Foster is rocking on ‘Zimbabwe’ for the most part but with a lovely light Jazz player’s touch, can’t say that I hear funk in the rhythm section despite all the wah-wah guitar.
Big Youth was big in my youth, as well as Bob Marley.
‘Rhodesia’ doesn’t hold any real political relevance … more a case of spurting soundbites (we have reggae/funk on that one, clavinet even!).
The vocals are layered in such a way that the lyrics don’t make proper sense if laid out sequentially in the order they appear, they’re broken sentences, and the concept is that these phrases would need to be deciphered, thus the title. The listener might pick out phrases and have their own interpretations of what is being said or suggested, as if overhearing part of a conversation. And as you point out, the vocal melody is woven into the musical arrangement as opposed to taking the role of lead.
Thanks Dan. ‘Exit North’ is still in progress albeit working around each member’s schedules. The work is based in Göteborg to which I’ve made trips to record in Charlie Storm’s studio and will be heading back in February to hopefully complete mixing. We are continually moving the project forward in the meantime by electronically exchanging audio files with new additions and changes. I won’t venture into describing the music except to say that it’s song based material with an emphasis on acoustic arrangements.
(snaps by Steve Jansen / Ulf Jansson)
SNB writing a book about JAPAN would be SNB writing a book about SNB. The only thing I’d like to read from SNB would be his bank statements covering years 1979~1983 but I suspect he feels that would be too much of an invasion into his private affairs, despite never being shy of spouting rubbish about others.
I contributed to Anthony’s book because his stance on digging below the surface of the true dynamics within the band and how the work was achieved had never been approached before and it seemed like a good idea to help shed some light on that. I genuinely feel it’s informative in that sense. No one else is going to write such a comprehensive, unbiased portrayal incorporating such a wide variety of meaningful sources, I don’t think. I decided not to contribute to the follow up mainly because post JAPAN involved too many personal struggles and the fact that I was involved in everyone’s work might’ve resulted in me having too big a voice in it whilst not actually having half as much output artistically due to problems with lack of support from both label and management at the time. I also had no desire to discuss other people’s various solo projects let alone any aspects of their personal lives post JAPAN. I trust Anthony has managed to do a good job regardless.
The rattling sound is on the ‘snare’ beat actually, whereas the bass drum is fairly normal sounding. What I was in fact playing was a ‘cajon’ which is a box drum, the type you sometimes see street performers using and which are thought to have originated from Peru. It can simulate a drum kit fairly well. I endorsed a manufacturer of the ‘cajon’ who called themselves POPercussion. If you follow the link there’s a comment from me down the page. Photos were also provided.
The shaker would have been one that we had in the studio, the background tv ambience was no doubt a random room recording (it sounds Australian to me when the guy says: “yer fucking kidding me” at 4:54) but I can’t recall what it was. We added various other samples. The more organic sounds (creaks and scrapes etc) were recorded in the studio. I believe the creaks were actually tension ropes on an ethnic drum but I’m not entirely sure … it was more than a decade ago.
The simple answer is that I can’t locate the negatives so these prints would have been made around the time the photos were taken.