title of this record. Of the three Johnny Guitar EP´s I bought in Thailand, this is the strongest rock´n´roll-wise: cool guitars, a screeching organ and some nice laid-back “Hey, Hey-Hey-Hey-Hey-Hey´s”…
After I had left the store of the Chinese lady, I discovered a thrift-store in a side street. I walked in and saw a couple of boxes filled with 45´s. I picked a couple of cool EP´s from Singapore but found very few Thai records. Most of the records were dirty, sleeveless and in bad condition. Then this record caught my eye. I had listened to one of the Johnny Guitar records in the Chinese lady´s store and recognized the same Rosana label. That´s how you get to know about music in the real world. If you enjoy music that was published by a certain label, you also check out other releases by that label, assuming that somebody must have had some good taste in choosing this music in the first place. Ten years later I can check the Internet and find all sorts of information on P.M. Pocket Music. Apparently they were a cult group in Thailand, one of the bigger groups doing Shadow Music. In the hot and humid summer of 1999 when I was in Bangkok´s Chinatown in that dirty thrift-store, knowing absolutely nothing about Thai rock music, I was learning real quick about labels. The record looked real beat, but I took it anyway. At home I cleaned it but of course it still has a lot of surface noise. I´m still glad I picked it, there are some killer instrumentals on this record..
After I returned to our hotel I showed the Thai owner, who had told me where to search for record-stores in Chinatown, what I found. He congratulated me to my discoveries and seemed surprised that I had only chosen records from Thailand, even though I didn´t know the language. When he saw this record he said: ” The Impossibles! They were great! They were the Thai Beatles!” I was happy he told me, because I had no clue, but I could also feel a touch of envy in his reaction. Obviously he really liked the music I had found, but for a glimpse of a moment he gave me the feeling of not being entitled to have these records, because I couldn´t understand what they were about. However, no matter how cool he might have found the records I presented to him, it´s not like he would have gone out and searched for them by himself. He wouldn´t have liked digging through dusty old boxes for hours to find them. The Thai Beatles sold tons of records and I bet you can still find them easily today if you search for them in Bangkok. It only takes some time. And you shouldn´t mind getting your hands a little dirty.
The Impossibles had a long career recording a number of albums into the 70´s. In 1974 they even went on a Scandinavian tour. In 2001 they reformed and are still playing today.
I only recorded this one song, a balad with a nice fuzz guitar, because the other songs were not rock songs. There must be more rockin´stuff by the Impossibles, but this is all I´ve got.
As Stuart always puts it: no release date given.
Tonight from 10:30 to 12 pm, I´ll be doing another Berlin Beatet Bestes radio show together with Ostberlin Beatet Besseres. As usual we´ll be playing both new and old, but always weird music from around the world.
If you´re in Berlin, tune in to 88.4 FM on your dial. You can also stream directly to your computer from Pi-Radio.
I´m never looking for anything in particular, when I´m entering a record shop. Rather I like to be surprised by what I find. It´s really like digging for “something else”. That´s why I hate alphabetically organized shops. I´m never looking for anything in particular, so I have to then dig through all of the records in the shop. In the case of the Lisbon record shop where I bought this week´s selection, there were more than 10.000 45´s in the store. None of them sorted and I dug through all of them. I like it if shops are sorted by genre, because I do have a roughly sketched set of odd genres that I´m searching for: comedy records, advertisement records, political records, children´s records, records made by kids, records made by old people, records from exotic countries and adult records.
This one is not really an adult record but I did buy it because it had the “Interdit de moins 16 ans”-tag and obviously because of Coccinelle´s semi-nudity. I even listened to it in the record shop, but apart from the suggestive Avec mon petit faux-cul (With my little fake ass) there was nothing dirty about the music at all. A faux-cul was the late 19th century fashion of upholstering womans dresses to make their behinds look bigger and more beautiful. A play of words, faux-cul can also mean hypocrite.
I didn´t know anything about Coccinelle until I got home to my Lisbon hosts, Marcos and Joana. They really loved this record and took the time to read the liner notes on the back cover.
Joana then quickly searched the Internet and seconds later presented the surprise: Coccinelle (French for Ladybug) is France´s first and most famous transsexual! A national celebrity and a renown club singer, Coccinelle had a sex reassignment surgery in 1958 in Casablanca. She performed regularly at the famous nightclub Le Carrousel de Paris and appeared in some movies. Her first marriage in 1960 was the first transsexual union to be officially acknowledged by the French government , establishing transgendered persons’ legal right to marry. A transgender activist, she founded the organization “Devenir Femme” (To Become Woman), to give emotional and practical support for those seeking sexual reassignment surgery. She also helped set up the Center for Aid, Research, and Information for Transsexuality and Gender Identity. Coccinelle died in July 2006 following a stroke.
I don´t think I would have found all this, without digging randomly. Luckily, as compulsive and crazy as my record collecting habit may be, it can also educate.
When I checked Wikipedia I got the information that Domenico Modugno (9 January 1928 – 6 August 1994) was an Italian singer known for his 1958 international hit song “Volare”. It received two Grammy Awards with sales above 22 million copies, and represented Italy in the 1985 Eurovision Song Contest, where it came in third. Modugno was an actor in 44 movies. In 1987 he was also elected congressman as a member of the liberal Italian Radical Paty. But to be honest I had never heard of him before I bought this EP in Lisbon a couple of weeks ago.
Italians had a thing for incorporating rock´n´roll into the orchestra sound. I own a bunch of similar Italian records like this one. Marinai donne e guai apparently is a song from a Italian film. This is a Spanish Telefunken release licensed from the Italian Fonit label.
“Sailors on the quai, don´t look after the girls!”.