A diamond in the rough.... from my vinyl vault: Jo Basile & His Orchestra, "Play Music From The Hit Musical Cabaret"

Jo Basile's accordion covers of, "Cabaret"

I picked up this particular record on a special trip to meet my girlfriend/now fiance's parents for the first time, and also to help her drive her car back from Texas. On the way back we stopped to visit her brother in Missouri before coming back to Virginia, and while we were there we stopped at an antique place near her brother's house where I was lucky enough to score this Jo Basile album.

The title basically says it all, but for those who aren't familiar with Jo Basile and his albums; what is quite peculiar about this album is that he often just does accordion instrumentals of folk/world music and each album usually tends to just focus on one country/ethnic style at a time. Never before have I seen or heard of him doing a musical, usually he always sticks to a certain country as the basic theme per each album. So common was this particular stance of his, that I don't know if besides this and the, My World album (Jo Basile also played clarinet- but often did not mention, reveal, or perform any clarinet on any of his other albums much at all or possibly ever- except the My World album).

Basile continually churned out countless incredible albums with various standards from around the globe and performing them into beautiful arrangements for accordion from one album to the next. This album is no exception, except for its focus being on the musical, Cabaret. If you've ever seen the famous film verison of the musical with Liza Minnelli, then you already should be aware that its a perfect fit for the accordion; due to its usage of it in various scenes throughout the duration of the film.

The main theme itself soars beautifully as the record first starts spinning; the backing music of this manages to be both aligned with what you would expect and somewhat parallel to the film version, but somehow more energetic and sincere and minus the comedic aspects. Basile's version of the title track is in itself a showstopper, full of pizazz and excellent showmanship. Things then get to a finger-snapping groove with the swinging number of, "Don't Tell Ma". A transition into, "Pineapple" starts with a bouncy and circus-like introduction; flowing into a smooth calming moment before coming full circle where it started. "What Would You Do" is both mysterious and suspenseful; full of ticking and clacking in the backing percussion before fading into the cheery, "Meeskite". "Meeskite" is a particularly neat number, with equal amounts of swing and melody, both catchy, and also boasting a nice saxophone solo.

Back of cover.

As we flip to side B, the charm continues with, "Willkommen"- a rather addictive melody, and quite a climatic point of the album, appropriately placed at this middle moment of the record. Things take an exciting melodic turn with the enchanting moods of, "Married" with its bicycle-bells and light waltz backing rhythm, fluttering melody fills with the main melody re-inserted by the light and breezy lead guitar. This then blends like musical camouflage into, "So What?" where the chorus picks up with a loud crashing energetic rather fast waltz chorus, complete with a booming tuba as the backbone of the alternating bass line. The record comes to a close with the light, "Tomorrow Belongs To Me", a pretty little number that helps the record give this instrumental dedication to Cabaret the perfect touch with the final ring out being the closing curtain of another show well done. Jo Basile's albums are always a delight, never a dull moment. As far as accordion instrumental albums go, his are always a must. In fact, he's pretty underrated compared to say Frankie Yankovic or Dick Contino for example; his music is just as talented and just as skillful, and arguably is melodically and stylistically more beautiful.

A GINORMOUS diamond in the rough.... from my vinyl vault: Gogol Bordello's, "Super Taranta!"

Gogol Bordello's Super Taranta!

This merry bunch of immigrant-punks have been knocking out their trademark sound of gypsy-punk since 1999 with their first album, Voi La Intruder. Gogol Bordello pulls from various forms of European folk music: Eastern European & Klezmer, Ukrainian, especially Balkan, and many others combined with intense heavy doses of various rock influences. A perfect pinch of each is put into mix, creating a glorious union of genres while creating a style that is truly their own.

Gogol Bordello has been building a steady fan-base along the way of constructing seven studio albums since Voi La Intruder. Though it was with their third album, Gypsy Punks: Underdog World Strike, that the bands momentum truly took off. During the earlier period of the social-media craze with Myspace, each month a new band with a single and/or video was posted that millions of users would see/hear before logging in. Gogol Bordello was once featured on the front sporting their promotional single, "Start Wearing Purple" for the album and garnered the band even more attention.

Building upon this momentum, their next and fourth album to follow was Super Taranta! After the initial statement was made with Voi La Intruder, then stylistically harnessed with Multi Kontra Culti Vs. Irony, and then they were full embraced with the success of Gypsy Punks: Underdog World Strike. By that third album, and by switching to from Rubric Records to a more mainstream label with SideOneDummy Records; the group hit a critical turning point, they've gained both the attention, but now also the support they need and became truly limitless as a band. SideOneDummy Records being a bigger label, had the necessary muscle to provide better distribution for the bands records and related methods of support. At this point the band had mastered their craft; this album in particular, is arguably a creative high-point for the band and the results produced are arguably their best album up until that point-- or perhaps even yet!

Gatefold design containing two LP's.

The record is packaged brightly with a nice green background while portraying the band with nice cut-outs from live performances. What lies inside after you unfold the the stylish gatefold style cover, is an even more thrilling album properly dished out over the course of two LP's.

Things kick off rather bold with, "Ultimate" and then into a highly singable crowd-pleaser with, "Wonderlust King". Don't be fooled though, Gogol Bordello isn't a band that cares about playing it safe, things get to a wild chugging beat on, "Zina-Marina" and then explode with a brass-heavy chorus guest-starring Slavic Soul Party. Yuri Lemeshev then charms us his catchy and skillful accordion introduction on, "Supertheory Of Supereverything" with the energy constantly climbing before fading and wrapping side A of the first record.

The hard-hitting, "Harem In Tuscany (Taranta)" is ans infectious energetic tune, rich with melody and flaunting the bands instrumental showmanship; complete with an undeniably catchy chorus. The song gallops to an incredible climax and drop us out with an exciting transition into that irresistible chorus just once more before cooling things off just a tad with, "Dub The Frequencies of Love". The tempo keeps chugging along with the introduction of, "My Strange Uncles From Abroad" and possesses a dramatic fiddle line by the one and only Sergey Ryabtsev. Approaching end to the second side, Yuri belts out a fantastic and uplifting solo; followed by another solo by Sergey, and another chorus that has you shouting along in no time. As the first record comes to a close, the intensity has hinted the party has only just begun!

Back side & label.

 The second record jams out a fun shouting sing-along, "Tribal Connection" with just enough pace to keep things upbeat without losing any variety. Thomas "Tommy T" Gobena's bass line gives the song an incredible groove, and Yuri's reverb-drenched accordion provides a wonderful sense of atmosphere to the tune. Now that the band has given you a nice change of pace, they take you by storm with the thrashing speed of, "Forces of Victory". The flaring melodies jammed into the tight spaces of such a fast-paced song on this number is truly impressive. At the same time, you don't get the sense that they are simply trying to cram notes in or simply show off; it's a well written song full of melodic intensity-- the fact that they are showing off is merely coincidental. This song serves a great sense of purpose to the record in terms of tempo variations for side A of the second LP. They begin to wrap up side A of the second record with a calmer tone in, "Alcohol" ; and then conclude this side with "Suddenly... (I Miss Carpaty)" a high-voltage tune, where the band continually starts and stops on a dime.

The final side of the second record starts to spin with, "Your Country" is a neat song full of variety in changes, even featuring a neat synthesizer moment in the mid-section; this song really surprises you at every turn; it's kind of weird even, but incredibly fun and makes its mark as a unique number on the album. "American Wedding" sees the band launch into another gypsy-punk party, complete with another undeniably catchy chorus, and once again backed by the fantastic brass work of Slavic Soul Party.  The final closing song of the album, "Super Taranta!" features a brief return to the melody introduction from, "Supertheory of Supereverything" before launching into a world of its own full of rolling tribal-like percussion, and a highly danceable Balkan-like melody. The melody continues to build momentum, and the percussion continues to rumble with intensity layered by delayed guitar; the fiddle scrubbing away at the melody more, before rebuilding that intensity back up again. Finally exploding into a full blast of punk fury and dramatically ringing out, and then yet again fooling us and building us up yet once more; with those Balkan melodies still jittering above the surface before finally letting go.

For a band that single-handedly coined the term, "gypsy-punk"; who have mastered their unique fusion of these styles, and practically responsible for its creation altogether. Gogol Bordello really made an incredible album this go around, filled with rich melodies; ripe with hooks and strong choruses. It's an album that's loaded with fun, flare, and energy. It's put them on a fast-track to where they are today with the records that followed, "Trans-Continental Hustle" and most recently with, "Pura Vida Conspiracy" and proved them a force to be reckoned with.

Another huge diamond in the rough.... from my vinyl vault: Beirut's, "Gulag Orkestar"

Beirut's,"Gulag Orkestar".

Considering my last post was a huge influential record for me, I feel Beirut's,"Gulag Orkestar" is an appropriate and equally inspiring record to follow up that post with. This record came out the summer of 2006 (released by Ba Da Bing! Records),  I remember my oldest sister Holly got it as a gift for me when we were in Relative Theory Records together in Norfolk. I remember walking up to the desk and asking to hear it at the listening stations they had. Once it started playing it wasn't what I expected, it all felt entirely new to me; simultaneously, it had qualities that made you feel like you knew it, even though you know you never had before. Beirut has consistently often been labeled as indie-folk, which is not untrue, but I would argue a tad bit misleading. I remember the handwritten note by one of the clerks had also filed it this way, but honestly its leaning categorically much more towards world music in general, and projected through a thick pop music lens. Regardless of what you want to call it, it is a brilliant modern take on folk music infused heavily with Balkan and traditional world music.
The personnel on this album consists of both memebers from a the somewhat similar Hack And A Hacksaw: Jeremy Barnes (also formerly of Neutral Milk Hotel fame) on accordion and percussion and Heather Trost on violin, Perrin Cloutier is credited as cello (however, its worth noting he currently is doing accordion at their live shows and specializes in both instruments; and according to liner notes and online sources, it seems this is the only recording he didn't perform as the accordionist on), Hari Ziznewski on clarinet (notably was also involved with Alaska In Winter's, "Dance Part In the Balkans- a group also from Albuquerque, New Mexico that even featured Zach Condon some), and then of course last, but certainly not least- Zach Condon on (basically everything else! Are you ready for it?): lead vocals, trumpet, flugelhorn, ukulele, also percussion and accordion, mandolin, organ, and piano. If that wasn't enough, he recorded a considerable chunk of the record in his bedroom, finishing the rest with said lineup.

The 11 songs that shape this record are wonderfully crafted gems full of European melodies, with  Condon's soothing vocals gliding over each tune, and the instrumentation truly transcends you to a different sound of the globe. The opening title track gradually lifts you off into Beirut's unique brand of folk, and ever so carefully slides you into the gorgeous waltz of, "Prenzlauerberg", then sweeping into the the strum patterns, "Brandenburg". All the while, the energy carefully pulling you in as the needle draws more and more near the center of the first side; the trumpets blaring in all the right places, fading into what has become the hit of the album (and with good reason!), "Postcards From Italy" with its charming vocal melody unfolding the poetic story of the song as it builds into a climatic moment and slowly dies back down to transform into the waltz of, "Mount Wroclai (Idle Days)". Once again, Beirut makes you get lost in the record, Wroclai creates the desire to shout the chorus along with them, like a chapter inside a marvelous novel, you are compelled to immediately flip to side B to see what's happening next!

The divide picks up right where Wroclai left off and, "Rhineland (Heartland)" continues with that same intensity and then just when you thought you knew every trick up Condon's sleeve, a glimpse of his past electronica project Realpeople (which he resumed again for the other half of the March of the Zapotec EP; quick interesting fact about Realpeople: he released an LP under this pseudonym before forming  Beirut entitled, "The Joys of Losing Weight"- it seems semi-rare, but worth checking out for fans of Condon's music) with, "Scenic World" (later to have another wonderful alternate version on the, "Lon Gisland" EP). The momentum of, "Bratislava" of perfectly transitions in the soft build-up of, "The Bunker" before once again bursting into another gloriously uplifting chorus. As we start to come to a close, "The Canals of Our City" helps wind us down into the final cries of, "After the Curtain".

Back of, "Gulag Orkestar".

Gulag Orkestar is a momentous occasion every time is spins on the turntable, a genius album full of songs that prove themselves as carefully constructed tunes rich harmony, melody, and an overwhelming swarm of controlled emotion. The record is constantly building and rolling from one song to another. Even more so, with each listen- little details seem to reveal themselves to the listener every time.

I had gotten it on CD from my oldest sister as mentioned above, and years later when I saw them perform at the Norva- I decided that I needed this classic for my vinyl collection, and was lucky enough to have a brief encounter with Condon himself and he was kind enough to autograph my copy, which as both a fan and a musician was a huge honor. This record is one of the absolute main reasons I decided I wanted to start playing accordion. Though the accordion lines on this record are mostly rhythmic, and serve more as muscle tissue around the bones of the songs- with Condon's voice and the trumpets/horns taking the lead- it doesn't matter. Every line it plays in the record though is so important, regardless of it not always being in the foreground. Its simply the overall execution, and the end result that matters; this record is a case of the sum being greater than the means. The big picture of this record, is its transcending qualities, and the way it creates the feeling of floating musically and drifting you up into a stratosphere. Gulag Orkestar is an all time favorite of mine, and has captured the hearts of people with its iconic song writing and unique sense of taste and style.

A diamond in the rough...... from my vinyl vault: Mel Brandt's, "Accordion Favorites".

Mel Brandt's, "Accordion Favorites"

I have to admit I don't know much about Mel Brandt, and I don't know if this is the same Mel Brandt as the SNL guy or not- which is who comes up when you google the name- I'm assuming probably not- but to be honest, I know nothing about the SNL Mel-Brandt to know if this the same person or not. I'm also not totally sure if this is his only record or not, but if there ever were others- I can't find any trace or record of anything else on the internet- and as far as I can tell, sadly this is the only one. However, on the bright side this record- is an incredible accordion instrumental and definitely a diamond in the rough in my collection. I often seek out various accordion instrumental records in thrift stores, as luckily they aren't in demand and usually go for cheap- typically $1 to $3- so if you happen to stumble upon a thrift store with a ton of vinyl, you can find a decent handful of some interesting finds for little money. This one though, was actually one I bought off Amazon for a change. I received mine in excellent condition- plays perfectly, very slight wearing on the sleeve. It's not necessarily rare, but I've never been lucky enough to stumble on it in person, so I got it fairly cheap for $7, which is slightly higher than I'd pay in a thrift, but then again no one else had it- and given it was incredible shape, it was a fair deal.I was particularly interested in it for its song selection, though I hadn't heard this one- I simply collect accordion instrumentals from the get go- on top of which, this one I noticed contained two favorites of mine, "Dark Eyes" a wonderful Russian tune, and though there are many countless versions of this song- both accordion versions, along with hundreds of others in general- it's always a song with hearing, no matter how many reinterpretations of it there are. Also, the song, "Fascination" which I had at the time recently started to play myself, and is also simply a song I really love. It's just a beautiful simple instrumental, but its very peaceful and memorable and well written, just soaring strong melodies- so I knew this recorded version of that song would be interesting, and of course it's beautiful! As an added bonus too, the version I bought (and it doesn't seem to rare- but neat nevertheless) the disc itself is a really nice looking bright transparent sorta gold and yellow color, I know its also out there in regular black too- I'm not aware of any other colors. Sometimes this costs extra, so it was just icing on the cake that it didn't seem to cost more because of this. Then again, its not like this record is in demand, but eh- fine by me- I really love it.

Beautiful transparent golden yellow disc

As for the material on the record itself- its wonderful. "Besame Mucho" was another reason the record interested me, its a Mexican song (I used to play it actually- and think I remember it too- or most of it)- I've heard one or two other recorded accordion instrumental versions of it as well- the record itself consists of: as mentioned before: "Fascination", "Dark Eyes", and "Besame Mucho"- and also: "Maria Elena", "You Belong To My Heart", "Perfidia", "Tico Tico", "Adios Muchachos", "Come Back to Sorrento", "Humoresque", "Barcarolle", and "Song of India". Sure as far as accordion instrumental records go, yes this is somewhat typical and these are basically standards if you will; not dissimilar to Ella Fitzgerald and a hundred other jazz vocalists doing countless versions of, "Makin' Whoopee", "Honeysuckle Rose", or, "Dream a Little Dream", etc.

It's not the fact that these have been done before that matters, its the fact that these are amazing versions- and quite possibly- arguably some of the best accordion standard versions recorded of these batch of songs around. The melodies prevail and don't fall short due to an over assertiveness of showmanship and cramming as many notes as possible- don't get me wrong- there is plenty of flair when it comes to the musicianship; just not showing off simply for the sake of showing off- and that allows the songs to breathe and be the gorgeous melodies that they are. That's what made this particular instrumental record stand out to me. Mel Brandt certainly didn't do anything groundbreaking or reinvent any wheels, etc. The bottomline is he made a fantastic and beautifully melodic instrumental record, one that will never leave my collection, as the melodies float freely and prove it worth of every spin the needle makes around it.