The book in the window has been identified as a Penguin edition of the complete plays of Christopher Marlowe. More recent editions of the same book use the same picture of Marlowe, but with a different design. We really believe it is much improved without compromise The vinyl reissue on Jackpot Records is from the same digital master as the edition.
Data If anyone knows of a numerological justification for starting the Corwood catalog numbers with , please let me know. Note that the date is a full three years before his second LP. In the Trubee interview, Jandek says that copies of the LP were pressed.
The version here is played on electric guitar the rest of the album is acoustic. That individual would come to be more commonly known as Jandek, and a total of 28 albums have been issued on Corwood to date.
In however, there was no telling what was to come. It set the stage for one the most individualistic and fascinating bodies of work in contemporary music. No other information was ever offered. As it remains today. By the mids a wealth of documentation had occurred and the early Corwood albums became notoriously unavailable just as people were finally getting up the gumption to consider buying them.
The Units are completely enveloped in their own musical world. Here it servers as a deterrent as well as a benefit.
We can hear the wistfulness, the lostness, the loneliness, the anger and the joy Smith fills his songs with, but we feel it in terms of sympathy, not empathy. We feel for him, not with him The Units have come up with an original musical language. Because of this, the songs sound very similar to each other at first, but after a while they each begin to prove themselves as wholly autonomous compositions.
The guitar-playing is slow, only faintly melodic, alternately rich and tinny sometimes both at once ; occasionally Smith will slam the strings in anger or in hurt or in something, and the playing is so engrossing that these abrasive moments are enough to knock the listener on her butt! Another endearing characteristic of Ready for the House is its overwhelming amateurness. The rough-edged crudity of each touch seems almost deliberate, but it carries a sweet beauty that a more polished production would probably have softened Another highlight is the cover itself.
The anxious beauty of isolation and doubt. Vinyl Absolution 20 October website. That someone like this, with the ability to track down those dark corners of the brain can somehow get his art or artifice out there. The vocals are sung and spoken. Oddly, he always makes sure it rhymes, in a rare show of artistic effort Jandek tunes his guitar and one chord not in a musical way, but more as an ambience. The sound of the one chord fits the feelings of sadness and isolation expressed in the lyrics One rule though: never touch the fretboard One of the best of the typically boring Early Period.
The sonic trademarks are there: the detuned at times death rattle acoustic guitar, the reverby haunted whiny voice, the banal, abstracted and often poetic lyrics In fact it's Jandek's inability to play the blues well that makes it so fucking 'authentically' Blues-like, in a sort of John Lee Hooker droney sort of way. I was really stunned by it I was stunned at the sheer amusicality or unmusicality or nonmusicality, the sheer emptiness of it.
This was an album that started nowhere, went nowhere, and ended up nowhere It was really like hearing a posthumous recording, a recording that was made after they had died I had never heard anything that was so naked. There is some damage to the photo if you look closely, as if it had stuck to the photo above it in a stack, or as if someone had had it in their wallet. It could be a photo booth photo. He even looks unshaven, though it could just as easily be an effect of the lighting. A far cry both from the adolescent Jandeks and the mature, adult Jandeks who populate the other covers.
Editions This CD went out of print briefly, I think only for a month or two, before being re-reissued in April The front cover on the reissue is the same, but the type on the back and on the disc itself was redone and a bar code added.
Comments Musically, this is the most catatonic and monochromatic Jandek LP, the most sullen and withdrawn. The songs drift past one by one like ships in the fog, propelled by an acoustic guitarist working slow, steady variations on the same handful of cracked notes.
Even more than the first LP, this is the distilled essence of Jandek, the baseline from which the rest of his music develops. Though the songs here are only minimally differentiated musically, the lyrics are uncommonly vivid, poetic, and far-ranging.
Several songs are sea-themed. Review excerpts Michael Huntsberger, Op issue M. In a tiny bedroom, all windows curtained against the sun, sits a man, or a boy. He is plain, blond-haired, looks like an extra from a B Sci-Fi thriller. He holds a Sears guitar he was given as a child.
The guitar has never been tuned — it may only have five strings. It is connected to a cheap amp. He plucks the strings, sometimes together, sometimes singly, and sings into an old cheap microphone. With a Dylan-like inflection, he pours the lyrics from his soul while plucking the guitar The recording is made on an old Wollensak reel-to-reel with broken meters and no volume knob. He records 12 songs and presses them into a record Crucial, all round.
He seems at his most desperate and lonely on this album, but he still has enough strength to write some good songs. On side two, Jandeks drags us kicking and screaming into his echo-drenched nightmare, and the album becomes very listless and incredibly unlistenable. The mysteries of Jandek, personal and musical, may never be fully revealed, but his peculiar genius is highly recommended none the less.
The album finds Jandek shifting moods in bi-polar frequency, and also finds him starting to attack the guitar rather than play. Editions This CD was re-reissued in July And then electricity!
Pounding drums and bass enter for a frenzied attack not too far from the same thing Sonic Youth was doing in NYC at the same time. This fragmented non-song could be a mellow-mood Harry Pussy jam from a decade later His guitar tuning has changed since Ready but it still comes nowhere near standard, or even any of the typical aberrant tunings, like E or D Bassist John even has a solo, walking up the fretboard in almost perfect time While he plucks slowly one note at a time on guitar, angel-voiced Nancy sings poetic lyrics about nature The Living End Jandek.
Foreign Keys Jandek. Nine-Thirty Jandek. Staring at the Cellophane Jandek. Six and Six Jandek. The Song of Morgan Jandek. Seattle Friday Jandek. Camber Sands Sunday Jandek. In minimalism or even dub music, artists often revisit the same formula or song, and reveal something new with each return. Jandek is an artist who produced 30 albums in 20 years, and with each installment presented the slightest of variation on an oblique and atonal vocal and guitar style. Within the realm of his own catalog, such slight variations can seem like leaps in style.
As in the folk and blues traditions, versions of the same song can be worlds apart. While Jandek 's defiant minor-key stumbling hardly comes under any genre umbrella, essential values of folk music are present in Staring at the Cellophane, in that he revisits his own self-defined formula yet again, in a move that can be interpreted as either incessant repetition or self-reinvention, depending on how you look at it. This article is about the Jandek album. Categories : Jandek albums Corwood Industries albums albums.
Hidden categories: Use mdy dates from May Articles with short description Short description is different from Wikidata Articles with hAudio microformats Album articles lacking alt text for covers. The first night has been released as the double CD Manhattan Tuesday.
He was scheduled to play in New Orleans, Louisiana on September 2, but the show was canceled due to the aftermath of Hurricane Katrina. A Chicago show was announced only two days in advance, then cancelled the next day because Hurricane Rita was approaching Houston. In October , Jandek played three sets on two different days at Instal in Glasgow including a collaboration with Loren Connors and a set with Youngs and Neilson, the latter being released in as Glasgow Friday and also performed alone in London, accompanying himself with an acoustic guitar.
In November, he played in Hasselt , Belgium and in Helsinki. On March 10, , he made his unannounced first performing appearance in his hometown of Houston, backing Loren Connors and Alan Licht on bass and harmonica during their second set at Live Oak Friends Meeting House.
He returned to the UK in May to perform at the All Tomorrow's Parties festival at Camber Sands as well as playing two sets in one night in Bristol and making a low-key, short notice return to Glasgow. A further London show was canceled without explanation. Jandek performed twice in September The artist himself played the Korg keyboards again as he had in Manhattan , and the performance was one extended piece. Jandek played a show in Seattle, Washington at On the Boards on October 27, with the same lineup as the Portland performance earlier that year, and he ended with a concert in Indianapolis on December 9, in a church sanctuary attached to the Harrison Center for the Arts.
That show included Nathan Vollmar of the band Rivulets on drums, and a female vocalist who also played viola and sang lead on a few tracks and a flute player, a first. Reeds were experimented with more in Atlanta and Richmond, Virginia. At the former, he returned to piano, but was backed by violin, percussion and bass clarinet. At one point the group played a lengthy free-jazz song, with the Corwood Representative attacking the piano before slowing down, performing a song, and then returning to the free jazz.
Richmond returned to a bluesier sound, but added saxophone. There were also intentional props at this show representing a living room and featuring items from Corwood covers a mannequin, a guitar case, a gaudy couch, etc. For this performance, Jandek played fretless bass guitar, and was supported by local improvisational musicians Greg Kelley trumpet , Jorrit Dijkstra alto saxophone, lyricon , and Eli Keszler percussion.
This was the first live performance where Jandek played the bass. The show was sold out, with an audience of over witnessing the two-hour-long performance.
Jandek performed at the Rose Marine Theater in Ft. This Narrow Road. The Humility of Pain. The Place. The Gone Wait. The Door Behind. I Threw You Away. A Kingdom He Likes. Worthless Recluse. Shadow of Leaves. The End of It All. When I Took That Train. Raining Down Diamonds. Glasgow Sunday.My trek through the Corwood badlands.