Song Nebula

 

“Arrebol” (1972) – Congregación * Written by Antonio Smith * Chile LP: Congregación Viene… * Label: IRT

Congregación recorded their lone Chilean folk rock one year before the 1973 coup that placed the murderous dictator Augusto Pinochet in power. When you listen to this song in particular, you’re hearing the sunset of a lost era. The word “arrebol” is one of those beautiful words with no precise translation, referring to the glow of clouds at dusk. “What is the arrebol’s color?” asks the singer, a philosophical innocent surrounded by chirping birds. “Is the color even a color, or is it something else? Something from inside of you?” In retrospect, his arrebol’s reddish hue had more ominous implications. Antonio Smith was the name of Congregación’s driving force, and he escaped to Argentina in 1973, after which he apparently kept musically active. The Congregación viene (Congregation comes) album, though, is the only one he left behind for future treasure seekers.

Conjunto Michoacán – “La Hija de la Viuda” (1981) * Written by Hermenegildo Garcia Flores * 45: “Piquetes de Hormiga” / “La Hija de la Viuda” * LP: La Hija de la Viuda/Piquetes de Hormiga * Produced by Magdaleno Oliva M. * Label: Odeon

The conjunto music of Michoacán in western Mexico features the violin instead of the accordion, and the early eighties lineup of the aptly named Conjunto Michoacán is a good place to get familiar with that sound. Hermenegildo Garcia was the violinist, vocalist, and most active song contributor, which is why some of their albums are billed to “Conjunto Michoacán de Hermenegildo Garcia.” This was the incarnation that appeared in a peculiar 1981 film called La Jorobada (“the hunchback”), in which they performed “Piquetes de Horniga,” a song still familiar to many conjuntos today. This album’s lineup is perhaps the classic one (Garcia had left the still active group by 1990), although some would probably argue in favor of the pre-Garcia incarnation with Camerino Martinez. The link takes you to Garcia’s “La Hija de la Viuda” (“the daughter of the widow”) from 1981.

“After the Gold Rush” (1974) – Prelude * Written by Neil Young* Produced by Fritz Fryor * 45: “After the Gold Rush” / “Johnson Boy” * LP: After the Gold Rush * Label: Dawn (UK) / Island (US) * Charts: Billboard Hot 100 (#22); UK #21

British a cappella trio version of Neil Young’s curiously titled visionary song from 1970, which taps into the sparseness of the original, with its “Look at Mother Nature on the run in the 1970s” refrain, along with the marketable declaration that “I felt like getting high,” to memorable effect. (But wait a minute – they’re actually saying “in the 1917,” aren’t they?) Young’s song already rang with end-of-an-era poignancy, but Prelude, at a point in time when the dust had truly settled, transformed it into a proper postlude, regardless of their weird year switch. 

“Hello Train” (1968) – John Martyn * Written by John Martyn * LP: The Tumbler * Produced by Al Stewart * Label: Island

The John Martyn from his first two albums (London Conversation and The Tumbler) is a different John from his legend. On these, his percussive trademark guitar had already begun emerging, but their pastoral tweeness would begin wilting away by album three (Stormbringer) onward. One could likely construct a full children’s album out of certain selections from his 1967-1970 output. After hearing the kid-friendly “Hello Train,” with its “April Fool” refrain and backwards tape loops, you may never let an April 1st go by without the song clickety-clacking through your head.

A candidate for the quintessential Motörhead song, “Ace of Spades” reached #15 in the UK in 1980 (a limited edition 12-inch single presented a cover image of the band dressed in Santa suits), then climbed to #9 after singer/bassist Lemmy’s death in December 2015. In 1984, the group mimed the bruising classic on “Bambi,” the funniest episode of the British Young Ones show (linked below). Lemmy, in mirrored pilot shades, sang upward as always. During the instrumental break, a frustrating cameraman zeroed in on whichever guitarist was not soloing.

“Dear Prudence” (1974) – Katfish * Written by John Lennon and Paul McCartney * 45: “Dear Prudence” / “Street Walkin'” * Produced by Bob Herne * Label: Gonad/Big Tree (US); Phillips (Germany)

High grade teen angel dust version of John Lennon’s White Album evergreen. For Katfish, a Rhode Island rock band, “Dear Prudence” was their only charting hit (#53 on Billboard), and it signals the Beatles’ continuing influence on the next generation of rock ‘n’ roll hopefuls. A German picture sleeve presents a ’70s conflict: a masculine bar band wrestling with the glam impulse.

“Ace of Spades” (1965) – Link Wray * Written by Link Wray and Mark Cooper * 45: “Ace of Spades” / “Hidden Charms” * Produced by Ray Vernon * Label: Swan

Menacing nighttime music from the man who had composed the only instrumental record to be banned. But if “Rumble” sounded like leather-jacket gang warfare, “Ace of Spades” sounded like a lone delinquent stalking a deserted boulevard at 3 AM. Dangerous too, but in a different way. Music like this gives the “Don’t Drop Out” message that appeared on mid-sixties Swan releases an embossed effect. Co-writer “Mark Cooper” was an alias for Milt Grant, who hosted a TV show called The Record Hop that boasted Wray and the Raymen as its house band. His song credits are likely of an honorary wheel-greaser nature; none of the Norton label’s Link Wray reissues include him.