Singer and Poet Zahara in Nairobi, Kenya 2013-06-02 Photo: David Mugo/Reidarmax
Bulelwa Mkutukana, stage name Zahara = blooming flower. Born in East London, South Africa (1987-11-09 – ).
One Track: Loliwe The name refers to the train that brought workers back home after many years of working in Johannesburg, where they often had other families.
One Quotation: In an interview, Zahara described this first album as a metaphor. “It’s like … just pick yourself up. No matter who’s your father or who’s your mother … I believe that you’re not a mistake.”
One Comment: Zahara is a South African singer-songwriter and poet who sings in Xhosa and English. She started to sing at the age of six. Zahara released her debut album Loliwe in 2011 which sold over 100 000 copies in South Africa. Her debut single, Loliwe, featured here, currently has had over 1.8 million views on YouTube.
One Comment: Clarice Falcão (1989-10-23 – ) is a Brazilian singer-songwriter, and actress from Recife.
One Film: In 2007, Clarice won a contest with this short calledLaços (Ties), directed by Célio Porto, the boy in the film, and Adriana Falcão (1960 – ), her mother, and presented at the Sundance Film Festival. Her song, Australia, is an integral part of the story.
One Quotation, from Australia:
I’m stuck here in the darkness Blinded by all the light Standing outside my body with my body still in sight
One Explanation for this entry: Wikipedia explains that Recife has a dark history, as the first slave port in the Americas. It was founded in 1537, during the early Portuguese colonization of Brazil. Located at the confluence of the Beberibe and Capibaribe rivers before they flow into the South Atlantic Ocean, the city is a major port on the Atlantic. Its name is an allusion to the stone reefs that are present by the city’s shores. The many rivers, small islands and over 50 bridges found in Recife city centre characterise its geography and led to the city being called the Brazilian Venice. It has a relatively high ranking in terms of Brazilian human development index (HDI), ranking highest in Northeast Brazil.
However, Racife also contained the former capital, Mauritsstad, of the 17th century colony of New Holland established by the Dutch West India Company. That fact makes it interesting for me, as the city is part of my biological heritage, and the birthplace of Maria Post in 1649, one of my ancestors. Her parents were from Haarlem, in the Netherlands. After Recife, the family moved to New Amsterdam, residing on Staten Island and then Bergen, New Jersey. Maria herself moved to Schenectady, in upstate New York, where my Norwegian ancestors (the Bratts) had moved, after emigrating from Fredrikstad to Amsterdam and onwards to New Amsterdam.
Cover is a word play, referring to a non-original musical performance/ recording. However, in this case it also refers to a book’s skin, cardboard holding the contents inside, as it were. The content of this book of English Folk Songs, refers to 151 songs with tune and text, that “are learnt and performed by non-professionals in informal, non-commercial settings.”
In a musical context, a cover is a version of a song that is a remake, a new performance/ recording by someone other than the original composer/ performer. This is a concept that has only existed since the mid-20th century. Before that, musical entertainment was a live event, at home, or some public venue. It is often noted that sheet music was originally published to increase the popularity of music.
The American Copyright Act of 1909, and its subsequent revisions, gave United States musicians the right to record a version of someone else’s previously recorded and released music, whether it is music alone or music with lyrics. While a license can be negotiated between representatives of the interpreting musician and the copyright holder, any cover version can use a mechanical license where the recording musician pays a standard royalty to the original author/copyright holder through a designated copyright organization. This is permissible under copyright law even without permission from the original author. This provision was introduced to prevent the Aeolian Company from monopolizing the piano roll market. Many other jurisdictions offer similar provisions.
That said, there are many different reasons why people in the twenty-first century make covers. These reasons are the topic of this weblog post.
One important reason is for a musician to demonstrate technical competence. The cover version in some way attempts to exhibit a technical competence on par with the original. This does not mean that the cover musician is equal to the original musician, especially if the originator composed the music, and/ or wrote the lyrics. There are many different tribute musicians who specialize in making cover versions of prominent bands.
Yet, sometimes the musical expression can compensate. All Along the Watchtower (1967) was originally written and recorded by Bob Dylan (1941 – ). Yet the original version (1967) proved less popular than the Jimi Hendrix (1942 – 1970) Experiencecover version (1968). Part of the reason is simply that Hendrix is a better musician than Dylan, although Dylan is a master at using the English language.
Sometimes, there will be less emphasis on imitation, and more on originality by changing the instrumentation, arrangement or vocal range. Pentatonix began with Kirstie Maldonado (1992 – ), Mitch Grassi (1992 – ) and Scott Hoying (1991 – ) from Arlington, Texas, entering a local competition with an a cappella 2010 cover version of Lady Gaga’s (1986 – ) provocative, originalTelephone (audio 2009/ video 2010) with Beyoncé (1981 – ). The cover is not very professionally made, but still demonstrates their talent.
Some cover versions are uniquely different. Many people are aware of Smells Like Teen Spirit (1991), performed by Nirvana, with lyrics and music by Kurt Cobain (1967 – 1994). Its music video was, at a time when people watched something called television, the most played on MTV Europe. For those unfamiliar with the nuances of the original, Wikipedia has an article about it. A cover version by Tori Amos (1963 – ) is recorded at a live performance at Montreux in 1992. It is a totally different experience. There is no attempt to imitate. It provides totally different emotional content. For some, the Tori Amos version is exceptional, and far better than the original.
Fear of the Dark (2019), by the Melodicka Bros, is vastly different, more melodic cover that exceeds the quality of the original, by Iron Maiden (1992), in my opinion. On YouTube, there are over 200 cover versions of this one song available.
Pauli Poisuo on 2020-05-27 documented another cover that is emotionally distinct from the original: Johnny Cash’s (1932 – 2003) cover version of Hurt (2002), was made when Cash knew that he was dying. The take is very different from the original version by Nine Inch Nails = Trent Reznor (1965 – ) who wrote it from the perspective of a young drug addict in a Downward Spiral (the name of the album in which it appeared, released in 1994). The reason for Cash recording Hurt, is probably due to the encouragement of record producer Rick Ruben (1963 – ), who in 1993 convinced Cash to change record labels. He allegedly succeeded by saying, “Well, I don’t know that we will sell records. I would like you to sit in my living room with a guitar and two microphones and just sing to your heart’s content, everything you ever wanted to record.” This artistic freedom offered was extremely important for Cash.
Another reason for making a cover is parody. Sometimes people believe a band/ musician is too pretentious about their works, with the result that they attempt to parody them back to reality. Kraftwerk is a synthesizer-based electronic music band from Düsseldorf, Germany, started in 1970 by Ralf Hütter (1946 – ) and Florian Schneider-Eselben (1947 – 2020). The Official Kraftwerk YouTube Channel has about 61 400 subscribers, they only offer three videos, including Die Roboter/ The Robots, released in 1978.
Enter American pianist, synthesist, electronic musician, producer, father Andrew and his son Hudson. Last name, Piano (on YouTube) but Voltage (and currently missing from Instagram). Their YouTube site boasts 440 subscribers, and 5 videos. As of 2021-09-16, 178 678 people had watched their cover of The Robots, uploaded in 2016. Andrew writes: “For this project, my intent was to spend some creative fun time with my 6 year old son, teaching him about music production and synthesizers. I also wanted to introduce him to Kraftwerk—heroes of mine since childhood. We had a lot of fun making this and hope you enjoy…The Robots!”
An aside: Wolfgang Flür (1947 – ) was a percussionist with Kraftwork from 1973 to 1987. He wrote a critical book about the band, I was a Robot (2003) in which he claims that he invented the electric drums used by the band throughout the 1970s. However, patent records dispute this.
There have been several popular versions of The House of the Rising Sun published. In Canada, the United Kingdom and the United States, and other English speaking countries, the Newcastle, England group, The Animals version from 1964 is most popular. In other countries, including Norway, the Detroit, Michigan band Frijid Pink‘s version, released in 1969, is more popular. While these arrangements are copyrightable, the original music/ lyrics are not, since the original songwriter is unknown. The oldest published version of the lyrics was printed by Robert Winslow Gordon in 1925, in a column “Old Songs That Men Have Sung” in Adventure magazine. The oldest known recording of the song dates from 1933 by Clarence “Tom” Ashley, who claimed he learned it from his grandfather. Dave Marsh in, The Heart of Rock & Soul: The 1001 Greatest Singles Ever Made, (1989), described the song (in entry #91), as the first folk rock hit.
The New Penguin Book of English Folk Songs provides the tune and text of 151 songs, that “are learnt and performed by non-professionals in informal, non-commercial settings.” (xii) This, and other collections of folk songs, can provide a basis for music and lyric adaptations. What one person finds of interest will not necessarily appeal to others. There is a lot of room for personal taste. This writer is reading the book at the rate of one song per day. This means not just reading the lyrics, but also the accompanying notes. It also means listening to song versions that are available.
This weblog post will end will the presentation of a group that will remain anonymous, for what is called the worst ever cover, a version of The Final Countdown, originally recorded by the Swedish rock band Europe, in 1986.
One Track: The Cranberries, Zombie (1994). Video directed by Samuel Bayer.
A Second Track: Bad Wolves, Zombie (2018). O’Riodan was in London to record this version of Zombie with the Bad Wolves, when she died.
One Quotation: “When I was about 14, I got a tacky keyboard for 250 pounds and put on a drum machine and found I could write a song.”
One Comment: On 1993-03-20, in Warrington, Cheshire, England, terrorists had planted bombs in cast iron dustbins/ garbage cans/ trash cans. They phoned the police with a coded warning that there was a bomb, but they didn’t say which town. When one bomb exploded 25 minutes later, panicked crowds ran directly into the path of the second explosion. Three year old Johnathan Ball died at the scene, while 12-year-old Tim Parry was seriously injured, and died five days later. Fifty-four other people suffered injuries. Zombie was a direct response from O’Riordan and the Cranberries to the horror of Warrington and all the other atrocities that had taken place. It pleads: “Another mother’s breaking / Heart is taking over / When the violence causes silence / We must be mistaken.”
Anonymous participants of the Pussy Riot group who avoided prosecution for their performance published an open letter…
We are all—female separatist collective—no man can represent us either on a poster or in reality.
We belong to leftist anti-capitalist ideology—we charge no fees for viewing our artwork, all our videos are distributed freely on the web, the spectators to our performances are always spontaneous passers by, and we never sell tickets to our “shows.”
Our performances are always ‘illegal,’ staged only in unpredictable locations and public places not designed for traditional entertainment. The distribution of our clips is always through free and unrestricted media channels.
We are anonymous, because we act against any personality cult, against hierarchies implied by appearance, age and other visible social attributes. We cover our heads, because we oppose the very idea of using female face as a trademark for promoting any sort of goods or services.
The mixing of the rebel feminist punk image with the image of institutionalized defenders of prisoners’ rights, is harmful for us as collective, as well as it is harmful for the new role that Nadia and Masha have taken on.
Nadezhda Tolokonnikova (aka Nadia or Nadya Tolokno, 1989 – ) and Maria Alyokhina (aka Masha, 1988 – ) who participated in a 2014-02-06 Amnesty International concert, responded …
When we were jailed, Pussy Riot immediately became very popular and widely known, and it turned from just a group to essentially an international movement. Anybody can be Pussy Riot, you just need to put on a mask and stage an active protest of something in your particular country, wherever that may be, that you consider unjust. And we’re not here as the leaders of Pussy Riot or determining what Pussy Riot is and what it does or what it says. We are just two individuals that spent two years in jail for taking part in a Pussy Riot protest action.
One Quotation: “We let the weirdness in.” (Song: Leave It Open, Album: The Dreaming, 1982)
One Comment: Bush’s musical style is eclectic and experimental, her literary themes and lyrics are unconventional yet have mass appeal. Her weirdness is influential.
Delia Derbyshire at work at the BBC in the 1960s. Some of this involved arranging (if not composing) music for Doctor Who. (Photo: BBC)
The publication date of this weblog post marks the twentieth anniversary of the death of Coventry born, bred and blitzed, Delia Ann Derbyshire (1937-05-05 – 2001-07-03) is most famously remembered as the arranger of the theme and incidental music for Doctor Who, based on a score by Ron Grainer (1922 – 1981), while working for the British Broadcasting Corporation (BBC). Of course, she should have been recognized as a co-composer, at the very least.
The most important source for information about Delia Derbyshire is Breege Brannen’s Thesis in Computer Music at the University of Dublin, submitted in 2008. Reading about her life leads to a greater understanding of how women have been suppressed, right up to the current day.
To appreciate her work, one of the most important documents is a video showing how she created works.
One Quotation: “I don’t think I was born to be an entertainer, I used to really be afraid of playing live on-stage. Obviously it’s terrifying! But now I look forward to it every time. I’ve learned not focus on myself, cause it’s not about me. Now I only think about giving everyone the best experience. A magic moment.”
One Comment: Aurora was chosen as a singer-songwriter in an attempt to focus on women musicians, composers and songwriters under age fifty. On the date of publication, she has finally reached twenty-five years old. Running with Wolves was released in 2015, when she was eighteen. Wikipedia describes Aurora as having an eclectic musical style that is a composite of eight genres: art pop, Nordic-folk, synth-pop, electropop, electro-folk, indie pop, dark pop and avant-garde pop. I appreciate the fact that she in-sources costumes and makeup to her sisters.
Pauline Oliveros in the studio at the San Francisco Tape Music Center, in 1966, at a Buchia-100 series modular synthesizer. Photo: David Bernstein, from Mills College Center for Contemporary Music archive.
One quotation: Deep listening is a term invented by Oliveros. It involves “an aesthetic based upon principles of improvisation, electronic music, ritual, teaching and meditation. This aesthetic is designed to inspire both trained and untrained performers to practice the art of listening and responding to environmental conditions in solo and ensemble situations”. She presented some of her ideas on the difference between hearing and listening at a Ted Talk in Indianapolis, 2015-11-12.
One Comment: Pauline Oliveros became world-famous in Port Townsend, Washington, because of her 1988 descent into the Dan Harpole underground cistern and the resulting recording. Deep listening is more than a pun. It incorporates principles of improvisation, electronic music, ritual, teaching and meditation. It inspires everyone to listen to the environment.
Yet Another Comment: In 1966, Pauline Oliveros had been working with tape delay techniques in the San Francisco area, where she lived. That summer, she went to Toronto to study circuit-making with Hugh Le Caine for two months, and while working there she suddenly found that she had access to some of the most innovative and sophisticated electronic sound processing and recording equipment available anywhere. That summer she completed ten tape compositions and six ultrasonic tape studies.
Hugh Le Caine, with his analogue synthesizer, the Electronic Sackbut.
Hugh Le Caine (1914-05-27 – 1977-07-03) was a Canadian physicist, composer, inventor and instrument builder. This weblog post asserts his claim as an inventor of the synthesizer, the Sackbut, in 1945.
Before continuing, there are two predecessors who do not quite meet the bar in terms of inventing the synthesizer. Thadius Cahill (1867 – 1934) is credited by Thom Holmes in Electronic and experimental music: pioneers in technology and composition (2002) p. 42 – 49, with inventing the term synthesizer in 1896. He did not build or design one. Instead, he constructed three telharmoniums, the first electromechanical musical instruments. These were essentially electric organs, operated by an organist/ performer sitting at a keyboard with 153 keys. The Mark I weighed 7 tonnes = megagrams (Mg), to be politically correct. The Mark II and Mark III each weighed 210 Mg. Invented and patented in 1896, before the advent of vacuum tubes, these used tone wheels and additive synthesis to generate musical sounds as electrical signals. These signals were amplified by dynamos before being sent to horn speakers. Cahill used the term synthesizer to describe these dynamos. When operating, a telharmonium consumed 671 kW of power.
The second, non-inventor of a synthesizer is Homer Dudley (1896 – 1980) who in 1939, working at Bell Labs, invented the Vocoder (a portmanteau of voice and encoder), a method/ machine that electronically reproduced speech, so that it could be transmitted over distances through telephone lines, providing greater clarity, but compressed to use less transmission bandwidth. Key features included envelope control and amplification using voltage control components.
Unfortunately, there are a pair of inventors who do have a prior claim to what some experts consider the first true synthesizer, that appeared at the end of the 1920s. French Edouard E. Coupleaux (or Coupleux) and Joseph A. Givelet demonstrated an Automatically Operating Musical Instrument of the Electric Oscillation Type at the 1929 Paris Exposition. It used four vacuum-tube oscillators to control pitch, then from that output varied the amplitude and introduced further filtering to vary its timbre. The instrument incorporated a paper-tape reader with a pneumatic tracker bar like a player piano. Holes punched in specific rows of the tape varied the instrument’s parameters, allowing the sequencing and articulation of predetermined notes and audio control.
Coupleaux and Givelet built and installed organs that generated sound from hundreds of vacuum tubes in French churches (and radio stations) during the 1930s. Yet, their synthesizer disappeared. One wonders if the potential offered by their 1929 musical instrument, was in some way beyond their comprehension. Personally, I think not. It was undoubtedly, the dismal economic outlook of the 1930s that forced them to concentrate on the most profitable options available.
Hugh Le Caine was a physicist who, after helping develop early radar systems during World War II. When the war ended, he turned his attention to electronic music devices. Le Caine invented an early voltage-controlled synthesizer nearly 20 years before Robert Moog and Donald Buchla. As an academic his work was published in engineering journals. In 1954 he was working at Canada’s National Research Center on inventing and developing electronic music technology. His technology equipped electronic music studios at the University of Toronto (from 1959), the Centre for Electronic Music in Jerusalem (in 1962) and McGill University in Montreal (from 1964).
One criticism of Le Caine was that his inventions were always in a state of flux. There was no cut-of date, at which a particular design was fixed, so that it could be built as a production model. Instead, there was always just another adjustment that needed to be made.
Electronic Sackbut (1945–73)
Le Caine began working on the Electronic Sackbut synthesizer in 1945. As this was a time when major advances were being made in electronics, the Sackbut continuously improved until it was completed in 1971. It was monophonic, but conceived with enough synthesizing flexibility to serve as the starting point of musical thinking. When it was finally launched commercially, it met with little success, because other synthesizers were much more visible.
The Sackbut used voltage control to trigger and modify sounds, a keyboard – with spring-mounted/ pressure sensitive keys, for pitch control, Sideways movement of a key resulted in a gliding of toward the next higher or lower key. Waveform and timbre could be modified using a touch-sensitive pad for the left hand with individual finger controllers. Minimal dexterity was needed to control the instrument. The thumb had two pads. One controlled the overtone balance in a note, while the other controlled frequency. The index finger rested on a movable circular pad. Pressing it changed the waveform and timbre of the sound. Touch-sensitive controls for other sound parameters. The other three fingers each had their own pressure pad that could modify the periodicity of the waveform.
Touch-Sensitive Organ (1952–57)
Le Caine recognized the advantage of a pressure-sensitive keyboard for an electronic organ, and invented a keyboard whose output volume varied in proportion to key pressure. This technology was made into a prototype, and patented. The patent was acquired by the Baldwin Organ Company in 1955. A mass-produced commercial model neve apperared. The touch-sensitive organ was used as an audio source for Le Caine’s tape compositions, such as Ninety-Nine Generators (1957).
“Multi-Track” or Special Purpose Tape Recorder (1955–67)
This was a tape recorder capable of recording and mixing multiple individual tracks. It did not record sound using multiple tape heads on a single reel of tape but synchronized playback on six individual tape reels. The resulting sound was mixed down into asingle track. Each of the six tapes was fitted with variable speed controller, a touch-sensitive, 36-key keyboard. Many composers were especially enthusiastic about this, because it provided control over speed transposition, unavailable using other technologies. Its effectiveness was demonstrated on Dripsody (1955), the sound of dripping water transposed to different speeds. The device was refined over the years, ending with a compact, solid-state version in 1967.
Oscillator Banks (1959–61) and Spectrogram (1959)
Le Caine built several versions of a device for controlling and experimenting with multiple audio oscillators. A touch-sensitive key triggered the individual oscillators, that could play sine, pulse and sawtooth waves. Versions were built with 12, 16, 24 and 108 oscillators. The oscillator bank could be programmed using an optical reader, the Spectrogram. It allowed graphical input of program instructions using a paper roll scanned by an array of 100 photocells.
Serial Sound Generator (1966–70)
Regarded as the forerunner of analogue sequencers, this device used hardwired switches to program a series of tones and effects. It was an analogue computer for programming musical sequences, giving the composer control over pitch, duration, timbre and sound repetition. It used a voltage-controlled oscillator as its sound source.
Sonde (1968)
The Sonde was designed to control multiple sine wave generators. The 200 signals were controlled by 200 slide controls. Transistor circuits reduced space requirements. Despite this, the Sonde was about 1 200 mm high and 600 mm wide
Polyphone Synthesizer (1970)
While the rest of the world was enthralled with Moog monophonic synths, Le Caine ventured into powerful polyphonic, analogue synthesizers. This voltage-controlled instrument was built for the McGill University Electronic Music Studio. Once again, the Polyphone had touch-sensitive keys and individual pitch and waveform controls for each key. There were 37 keys, each with their own dedicated oscillator.
Hugh Le Caine retired from the National Research Council, in 1974. During his career, he had produced 15 electronic instruments, and composed a number of electronic music studies. His retirement did not last long. His other interest, motorcycles driven at high speeds, claimed him as an accident victim in 1976. He died of injuries suffered, in 1977 in Ottawa, Ontario.
For additional information about Hugh Le Caine one can read Wikipedia, or visit the Le Caine website.
