A bewitching song about a young woman who, to win the hand of a handsome knight, does her rival sister in. The dead girl then comes back to haunt the �black-haired bride� as a harp fashioned from her breast bone and three locks of her hair. �Cruel� may seem too kindly a description of a girl who when her sister pleads, �Oh Sister, Sister, let me live, and all that�s mine I�ll surely give� says, �It�s your own true love I have and more, but thou shalt never come ashore� before abandoning her body to the rough North Sea. Cruel? Should the sister therefore be scalded for her little� transgression? She�s an evil and monstrous sister, surely? But then this is centuries past, a time when sibling murder and human harps were commonplace. I am not likely to understand in this more civilised 21st century. Which may be why the kids don�t really dig British folk music anymore, or the mighty Pentangle. And it�s a crying shame because this is a stunning track, hauntingly sung by Jacqui McShee. I hesitate to use the term �masterpiece� in case that great oracle of musicaltaste.com, fmars, overhears and tells me that I�m wrong.
from Cruel Sister
02 Jun 05 ·konsu: Alright.In your own special way you've convinced me rum. I've been told for years to pick up some Pentangle by certain freinds (the ones who hear me playing Steeleye Span). Surely I must be missing out on something... I will consult the great one. 03 Jun 05 ·rum: Heh-heh, thank you. I�m certain you�ll appreciate these, you�ve got eclectic taste, you�re not gonna be out for my blood (unlike all those that have begged and borrowed, stolen from their dying grandmothers, to buy Manowar CDs). And they�re no way as folk folk as the Span, they spin out an equally eclectic mix of folk, jazz, blues, rock and Elizabethan dances. It�s time people stopped harping on how great it was that the Velvets, the Stooges, punk etc made you wanna go out and form a band. So simple they sounded. Pentangle are so incredibly talented, so learned, so jazz, but still so unassuming and cool, they make you want pack up the band, trash the guitar, and burn down your house. Or is that Jet? I don�t know now. Well anyway the �Sweet Child� album is the one.
The late eighties wasn�t the ideal time for Mark & The No-Marks� deranged hybrid of English folk, free jazz and ghost puppetry, but there never has been an ideal time. Exclamation Mark, dressed up in his ridiculous David Crosby-esque green cape, refused to pander to contemporary fashions and trends, and even seem to resent any acclaim or approval, as if it was a sign that he was doing something wrong. This may explain why he hated this live favourite, scornfully introducing it at shows as �our sell-out�.
I chose the track not only because it�s the only thing that was ever officially released (along with its b-side, an utterly spastic reworking of the Monkees� Theme called �March of the No-Marks� replete with Tube station announcements- �this is the Bakerloo line service to Elephant & Castle�- and girls yelling, �Mark NO! No MARK!!!� at the singer) but it is also by far the best thing they ever did. And it was still far, far from sell-out material (it barely sold any). It is the only No-Mark record you need to hear. All of their less grating eccentricities are here, the schizophrenic dialogues, the lyrical obsessions with pylons and German bunkers, the shoddy jazz drumming, the demonic chanting, the cackling, the mewing (!), but this time it�s all held together by an ace nagging riff, and a supremely warped and swashbuckling chorus where an increasingly unhinged mark sneers, �it�s cooool not to care, sooo cooool not to care�� before he eventually loses all sense entirely and barks breathlessly, �NOT NOT, it�s not sooo care! COOL!!!�
Mark of course was incensed that their label released it as a single and vowed never to �bow to the pound� again. And as a result retired to his studio cave, muttering that their forthcoming album, �a didactic concept album about animal reincarnation� would be their most progressive work yet. And disastrous. If the rumours are true �My Family Are Other Animals� was abandoned after a record company executive visited the studio, described the tapes as �utter utter shit�, and then tried to throttle Mark with a microphone cable.
20 Jun 05 ·n-jeff: This would be your band perhaps?
I think I recognise the attempt to write about ones own music. 21 Jun 05 ·rum: good guess, but not my band no. i'm much too young. just used know a couple of No-Marks. local heroes/weirdos about town. they were very resentful of the whole experience, so i thought i'd give them their small dues. 06 Oct 05 ·Gnasher: Was this the same Mark from 'Mark and the Monsters' infamy?
I saw them once, in a mirror. Their sound made me want to pull my brain out through my ears and beat myself about the head with it.
Shame, really, they looked really mad. 09 Oct 05 ·rum: No, Gnasher, what you see in a mirror is a very troubled and confused soul, who needs alot of care and attention. Unfortunately musicaltaste.com is not the place. 12 Oct 05 ·gnasher: Be nice!
A bit like in that James Bond film, �Live and Let Die', when all those somber funeral marchers suddenly go ape and break out into that frightening carnival procession. That but ten hundred fold. Or like a farmers market massacre on a beautiful summers day in June. One of the two. The Pharoah admitted as much in a recent interview. He said it had nothing to do with the creator having a master plan at all. "yeah I'd just finished reading that James Bond book, you know, with the skulls and shit and on the box comes this quiz show with all these animals being ritually slaughtered on it. And I thought, hey up, I've got a crackin' idea!"
Regardless of the themes and inspiration, it's an unbelievable track. Even if the descriptions "free jazz" and "34 minutes" set off all your alarm bells, I urge you let it go this one time, I urge you to seek it out.
It's better than the five most recent recommendations COMBINED! Can I get away with saying something as stupid as that?
from Karma
24 Feb 06 ·n-jeff: The only Pharoah Saunders I've heard is on Alice Coltrane's "Journey to Satchinanda" (Scuse the poor spelling) which is remarkable. Not only is the playing remarkable, but so is the fact I love it so much, considering it's not only a saxaophone, but it's also in the 'too many notes' style of Jazz. But Saunders playing just seems to float around on top of everything else. Beautiful stuff.
but anyway, what I really wanted to know was, is he really a Yorkshireman? (Ey up!?) Blimey.
24 Feb 06 ·rum: yes, it's a little known pharoah fact, he was born in a little village just outside Barnsley. 24 Feb 06 ·konsu: Thembi is another fine record for him as well.
