Blog Archives
“April King” – by Snazz Mammoth
A 2-part set of songs by my solo cello-rock-electronica project –
we were gone
looking back on our regrets
playback on an old cassette
you will be blamed
for taking off too soon
waking up the neighborhood
piling in the backseat
hit the gas and
off we go
we’re gone
we were gone
none of us were wrong
another bridge is calling
the playing field has been
all leveled out
we know we’ve been untrue
never wanted you to be disappointed
we’ll drive on
and on
and further
A Thousand Different Sighs
We have been gone so long
the pull’s too strong
out here
open road
We don’t know when
when we’ll be
be back home again
We sigh
a thousand different sighs
We every stop we make
our mind does wake
Under open sky
We wish we knew
Knew when we’d
We’d be back again
We sigh
a thousand different sighs
“Ghosts of Lower Manhattan” – by Snazz Mammoth
My cello/rock/psychedelic/baroque/electronica musical project, Snazz Mammoth, has been on a bit of a hiatus lately, but finally new songs are getting done.
This is the latest, inspired by the invisible history of Lower Manhattan, where the old town has been built on top of over and over again, but where the spirits of New Amsterdam are still everyone, floating just behind the surface.
Sacred Harp and Idumea
“And am I born to die? To lay this body down…”
The sacred harp, a musical instrument bestowed to us by Creation – our human voice.
The concept is at the core of a capella shape-note singing- a distinctively American way of music – this idea that the gift of the voice is heaven-sent and connects us to the divine. With roots in the early 19th century, it was among the first styles of music distinct enough to be unique to the New World. Today it is quite common around the country, but nowhere else more than in its home, the Southern United States.
Shape-note singing is so called because of its notation – to facilitate ease of reading, certain pitches receive a shape that distinguishes them from other notes.
Shape-note singing is an expression of the Sacred Harp. There is more to it than just singing music. Especially in the rural South, the Sacred Harp is way of spirituality and community. There is no audience – each of the four sections face each other in a square. The person leading is constantly changed-up. Technique of singing is far less important than the coming together of voices. Interpretations and embellishment of hymns are passed on aurally to the next generation.
The Sacred Harp is a great example of early America’s quest for a more perfect interpretation of Christianity and society – ideas that are still at the core of this country’s nature.
The raw open harmonies and age-old melodies tear at the soul- they make an intense prayer- sometimes ecstatic, sometimes apocalyptic.
“Idumea” (number 47b of The Sacred Heart Hymnal) has to be one of the most chilling examples of shape-note singing. A powerful confrontation with mortality and the transitory nature of existence.
To lay this body down!
And must my trembling spirit fly
Into a world unknown? A land of deepest shade,
Unpierced by human thought;
The dreary regions of the dead,
Where all things are forgot! Soon as from earth I go,
What will become of me?
Eternal happiness or woe
Must then my portion be! Waked by the trumpet sound,
I from my grave shall rise;
And see the Judge with glory crowned,
And see the flaming skies!“