Jewlia Eisenberg (Charming Hostess, Red Pocket) - попытка дискографии (1998-2010) Жанр: Avant-Garde/A Capella/Folk/Experimental/Art-Rock Производитель диска: USA Год издания диска: 1998-2010 Аудио кодек: WAV Тип рипа: iso.wv Битрейт аудио: lossless Продолжительность: 50:40 57:43 46:35 52:13 58:13 57:45 Источник (релизер): tatuk Наличие сканов в содержимом раздачи: да
Вот эти три толстые тётечки и есть великолепные Charming Hostess: Cynthia Taylor, Jewlia Eisenberg и Marika Hughes (слева направо). И это нормально - такие мощные голоса могут быть только в мощных телах
Главная хостесса, Джулия Эйзенберг, родилась в Бруклине (ну, а где ж ещё?) в очень музыкальной семье, позже изучала музыку практически по всему миру - в Иерусалиме, Калифорнии, Испании, и даже в Самарканде. Какое-то время училась у самого Фреда Фрита (Fred Frith). Такая мешанина в обучении привела к аналогичной мешанине в музыке, которую сочиняет Джулия. Вот что она сама o себе говорит:
Charming Hostess is a whirl of eerie harmony, hot rhythm and radical braininess. Our music explores the intersection of text and the sounding body-- complex ideas expressed physically, based on voice and vocal percussion, handclaps and heartbeats, sex-breath and silence. We live where diasporas collide, incorporating piyyutim and Pygmy counterpoint, doo-wop and niggunim, work songs and Torah chanting. The texts speak of mysticism and sex; angels and demons; and the trials and joys of love and sex.
В вольном переводе некоего tatuk'а это звучит примерно так:
Charming Hostess - это вихрь жуткой гармонии, горячего ритма и радикальной безмозглости. Наша музыка исследует пересечения текста и звуков тела - сложных идей, выраженных физически на основе голоса и вокальных ритмов, хлопанья в ладоши и сердцебиения, сексуальных вздохов и молчания. Мы живём на стыке диаспор, включая в себя звучание пигмеев и пиютим, ду-вопа и нигуним, рабочих песен и скандирования Торы. Тексты говорят о мистицизме и сэксе, ангелах и демонах, судебных заседаниях и наслаждениях любви... (пиютим и нигуним - это еврейские песнопения или что-то в этом роде, не уверен)
Добавить нечего - надо слушать.
В раздаче cтандарт NL+ и ковры в 600 dpi. Все диски, кроме двух, изданы в обычном пластиковом кейсе, PUNCH - в виде картонной раскладушки, а The Grim Arithmetic Of Water был куплен вообще без коробки - просто бумажный конверт. Так что от него присутствует токмо скан диска, увы ему.
Sarajevo Blues уже раздавался в lossless добряком spcmnk87, но с нулевым оффсетом и без ковров. И ещё есть два концерта в МР3 от добряка toxapro для особых фанов. На дисках они не выходили.
ACHTUNG!! Торрент поправлен 01.01.2011 Добавлен диск The Bowls Project. Подборка полностью перепакована в стандарт NL+. Кто скачал старый вариант и интересуется только последним диском - будьте внимательны и качайте выборочно.
#777Трэклист: 1. Dali Tzerni — 2:30 2. Laws of Physics — 4:19 3. Mi Nuera — 3:14 4. Won't You Keep Us Working — 2:35 5. Give Him a Little Time — 4:11 6. Mi Dimandas — 2:22 7. Ferret Said — 5:40 8. Dilmando Dilbero — 1:40 9. Oh Julie — 3:25 10. Sha Shtil — 3:25 11. Klezsex — 2:26 12. Elenke — 5:23 13. I'm Not Hungry — 2:15 14. When Jesus Christ Was Here on Earth — 4:03 Bonus tracks: 15. Cici Bunici 16. Poor Lazarus
Charming Hostess Big Band was:
Jewlia Eisenberg, vocals, musical direction; Carla Kihlstedt, vocals; Nina Rolle, vocals; Jenny Scheinman, violin; Nils Frykdahl, gutiar, sax, flute, percussion; Dan Rathbun, bass, gumby; Wesley Anderson, drums, percussion; Mark Stichman, blues harp; Rebekah Ekberg, vocals; Laura Nicodemus, vocals; Morgan Guberman, vocals; Andrew Borger, tabla; Chuck Squier, drums
Самый первый диск, записанный Джулией Эйзенберг со товарищи. Тогда "сотоварищи" назывались Charming Hostess Big Band. Диск был выпущен на Vaccination Records крохотным тиражом, и был мгновенно распродан. Двумя годоми позже диск был переиздан, и добавлены 2 бонус трека, записанных, видимо, в церкви на коллективных распевках. Великолепный диск. Многоуважаемый добряк meow вообще считает эту запись лучшей у Charming Hostess. Ну, тут можно поспорить... Но диск и вправду выдающийся, даром, что дебютный. Такая невероятная смесь фолка восточной Европы (болгарские, испанские, мадьярские народные песни), северной Африки, иудейских комьюнити Европы и Азии, и - банального рока, фанка и джаза, аранжированные и спетые а капелла бесподобной Джулией и ребятами... Кстати, в многолетних перерывах между записями Charming Hostess Big Band товарищи Карла Килстедт, Дэн Рэтбан и Нильс Фрикдал не брезгуют выступать за Sleepytime Gorilla Museum, во как. Чувство юмора у ребят тоже присутствует. Вот тексты моей любимой композиции "Феррет сказала" (разговор изменщика-мужа с обманутой женой):
Ferret said sorry. Ferret said "I've had enough of your shit-eating grin." She walked out. She was back the next day, saying "I'm sorry, honey. I'm sorry, so sorry. Please accept my apology." Wynn said "Yeah I sleep with other girls, if you can't handle that too bad, cuz we had such a good thing." He smiled bright. White bread white. Wynn said "It's too bad that you can't handle that I sleep with other girls, if you can't handle that, I'm sorry. It's too bad. I sleep with other girls, and I'm sorry honey." Smile, smile, smile, don't smile. Don't smile Ferret, don't smile Ferret, smile. I'm not sorry. I'm not sorry. You can say you're sorry 'til the wind eats up our homes until the worms destroy our bones and still I'd rather be alone. Ferret said sorry.
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 9. March 2010, 21:48
Charming Hostess / Eat
Used drive : LITE-ON COMBO LTC-48161H Adapter: 0 ID: 0
Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No
Read offset correction : 6 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Native Win32 interface for Win NT & 2000
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Peak level 100.0 % Range quality 100.0 % Copy CRC 91E9E7BF Copy OK
No errors occurred
AccurateRip summary
Track 1 not present in database Track 2 not present in database Track 3 not present in database Track 4 not present in database Track 5 not present in database Track 6 not present in database Track 7 not present in database Track 8 not present in database Track 9 not present in database Track 10 not present in database Track 11 not present in database Track 12 not present in database Track 13 not present in database Track 14 not present in database Track 15 not present in database Track 16 not present in database
None of the tracks are present in the AccurateRip database
End of status report
[pre]REM GENRE "Avantgarde" REM DATE 1998 REM DISCID DA0C9110 REM COMMENT "ExactAudioCopy v0.99pb5" PERFORMER "Charming Hostess" TITLE "Eat " FILE "Charming Hostess - Eat .wv" WAVE TRACK 01 AUDIO TITLE "Dali Tzerni" PERFORMER "Charming Hostess" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Laws Of Physics" PERFORMER "Charming Hostess" INDEX 01 02:32:13 TRACK 03 AUDIO TITLE "Mi Nuera" PERFORMER "Charming Hostess" INDEX 01 06:53:11 TRACK 04 AUDIO TITLE "Won't You Keep Us Working" PERFORMER "Charming Hostess" INDEX 01 10:07:46 TRACK 05 AUDIO TITLE "Give Him A Little Time" PERFORMER "Charming Hostess" INDEX 01 12:45:18 TRACK 06 AUDIO TITLE "Mi Dimandas" PERFORMER "Charming Hostess" INDEX 01 17:00:50 TRACK 07 AUDIO TITLE "Ferret Said" PERFORMER "Charming Hostess" INDEX 01 19:22:74 TRACK 08 AUDIO TITLE "Dilmano Dilbero" PERFORMER "Charming Hostess" INDEX 01 25:05:60 TRACK 09 AUDIO TITLE "Oh Julie" PERFORMER "Charming Hostess" INDEX 01 26:47:02 TRACK 10 AUDIO TITLE "Sha Shtil" PERFORMER "Charming Hostess" INDEX 01 30:14:45 TRACK 11 AUDIO TITLE "Klezsex" PERFORMER "Charming Hostess" INDEX 01 33:40:57 TRACK 12 AUDIO TITLE "Elenke" PERFORMER "Charming Hostess" INDEX 01 36:08:72 TRACK 13 AUDIO TITLE "I'm Not Hungry" PERFORMER "Charming Hostess" INDEX 01 41:35:28 TRACK 14 AUDIO TITLE "When Jesus Was Here On Earth" PERFORMER "Charming Hostess" INDEX 01 44:01:23 TRACK 15 AUDIO TITLE "Cici Bunici" PERFORMER "Charming Hostess" INDEX 01 48:06:34 TRACK 16 AUDIO TITLE "Poor Lazarus" PERFORMER "Charming Hostess" INDEX 01 49:30:55
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PERFORMER: auCDtect Task Manager, ver. 1.5.1RC3 build 1.5.1.4 Copyright (c) 2008-2010 y-soft. All rights reserved http://y-soft.org
ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2 Copyright (c) 2004 Oleg Berngardt. All rights reserved. Copyright (c) 2004 Alexander Djourik. All rights reserved.
back.jpg cd.jpg Charming Hostess - Eat .log Charming Hostess - Eat .wv Charming Hostess - Eat .wv.cue Charming Hostess 8172 13A B 05626.sig front.jpg Art\back.jpg Art\cd.jpg Art\front.jpg Art\inlay.jpg Art\inside.jpg checkers\Charming Hostess - Eat.wv.auCDtect.txt checkers\Charming Hostess - Eat.wv.png checkers\EAC.jpg checkers\matrix.jpg readme\[ENG] README No unpacking needed to play or burn this release.txt readme\[RUS] README No unpacking needed to play or burn this release.txt
Sometimes you just can't say it any better: "For 8 years Charming Hostess was a rock band that blended eerie harmonies, complex rhythms, and a playfulness about gender. Charming Hostess drew on women's vocal traditions (primarily from Eastern Europe and North Africa), and integrated them with American folk forms both white and black."
So says the Charming Hostess website, and so it is. Eat, the group's first CD, was a revelation: taking folk musics both familiar and unfamiliar and blending them into their twisted mix of rock, jazz, and funk. It's a testament to their creativity that seven years later, there still isn't anything that sounds quite like it, with the exception of the band's long-delayed followup album, Punch. The majority of the songs here are traditional folk songs arranged by Jewlia Eisenberg for Charming Hostess' three-woman harmonized vocal attack, as well as their often quirky instrumental inclinations (many of which involve tricky time signatures). You'll find Hungarian, Judeo-Spanish, Judeo-Turkish, African-American, and Bulgarian traditional songs, in addition to oddities like a rearrangement of "Won't You Keep Us Working" by The Residents and a tremendously effective musical interpretation of the Yiddish proverb "Sha Shtil."
With such a diversity of source material, it's a testament to Eisenberg's vision that Eat still feels coherent, and Charming Hostess maintains a distinct and unmistakable identity. At the core of that identity are the three wonderfully talented vocalists, whose voices blend in pleasing and addictive ways throughout the album. But there's also an irrepressible sense of humor, a strange edge to the lyrical content (much of which deals with gender roles and identity and intimate relationships), and an overall playfulness that holds everything together. In fact, it's the more playful pieces — the catchy "Klezsex" and the funked-up, rocked-out Bulgarian folksong "Elenke," on which Jenny Scheinman absolutely shines on electric violin, among them — that are my lasting favorites.
The members of the sadly now-defunct Charming Hostess "big band" are true musical chameleons — some members of groups like Sleepytime Gorilla Museum, Faun Fables, and so on, some active in the prolific West Coast avant-jazz scene — so it should be no surprise that Eat is similarly schizophrenic. Yet somehow it all fits together beautifully: with this album, Jewlia Eisenberg successfully found common threads that run through all folk musics regardless of the extent of their separation in time and space. Not only that, but she took those threads and ran with them, weaving them into a fantastic and inspiring whole.
#777Трэклист: 1. Mi Dimandas 2. Gershom Is Schocked 3. Meister of Culture 4. Fortress Moscow 5. Eskimo Suit 6. Secondary Purpose, The 7. If I Am Holding Out Fairly Well 8. Hebrew Textbook 9. Touch of Her Hands, The 10. Bread and Circuses 11. Moon and Asja, The 12. Dream of Me-Imagined Asja 13. Sicily 14. Guinea Tea 15. Social Contract 16. Bed, The Cafe, The 17. Dame la Mano 18. Durme, Durme 19. Adir Hu
Charming Hostess Big Band was:
Wes Anderson: Voice, Drums Jewlia Eisenberg: Voice, Bass Nils Frykdahl: Voice Frank Grau: Vocal Percussion Carla Kihlstedt: Voice, Shaker Dawn McCarthy: Voice Freddy Price: Whistle Dan Rathbun: Voice Nina Rolle: Voice
А вот тут начинается чума...
Диск основан на любовных отношениях двух достаточно одиозных личностей начала прошлого века. Это, во-первых, Вальтер Беньямин, немецкий философ и критик эстетики, языковой культуры и истории, и, во-вторых, Ася Лацис, известная нам по школьному курсу истории латышская революционерка, подруга Мейерхольда, Брехта и Горького, одна из основателей пролетарского театра, "марксистская муза" и "королева агитпопа". В основу лирики положен "Московский Дневник" (1926-27) Беньямина, в котором он рассуждал одновременно о политике и эротике, о коммунизме и сионизме, о любви и идеологии масс.
Это, конечно, надо слушать. Словами можно пересказать текст, но выйдет только "алгеброй гармония". Да чё там - вот пример.
The Touch Of Her Hands. [перевод - некто tatuk] Ася легла на кровать. Мы долго целовались. Но больше всего меня возбуждало прикосновение её рук. Я положил свою правую ладонь на её левую. И мы оставались в этой позе продолжительное время...
Хе-хе, по-английски эта композиция звучит точно так же - никакой рифмы и вообще ни малейшей музыкальности. Тем не менее, Джулия Эйзенберг ухитрилась положить её на музыку и - более того - спеть. И как спеть!..
В общем, чума. Как говорит сама Джулия - "эта музыка одновременно сексуальна и рассудочна, как раз такая, какая подходит этим двум влюблённым "ботаникам""...
Издано маэстрой Джоном Зорном на собственном лейбле TSADIK.
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 9. March 2010, 20:01
Jewlia Eisenberg + Charming Hostess / Trilectic
Used drive : LITE-ON COMBO LTC-48161H Adapter: 0 ID: 0
Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No
Read offset correction : 6 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder Selected bitrate : 768 kBit/s Quality : High Add ID3 tag : No Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -8" %s
Peak level 99.8 % Range quality 100.0 % Copy CRC DF6DA89F Copy OK
No errors occurred
AccurateRip summary
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None of the tracks are present in the AccurateRip database
End of status report
REM GENRE "Avantgarde" REM DATE 2001 REM DISCID 130A5D13 REM COMMENT "ExactAudioCopy v0.99pb5" PERFORMER "Jewlia Eisenberg" TITLE "Trilectic" FILE "Jewlia Eisenberg - Trilectic.wv" WAVE TRACK 01 AUDIO TITLE "Mi Dimandas" PERFORMER "Jewlia Eisenberg" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Gershom Is Schocked" PERFORMER "Jewlia Eisenberg" INDEX 00 02:25:15 INDEX 01 02:26:50 TRACK 03 AUDIO TITLE "Meister Of Kultur" PERFORMER "Jewlia Eisenberg" INDEX 01 05:16:20 TRACK 04 AUDIO TITLE "Fortress Moscow" PERFORMER "Jewlia Eisenberg" INDEX 00 06:44:52 INDEX 01 06:45:72 TRACK 05 AUDIO TITLE "Eskimo Suit" PERFORMER "Jewlia Eisenberg" INDEX 00 09:40:52 INDEX 01 09:42:72 TRACK 06 AUDIO TITLE "The Secondary Purpose" PERFORMER "Jewlia Eisenberg" INDEX 01 11:43:37 TRACK 07 AUDIO TITLE "Still Holding Out" PERFORMER "Jewlia Eisenberg" INDEX 00 13:14:15 INDEX 01 13:16:17 TRACK 08 AUDIO TITLE "Hebrew Textbook" PERFORMER "Jewlia Eisenberg" INDEX 01 15:17:70 TRACK 09 AUDIO TITLE "The Touch Of Her Hands" PERFORMER "Jewlia Eisenberg" INDEX 00 17:32:45 INDEX 01 17:34:65 TRACK 10 AUDIO TITLE "Bread And Circuses" PERFORMER "Jewlia Eisenberg" INDEX 00 20:16:15 INDEX 01 20:17:47 TRACK 11 AUDIO TITLE "The Moon And Asja" PERFORMER "Jewlia Eisenberg" INDEX 00 22:44:50 INDEX 01 22:51:57 TRACK 12 AUDIO TITLE "Dream Of Me" PERFORMER "Jewlia Eisenberg" INDEX 00 24:43:57 INDEX 01 24:44:70 TRACK 13 AUDIO TITLE "Sicily" PERFORMER "Jewlia Eisenberg" INDEX 00 28:35:50 INDEX 01 28:39:57 TRACK 14 AUDIO TITLE "Guinea Tea" PERFORMER "Jewlia Eisenberg" INDEX 00 32:59:47 INDEX 01 33:02:07 TRACK 15 AUDIO TITLE "Social Contract" PERFORMER "Jewlia Eisenberg" INDEX 01 33:28:70 TRACK 16 AUDIO TITLE "Bed/Cafe" PERFORMER "Jewlia Eisenberg" INDEX 00 34:32:45 INDEX 01 34:34:30 TRACK 17 AUDIO TITLE "Dame La Mano" PERFORMER "Jewlia Eisenberg" INDEX 00 36:33:50 INDEX 01 36:35:47 TRACK 18 AUDIO TITLE "Durme, Durme" PERFORMER "Jewlia Eisenberg" INDEX 00 39:07:15 INDEX 01 39:10:65 TRACK 19 AUDIO TITLE "Adir Hu" PERFORMER "Jewlia Eisenberg" INDEX 00 41:34:12 INDEX 01 41:37:67
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PERFORMER: auCDtect Task Manager, ver. 1.5.1RC3 build 1.5.1.4 Copyright (c) 2008-2010 y-soft. All rights reserved http://y-soft.org
ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2 Copyright (c) 2004 Oleg Berngardt. All rights reserved. Copyright (c) 2004 Alexander Djourik. All rights reserved.
back.jpg cd.jpg front.jpg Jewlia Eisenberg - Trilectic.log Jewlia Eisenberg - Trilectic.wv Jewlia Eisenberg - Trilectic.wv.cue Tzadik TZ7155.sig Art\back.jpg Art\Booklet1.jpg Art\Booklet2.jpg Art\booklet3.jpg Art\cd.jpg Art\cover.jpg Art\edge.jpg checkers\EAC.jpg checkers\Jewlia Eisenberg + Charming Hostess - Trilectic.wv.auCDtect.txt checkers\Jewlia Eisenberg + Charming Hostess - Trilectic.wv.png checkers\matrix.jpg readme\[ENG] README No unpacking needed to play or burn this release.txt readme\[RUS] README No unpacking needed to play or burn this release.txt
#777Трэклист: 1. Ms Lot — 1:39 2. Aish Ye Kdish — 3:18 3. Heaven Sitting Down — 4:05 4. Torso — 4:40 5. Esturlu — 2:44 6. Long Black Veil — 4:42 7. Street of Tubing — 5:07 8. Two Boys — 2:27 9. Rise — 4:30 10. Kaffe Turke — 1:35 11. Szerelem — 4:27 12. Lady Gay — 7:01 13. The Procedure and King Cobra — 4:14
Этот диск издал другой маэстра - Дэйв Керман - на своём лейбле ReR. Так я и познакомился с группой: в наборе с заказом получил промо диск с кучей разностей, и в том числе с первой песней с "Панча" - "Ms. Lot"...
На этом диске есть и песни Джулии, и народные песни в оранжировке Charming Hostess, и всё это сделано с таким вкусом, что оторваться от прослушивания на середине диска просто невозможно.
Стиль этого диска сама Джулия именует как klezmer-punk/Balkan-funk
Charming Hostess is the kind of band that makes for frustrating reviewing, because they integrate so many folk musics into their sound that trying to describe their music and their influences is bound to make all but the most widely-listened reviewer feel inadequate. I might say that, on Punch, this six-piece band draws from Jewish, Eastern European, and American folk traditions, but that list is both too limited and too shallow. So let's settle with this: Charming Hostess take three female vocalists, some of the musicians from the wacky, heavy, theatrical (and, yes, proggy) rock groups Sleepytime Gorilla Museum and Idiot Flesh, and aim their collected talents at a music target that itself is an eclectic collection of folk, rock, funk, and general weirdness.
Even in their big-band format (currently the group is three singers with no other members; Punch was recorded several years ago when the big band still existed), the core of Charming Hostess' sound are the harmonized voices of the three female singers. Those voices carry the melodies and sing slightly twisted lyrics (in a variety of languages) about sexuality, gender, and other life issues and topics not typically tackled in such a whimsical musical manner. Here, as on the debut Eat, the singers are augmented by diverse instrumentation, and the results range from the relatively straight-up country & western of the Lefty Frizzell cover "Long Black Veil" (a personal favorite of mine on this album) to traditional Turkish, Palestinian, Transylvanian, and African-American songs all arranged by the deft hand of bandleader Jewlia Eisenberg. All of these traditional songs are given a distinct spin courtesy of those beautiful harmonized vocals and a touch of instrumental weirdness — odd time signatures, the occasional electric funk bass line, and some driving rhythmic rock-outs.
Initially, Punch didn't grab me quite the way Eat did, probably just because the latter was such a revelation, and this release is in a sense just more of the same. The instant-gratification impact of rockified, funkified folk songs like "Dali Tzerni" or "Klezsex" isn't here. But the lessened obviousness gives way to a perhaps more subtle beauty and balance in composition, and with further listen I think this long-delayed album is close to the equal of its predecessor. Punch's improved production quality, fuller and less brittle, helps as well. It's a shame this version of the band no longer exists, but having Punch finally see the light of the day is a great treat indeed.
Imagine The Roches, Cake and Throwing Muses all get merged together in some weird science experiment. The outcome would be Charming Hostess's big band. It appears that Charming Hostess has undergone some lineup changes over the years, but the self-described "large-band" is the one that plays on Punch. Jewlia Eisenberg is the lead singer and songwriter for Charming Hostess and the only member of both the old and new line-up.
The music has a serious middle-eastern, Israeli, feel to it. The lyrical content tends to rip modern ideas, like Lot doing horrible things to earn his reward. But the lyrics are kind of secondary to the melody. Charming Hostess combine the intelligent songwriting of Kristin Hersh (Throwing Muses), the harmony of the Roche Sisters, and the bass-driven music of Cake. The music gets a little repetitive, as most CDs that rely on harmony vocals tend to, but overall each song stands strong.
Progressive Rock / Metal fans probably won't find much to their interest here, but Punch is highly recommended to fans of Garrison Starr, Belly, Barbara Manning and the above mentioned bands. Charming Hostess is not afraid to step out of the norm and make sounds that appeal to them and listeners as well. The angst plays out well and the rhythm keeps everything moving. http://www.seaoftranquility.org/reviews.php?op=showcontent&id=2329
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 9. March 2010, 18:53
Charming Hostess / Punch
Used drive : LITE-ON COMBO LTC-48161H Adapter: 0 ID: 0
Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No
Read offset correction : 6 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder Selected bitrate : 768 kBit/s Quality : High Add ID3 tag : No Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -8" %s
REM GENRE "Ethnic" REM DATE 2004 REM DISCID A30BDC0D REM COMMENT "ExactAudioCopy v0.99pb5" PERFORMER "Charming Hostess" TITLE "Punch" FILE "Charming Hostess - Punch.wv" WAVE TRACK 01 AUDIO TITLE "Ms Lot" PERFORMER "Charming Hostess" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Aish Ye Kdish" PERFORMER "Charming Hostess" INDEX 01 01:39:41 TRACK 03 AUDIO TITLE "Heaven Sitting Down" PERFORMER "Charming Hostess" INDEX 01 04:57:43 TRACK 04 AUDIO TITLE "Torso" PERFORMER "Charming Hostess" INDEX 01 09:03:13 TRACK 05 AUDIO TITLE "Esturlu" PERFORMER "Charming Hostess" INDEX 01 13:43:50 TRACK 06 AUDIO TITLE "Long Black Veil" PERFORMER "Charming Hostess" INDEX 01 16:28:33 TRACK 07 AUDIO TITLE "Street Of Tubing" PERFORMER "Charming Hostess" INDEX 01 21:10:60 TRACK 08 AUDIO TITLE "Two Boys" PERFORMER "Charming Hostess" INDEX 01 26:20:09 TRACK 09 AUDIO TITLE "Rise" PERFORMER "Charming Hostess" INDEX 01 28:48:00 TRACK 10 AUDIO TITLE "Kaffe Turke" PERFORMER "Charming Hostess" INDEX 01 33:18:15 TRACK 11 AUDIO TITLE "Szerelem" PERFORMER "Charming Hostess" INDEX 01 34:53:74 TRACK 12 AUDIO TITLE "Lady Gay" PERFORMER "Charming Hostess" INDEX 01 39:21:15 TRACK 13 AUDIO TITLE "The Procedure And King Cobra" PERFORMER "Charming Hostess" INDEX 01 46:22:17
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PERFORMER: auCDtect Task Manager, ver. 1.5.1RC3 build 1.5.1.4 Copyright (c) 2008-2010 y-soft. All rights reserved http://y-soft.org
ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2 Copyright (c) 2004 Oleg Berngardt. All rights reserved. Copyright (c) 2004 Alexander Djourik. All rights reserved.
back.jpg cd.jpg Charming Hostess - Punch.log Charming Hostess - Punch.wv Charming Hostess - Punch.wv.cue front.jpg ReR MOR004 28GM MORPH-12732.sig Art\Booklet1.jpg Art\Booklet2.jpg Art\Booklet3.jpg Art\Booklet4.jpg Art\Booklet5.jpg Art\Booklet6.jpg Art\scan0001.jpg Art\scan0002.jpg Art\scan0003.jpg Art\scan0004.jpg checkers\Charming Hostess - Punch.wv.auCDtect.txt checkers\Charming Hostess - Punch.wv.png checkers\EAC.jpg checkers\martrix.jpg readme\[ENG] README No unpacking needed to play or burn this release.txt readme\[RUS] README No unpacking needed to play or burn this release.txt
Charming Hostess is the kind of band that makes for frustrating reviewing, because they integrate so many folk musics into their sound that trying to describe their music and their influences is bound to make all but the most widely-listened reviewer feel inadequate. I might say that, on Punch, this six-piece band draws from Jewish, Eastern European, and American folk traditions, but that list is both too limited and too shallow. So let's settle with this: Charming Hostess take three female vocalists, some of the musicians from the wacky, heavy, theatrical (and, yes, proggy) rock groups Sleepytime Gorilla Museum and Idiot Flesh, and aim their collected talents at a music target that itself is an eclectic collection of folk, rock, funk, and general weirdness.
Even in their big-band format (currently the group is three singers with no other members; Punch was recorded several years ago when the big band still existed), the core of Charming Hostess' sound are the harmonized voices of the three female singers. Those voices carry the melodies and sing slightly twisted lyrics (in a variety of languages) about sexuality, gender, and other life issues and topics not typically tackled in such a whimsical musical manner. Here, as on the debut Eat, the singers are augmented by diverse instrumentation, and the results range from the relatively straight-up country & western of the Lefty Frizzell cover "Long Black Veil" (a personal favorite of mine on this album) to traditional Turkish, Palestinian, Transylvanian, and African-American songs all arranged by the deft hand of bandleader Jewlia Eisenberg. All of these traditional songs are given a distinct spin courtesy of those beautiful harmonized vocals and a touch of instrumental weirdness — odd time signatures, the occasional electric funk bass line, and some driving rhythmic rock-outs.
Initially, Punch didn't grab me quite the way Eat did, probably just because the latter was such a revelation, and this release is in a sense just more of the same. The instant-gratification impact of rockified, funkified folk songs like "Dali Tzerni" or "Klezsex" isn't here. But the lessened obviousness gives way to a perhaps more subtle beauty and balance in composition, and with further listen I think this long-delayed album is close to the equal of its predecessor. Punch's improved production quality, fuller and less brittle, helps as well. It's a shame this version of the band no longer exists, but having Punch finally see the light of the day is a great treat indeed.
review by Brandon Wu
#777Трэклист: 1 Engineer/ Job 2:33 2 Thirst 5:10 3 Engineer/ Function 1:26 4 Viva Orduenya 5:49 5 The Way It Can Be 4:19 6 Bath 1:00 7 The Way It Is 0:57 8 Last Bath 3:26 9 The Water Carrier 4:32 10 Rajasthan 3:15 11 Avidan 5:21 12 Engineer/ Salination 2:36 13 Possible Flight/ Dry Place/ Scarcity And Love 10:00 14 Isolate 2:46 15 Dehydration Song 4:29 16 The Rising 3:06
Musicians: Scott Amendola, Wesley Anderson, Jewlia Eisenberg, Marika Hughes, Dan Rathbun
Очередная чума... Эта запись представляет собой музыку к мини-балету с одноимённым названием. Не только музыку, слова тоже кое-где присутствуют. В основном, правда, звуки, а не слова. Оно и понятно - непросто озвучить дегидратацию человеческого тела...
Фоновый шум воды для альбома ребята записывали на водоёмах от Бахрейна до Заира.
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 9. March 2010, 19:51
Unknown Artist / Unknown Title
Used drive : SONY DVD RW DRU-840A Adapter: 1 ID: 0
Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No
Read offset correction : 6 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder Selected bitrate : 768 kBit/s Quality : High Add ID3 tag : No Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE Additional command line options : -8 -V %s
Filename D:\_music\Jewlia Eisenberg - The Grim Arithmetic Of Water.wav
Peak level 100.0 % Range quality 100.0 % Copy CRC AB8D7191 Copy OK
No errors occurred
AccurateRip summary
Track 1 not present in database Track 2 not present in database Track 3 not present in database Track 4 not present in database Track 5 not present in database Track 6 not present in database Track 7 not present in database Track 8 not present in database Track 9 not present in database Track 10 not present in database Track 11 not present in database Track 12 not present in database Track 13 not present in database Track 14 not present in database Track 15 not present in database Track 16 not present in database
None of the tracks are present in the AccurateRip database
End of status report
REM GENRE "Avantgarde" REM DATE 2004 REM DISCID DE0E0E10 REM COMMENT "ExactAudioCopy v0.99pb5" PERFORMER "Jewlia Eisenberg" TITLE "The Grim Arithmetic Of Water" FILE "Jewlia Eisenberg - The Grim Arithmetic Of Water.wv" WAVE TRACK 01 AUDIO TITLE "Engineer/ Job" PERFORMER "Jewlia Eisenberg" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Thirst" PERFORMER "Jewlia Eisenberg" INDEX 01 02:29:51 TRACK 03 AUDIO TITLE "Engineer/ Function" PERFORMER "Jewlia Eisenberg" INDEX 01 07:37:04 TRACK 04 AUDIO TITLE "Viva Orduenya" PERFORMER "Jewlia Eisenberg" INDEX 01 09:00:17 TRACK 05 AUDIO TITLE "The Way It Can Be" PERFORMER "Jewlia Eisenberg" INDEX 01 14:45:65 TRACK 06 AUDIO TITLE "Bath" PERFORMER "Jewlia Eisenberg" INDEX 01 19:02:07 TRACK 07 AUDIO TITLE "The Way It Is" PERFORMER "Jewlia Eisenberg" INDEX 01 19:59:38 TRACK 08 AUDIO TITLE "Last Bath" PERFORMER "Jewlia Eisenberg" INDEX 01 20:53:41 TRACK 09 AUDIO TITLE "The Water Carrier" PERFORMER "Jewlia Eisenberg" INDEX 01 24:16:17 TRACK 10 AUDIO TITLE "Rajasthan" PERFORMER "Jewlia Eisenberg" INDEX 01 28:45:29 TRACK 11 AUDIO TITLE "Avidan" PERFORMER "Jewlia Eisenberg" INDEX 01 31:57:38 TRACK 12 AUDIO TITLE "Engineer/ Salination" PERFORMER "Jewlia Eisenberg" INDEX 01 37:15:31 TRACK 13 AUDIO TITLE "Possible Flight / Dry Place / Scarcity And Love" PERFORMER "Jewlia Eisenberg" INDEX 01 39:48:54 TRACK 14 AUDIO TITLE "Isolate" PERFORMER "Jewlia Eisenberg" INDEX 01 49:46:12 TRACK 15 AUDIO TITLE "Dehydration Song" PERFORMER "Jewlia Eisenberg" INDEX 01 52:28:63 TRACK 16 AUDIO TITLE "The Rising" PERFORMER "Jewlia Eisenberg" INDEX 01 56:55:31
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PERFORMER: auCDtect Task Manager, ver. 1.5.1RC3 build 1.5.1.4 Copyright (c) 2008-2010 y-soft. All rights reserved http://y-soft.org
ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2 Copyright (c) 2004 Oleg Berngardt. All rights reserved. Copyright (c) 2004 Alexander Djourik. All rights reserved.
FILE: Jewlia Eisenberg - The Grim Arithmetic Of Water.wv Size: 342770854 Hash: 40B91EEF4D4B8F6D4BC75CEE3D3E7034 Accuracy: -m0 Conclusion: MPEG 95% Signature: 944B35DA7579CA2BA10451AF48B70C5AE7A25A1B
9195 11A D 05120.sig front.jpg Jewlia Eisenberg - The Grim Arithmetic Of Water.log Jewlia Eisenberg - The Grim Arithmetic Of Water.wv Jewlia Eisenberg - The Grim Arithmetic Of Water.wv.cue Art\cd.jpg checkers\EAC.jpg checkers\Jewlia Eisenberg - The Grim Arithmetic Of Water.wv.auCDtect.txt checkers\Jewlia Eisenberg - The Grim Arithmetic Of Water.wv.png checkers\matrix.jpg readme\[ENG] README No unpacking needed to play or burn this release.txt readme\[RUS] README No unpacking needed to play or burn this release.txt
#777Трэклист: 1. Goodwife Keeping 2. Way It Is, The 3. Ceiling View 4. Muffoletta 5. I Can't Right Now 6. Romance 7. Very Last Muse, The 8. Never Two Weeks 9. Bottom Heavy 10. Stay Away 11. Don't Cry 12. Happy Family 13. No More One More
Изменив название и взяв в руки музыкальные инструменты, Джулия и Марика остались верны себе и своему музыкальному стилю, создав ещё один прекрасный диск. Моя любимая тут - Don't Cry.
Этот релиз был также издан Джоном Зорном на "Цадике".
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 9. March 2010, 20:10
Red Pocket / Thick
Used drive : LITE-ON COMBO LTC-48161H Adapter: 0 ID: 0
Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No
Read offset correction : 6 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder Selected bitrate : 768 kBit/s Quality : High Add ID3 tag : No Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -8" %s
REM GENRE "Avantgarde" REM DATE 2004 REM DISCID BB08FA0D REM COMMENT "ExactAudioCopy v0.99pb5" PERFORMER "Red Pocket" TITLE "Thick" FILE "Red Pocket - Thick.wv" WAVE TRACK 01 AUDIO TITLE "Goodwife Keeping" PERFORMER "Red Pocket" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "The Way It Is" PERFORMER "Red Pocket" INDEX 01 02:38:05 TRACK 03 AUDIO TITLE "Ceiling View" PERFORMER "Red Pocket" INDEX 00 04:47:03 INDEX 01 04:48:13 TRACK 04 AUDIO TITLE "Muffoletta" PERFORMER "Red Pocket" INDEX 00 06:26:70 INDEX 01 06:27:71 TRACK 05 AUDIO TITLE "I Can't Right Now" PERFORMER "Red Pocket" INDEX 00 11:15:40 INDEX 01 11:17:19 TRACK 06 AUDIO TITLE "Romance" PERFORMER "Red Pocket" INDEX 01 14:35:58 TRACK 07 AUDIO TITLE "The Very Last Muse" PERFORMER "Red Pocket" INDEX 01 18:05:21 TRACK 08 AUDIO TITLE "Never Two Weeks" PERFORMER "Red Pocket" INDEX 00 20:50:68 INDEX 01 20:52:17 TRACK 09 AUDIO TITLE "Bottom Heavy" PERFORMER "Red Pocket" INDEX 00 24:37:39 INDEX 01 24:38:52 TRACK 10 AUDIO TITLE "Stay Away" PERFORMER "Red Pocket" INDEX 01 25:40:07 TRACK 11 AUDIO TITLE "Don't Cry" PERFORMER "Red Pocket" INDEX 01 29:47:70 TRACK 12 AUDIO TITLE "Happy Family" PERFORMER "Red Pocket" INDEX 01 31:57:20 TRACK 13 AUDIO TITLE "No More One More" PERFORMER "Red Pocket" INDEX 01 35:18:23
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PERFORMER: auCDtect Task Manager, ver. 1.5.1RC3 build 1.5.1.4 Copyright (c) 2008-2010 y-soft. All rights reserved http://y-soft.org
ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2 Copyright (c) 2004 Oleg Berngardt. All rights reserved. Copyright (c) 2004 Alexander Djourik. All rights reserved.
back.jpg cd.jpg front.jpg Red Pocket - Thick.log Red Pocket - Thick.wv.cue Red Pocket - Thick.wv Tzadik TZ7710.sig Art\back.jpg Art\cd.jpg Art\edge.jpg Art\front.jpg Art\front2.jpg Art\front3.jpg Art\front4.jpg checkers\auCDtect.txt checkers\EAC.jpg checkers\matrix.jpg checkers\spectrogram.png readme\[ENG] README No unpacking needed to play or burn this release.txt readme\[RUS] README No unpacking needed to play or burn this release.txt
Wesley Anderson, Juliet Lee: drums Tim Barsky: beatbox Devin Hoff: double bass Carla Kihlstedt: violin Dan Rathbun: bass Nils Frykdahl: nylon oud, voice Ishay Sommer: guitars, electronics Roy Yarkoni: keyboards Yoav Klein: bassoons
Основой диска послужила одноимённая книга балканского поэта Семездина Мемединовича, с которым Джулия случайно познакомилась в одном баре в Беркли. Как и остальные альбомы, этот альбом представляет собой смесь всевозможных музык - балканской, еврейской, африканской, имя им легион. Самый, наверное, сильный диск получился после Eat. Издан маэстрой Зорном на TSADIK'е. Он уже раздавался в lossless добряком spcmnk87, но с нулевым оффсетом и без ковров. И ещё есть два концерта в МР3 от добряка toxapro для особых фанов. На дисках они не выходили.
If Zap Mama included Jewish and Balkan musical influences in their repertoire they'd probably sound almost as good as Charming Hostess. But that would just be the sound. Try to imagine Zap Mama's material if their song selection criteria included a desire to match voice to unconventional songtexts to convey poetry and prose to the ear. Sounds intellectual and intimidating, especially when you consider that bandleader Eisenberg's last outing set to music the diaries of Walter Benjamin and Asja Lacis. But this, this CD? It swings. The joy of three amazing strong women's voices entwining, weaving ... it's the most wonderful vocal pick-me-up I've heard in ages.
Eisenberg met Sarajevo poet Semezdin Mehmedinovic at a bar in Berkeley. Where else? (Although I, myself, happened to have been in Sarajevo before the war, and then soon after. I met typographers and teachers but no poets. So it goes. But it also means that I see a physical city, before and after the war, as I read the poems.)
Sem's poems about being in Sarajevo during the siege are piercing and personal. Reading them quietly, in the sunlight by our living room window is revealing. Listening to them set to music, set to Bosnian, Jewish, African, American melodies makes them real and personal. It's as thought the band has discovered the ultimate art of typography—the ability to convey words such that one doesn't notice that one is reading—and used music to translate from writing to the ear directly.
The album opens with a couple of traditional Bosnian Jewish songs that are welcome and beautiful. Think of Flory Jagoda (another Sarajevo poet) with three voices weaving in and out with perfect balkan-style harmonies. The CD closes with a couple of covers, unfamiliar to me, but which clearly belong.
The poetry is the main thing. In five minutes, Sem's prose, "The Tunnel" becomes a universe of despair, then meditation in a way that I missed entirely on my own reading of the full piece. It is about the narrow tunnel through which the city was supplied during the siege: "... I was ready to lay down and die right where I was 'till I found a spot that was a little wider, made to put aside the dead, so the living could pass. I just stayed right there, for hours, underground, and thought of Radovan." Similarly, the solo mixing of pure Serbo-Croatian voice (oops, sorry, it's called "Bosnian" now, as though a separate language) alternating with English solo voice on "What will you remember" is sublime and beautiful, accompanied only by spare instrumentation and background hums. In the priginal prose piece, the poet ruminates on memory and harks back and forth to 10 years ago and the movie "BladeRunner. Here, the group takes the last paragraph and captures a moment outside the scope of war, of children sledding: "those who are in love with their sleds and those who just love sledding", and holds on to that memory. "I know that, when everything passes, I'll remember this too...."
My favorite piece, however, is "Death is a Job". It could be on top 10 radio but for it's unsentimental look at a photographer waiting for someone to be shot so that he can sell the photograph to a news journal. Still, the voices just SOAR. Doowop for the nineties in Sarajevo. Even in recording despair and utter helplessness, Charming Hostess find the life in the words and turn them into a defiant celebration. On the other hand, my next favorite is the spoken, short piece, "Open Dialogue" in which they manage to skewer people's expectations and stereotypes of ethnicity and the blue/red states of the former Yugoslavia. It reminds me of Laurie Anderson's piece about Walter Benajamin in its mix of spoken voice and music, and the much to think about embodied by the dialogue. Also of note is the following piece, Adam, by Celia Dropkin, which seems to be Hebrew? (or maybe it's all Serbo-Croatian, some sung with a conspicuous modern Hebrew accent!). The album's concluding song, "Aish Ye K'dish" is definitely Serbo-Croatian with a wonderful mix of harder instrumental accompaniment and singing, all to wonderful Balkan melodies.
This is my favorite album since the first Charming Hostess album, now out of print, Eat. The only thing better than hearing ChoHo on disk is hearing them live. As I type these words, they are singing their way across the country. For those who catch them live, this review will be a pale confirmation of the wonderful, and, like the memory of children sledding on a cold January day, an affirmation of the power of voice to convey word and thought to heal and to sustain. In summary, this is a wonderful album, and possibly unlike any other that you've heard. Buy it. Then bring the band to your town to sing live.
Reviewed by Ari Davidow, 29 Mar 2005.
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 9. March 2010, 19:54
Charming Hostess / Sarajevo Blues
Used drive : LITE-ON COMBO LTC-48161H Adapter: 0 ID: 0
Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No
Read offset correction : 6 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder Selected bitrate : 768 kBit/s Quality : High Add ID3 tag : No Command line compressor : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T "ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=EAC FLAC -8" %s
Filename C:\EAC\Charming Hostess - Sarajevo Blues.wav
Peak level 100.0 % Range quality 100.0 % Copy CRC 0C53C9C1 Copy OK
No errors occurred
AccurateRip summary
Track 1 not present in database Track 2 not present in database Track 3 not present in database Track 4 not present in database Track 5 not present in database Track 6 not present in database Track 7 not present in database Track 8 not present in database Track 9 not present in database Track 10 not present in database Track 11 not present in database Track 12 not present in database Track 13 not present in database Track 14 not present in database Track 15 not present in database
None of the tracks are present in the AccurateRip database
End of status report
REM GENRE "Avantgarde" REM DATE 2004 REM DISCID C00A460F REM COMMENT "ExactAudioCopy v0.99pb5" PERFORMER "Charming Hostess" TITLE "Sarajevo Blues" FILE "Charming Hostess - Sarajevo Blues.wv" WAVE TRACK 01 AUDIO TITLE "Viva Orduenya" PERFORMER "Charming Hostess" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Si Veriash La Rana" PERFORMER "Charming Hostess" INDEX 01 04:36:25 TRACK 03 AUDIO TITLE "War" PERFORMER "Charming Hostess" INDEX 01 06:29:46 TRACK 04 AUDIO TITLE "The Tunnel" PERFORMER "Charming Hostess" INDEX 00 09:09:07 INDEX 01 09:10:67 TRACK 05 AUDIO TITLE "Imam Bey's Mosque" PERFORMER "Charming Hostess" INDEX 00 14:06:26 INDEX 01 14:07:45 TRACK 06 AUDIO TITLE "Exodus" PERFORMER "Charming Hostess" INDEX 00 17:00:40 INDEX 01 17:02:16 TRACK 07 AUDIO TITLE "Expulsion" PERFORMER "Charming Hostess" INDEX 00 19:57:04 INDEX 01 19:58:37 TRACK 08 AUDIO TITLE "What Will You Remember" PERFORMER "Charming Hostess" INDEX 01 20:48:16 TRACK 09 AUDIO TITLE "Grbavica" PERFORMER "Charming Hostess" INDEX 01 24:42:42 TRACK 10 AUDIO TITLE "Death Is A Job" PERFORMER "Charming Hostess" INDEX 00 26:25:23 INDEX 01 26:26:46 TRACK 11 AUDIO TITLE "A Relatively Calm Day" PERFORMER "Charming Hostess" INDEX 01 29:39:69 TRACK 12 AUDIO TITLE "Zenica Blues" PERFORMER "Charming Hostess" INDEX 00 32:24:57 INDEX 01 32:27:19 TRACK 13 AUDIO TITLE "Open Dialogue" PERFORMER "Charming Hostess" INDEX 01 36:38:24 TRACK 14 AUDIO TITLE "Adam" PERFORMER "Charming Hostess" INDEX 01 37:23:19 TRACK 15 AUDIO TITLE "Aish Ye K'dish" PERFORMER "Charming Hostess" INDEX 00 40:31:01 INDEX 01 40:32:59
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PERFORMER: auCDtect Task Manager, ver. 1.5.1RC3 build 1.5.1.4 Copyright (c) 2008-2010 y-soft. All rights reserved http://y-soft.org
ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2 Copyright (c) 2004 Oleg Berngardt. All rights reserved. Copyright (c) 2004 Alexander Djourik. All rights reserved.
back.jpg cd.jpg Charming Hostess - Sarajevo Blues.log Charming Hostess - Sarajevo Blues.wv Charming Hostess - Sarajevo Blues.wv.cue front.jpg Tzadik TZ7197.sig Art\back.jpg Art\booklet1.jpg Art\booklet2.jpg Art\booklet3.jpg Art\cd.jpg Art\edge.jpg Art\front.jpg checkers\Charming Hostess - Sarajevo Blues.wv.auCDtect.txt checkers\Charming Hostess - Sarajevo Blues.wv.png checkers\EAC.jpg checkers\matrix.jpg readme\[ENG] README No unpacking needed to play or burn this release.txt readme\[RUS] README No unpacking needed to play or burn this release.txt
#777Трэклист: 1. Bird of Rivers (2:14) 2. Bound and Turned Aside (3:20) 3. Dying Bed (3:31) 4. Malakha (2:57) 5. Hangman Devil Man (4:28) 6. Seven Spirits (2:19) 7. Yedidi (3:26) 8. Oh Barren One (4:27) 9. Peace Without Peace (4:15) 10. Yavo Ha-Goel (3:12) 11. Early in the Morning (3:37) 12. Smamit (3:35) 13. Demon Lover (4:22) 14. Merduk Bat Banai (2:55) 15. Da'ima (2:48) 16. Handu Bat Makhlapta (1:36) 17. Too Bad (2:24)
Доп. информация: Как говорит Джулия Эйзенберг, этот альбом основан на сексе, магии и Вавилонских амулетах. Звук получился неожиданно тяжёлороковым, но суть осталась прежней - Charming Hostess поют о жизни, пропустив её через себя...
Exact Audio Copy V1.0 beta 1 from 15. November 2010
EAC extraction logfile from 31. December 2010, 1:00
The Bowls Project / Charming Hostess
Used drive : SONY DVD RW DRU-830A Adapter: 1 ID: 0
Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No
Read offset correction : 6 Overread into Lead-In and Lead-Out : No Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Null samples used in CRC calculations : Yes Used interface : Native Win32 interface for Win NT & 2000
Used output format : User Defined Encoder Selected bitrate : 768 kBit/s Quality : High Add ID3 tag : No Command line compressor : C:\foobar2000\encoders\wavpack.exe Additional command line options : -hlm %s
Peak level 96.6 % Extraction speed 0.2 X Range quality 100.0 % Copy CRC 191F0C26 Copy OK
No errors occurred
AccurateRip summary
Track 1 not present in database Track 2 not present in database Track 3 not present in database Track 4 not present in database Track 5 not present in database Track 6 not present in database Track 7 not present in database Track 8 not present in database Track 9 not present in database Track 10 not present in database Track 11 not present in database Track 12 not present in database Track 13 not present in database Track 14 not present in database Track 15 not present in database Track 16 not present in database Track 17 not present in database
None of the tracks are present in the AccurateRip database
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REM GENRE "Avantgarde" REM DATE 2010 REM DISCID E80D0211 REM COMMENT "ExactAudioCopy v1.0b1" PERFORMER "Charming Hostess" TITLE "The Bowls Project" FILE "Charming Hostess - The Bowls Project.wv" WAVE TRACK 01 AUDIO TITLE "Bird Of Rivers" PERFORMER "Charming Hostess" INDEX 01 00:00:00 TRACK 02 AUDIO TITLE "Bound And Turned Aside" PERFORMER "Charming Hostess" INDEX 01 02:14:26 TRACK 03 AUDIO TITLE "Dying Bed" PERFORMER "Charming Hostess" INDEX 01 05:34:43 TRACK 04 AUDIO TITLE "Malakha" PERFORMER "Charming Hostess" INDEX 01 09:05:48 TRACK 05 AUDIO TITLE "Hangman Devil Man" PERFORMER "Charming Hostess" INDEX 01 12:02:24 TRACK 06 AUDIO TITLE "Seven Sprirts" PERFORMER "Charming Hostess" INDEX 01 16:31:14 TRACK 07 AUDIO TITLE "Yedidi" PERFORMER "Charming Hostess" INDEX 01 18:49:64 TRACK 08 AUDIO TITLE "Oh Barren One" PERFORMER "Charming Hostess" INDEX 01 22:16:04 TRACK 09 AUDIO TITLE "Peace Without Peace" PERFORMER "Charming Hostess" INDEX 01 26:43:25 TRACK 10 AUDIO TITLE "Yavo Ha-Goel" PERFORMER "Charming Hostess" INDEX 01 30:58:02 TRACK 11 AUDIO TITLE "Early In The Morning" PERFORMER "Charming Hostess" INDEX 01 34:10:47 TRACK 12 AUDIO TITLE "Smamit" PERFORMER "Charming Hostess" INDEX 01 37:48:53 TRACK 13 AUDIO TITLE "Demon Lover" PERFORMER "Charming Hostess" INDEX 01 41:23:73 TRACK 14 AUDIO TITLE "Merduk Bat Banai" PERFORMER "Charming Hostess" INDEX 01 45:46:29 TRACK 15 AUDIO TITLE "Da'ima" PERFORMER "Charming Hostess" INDEX 01 48:41:67 TRACK 16 AUDIO TITLE "Handu Bat Makhlapta" PERFORMER "Charming Hostess" INDEX 01 51:30:39 TRACK 17 AUDIO TITLE "Too Bad" PERFORMER "Charming Hostess" INDEX 01 53:06:23
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The Apocalyptic Intimacy of Charming Hostess’s Bowls Project By WMC_News_Dept.
As Eisenberg noticed from the first moment she idly opened a seemingly fusty dissertation filled with translations of these Aramaic texts from the time and place of the Talmud, these bowls speak-and loudly. They tell of demons, angels, and gods from a half dozen ancient cultures, all entwined with the secret passions and household heartbreaks of women living 1,500 years ago.
"I was instantly mesmerized by the voices in these bowls. In the entire Talmud, you never hear women talk about themselves in the "we" form; in demon bowls you hear it all the time. I chose to set Jewish bowls, but the form is cosmopolitan and deeply porous-a Jewish bowl might define the Divine as a Bird of Rivers, call out to Dlibat, the Babylonian goddess of love, or cast a spell from a sea monster. Demon bowls contain the greatest supernatural powers right next to small domestic scenes; normal household concerns interact with fiery angels and demons," Eisenberg recounts. "If you read one bowl text, you see this dynamic; the apocalyptic intimate. You don’t have to be a scholar or read Aramaic."
Over four years, Eisenberg began putting these texts to music, building on her fascination with the sounds of the female body-breaths, claps, sighs, stomps, and silence. With her fellow members of Charming Hostess, she incorporated elements from the drive and clamor of black metal (the martial exorcism of "Bound and Turned Aside") to American roots music ("Hangman") and the devotional songs embraced by Babylonian (Iraqi) Jews ("Yedidi").
Yet the touchstone remains the bowls. They record a world full of supernatural activity, haunting even the most ho-hum daily grind. Disguised demons afflicted families, and might even trick the unwary into marriage, forcing their unwitting spouses to seek divorces. The Leviathan shakes the earth. Angels march with swords, blocking gossipy neighbors and insuring sexual arousal.
"Demons and angels may seem remote to many of us, but in the world of the bowls, they were experienced as frequent house-guests with supernatural powers. They had rights, too, as members of the community," notes Eisenberg. "You could try to appease them, cajole them, or bully them with bowl incantations, but whatever you do, they are around, participating in everyday life. This is very clear in the bowls, and in the traditional music I chose for the album."
The thought of spirits swarming through the home may sound frightening, but their presence can also bring protection, as Eisenberg suggests in her haunting and unexpected transformation of the American religious song "Dying Bed (Khevra Kadisha)." With a nod to both Blind Willie Johnson and the Jewish rituals of keeping watch over the dead, Eisenberg invokes the intimate connection and peace that flows from encounters with forces beyond.
The bowl texts-written down at women’s request by professional scribes-are filled with hybrid deities and syncretic spells, spiraled incantations for health, fidelity, protection, and love.
Christians and Zoroastrians, Animists and Jews all shared gods, demons, and images as they recorded the secrets of their households-and then hid them, silently, in the earth, to protect their homes.
These women’s voices were forgotten as other texts and teachings from the time moved from the margins to the center. "The great canon of Jewish law, the Babylonian Talmud, is from the same era as these demon bowls," Eisenberg comments, "The Talmud became the shape of post-exilic Judaism. But at the time of its compilation in 200-600 CE, the bowls were the mainstream and the rabbis were at the fringe!"
This absorption of female power into male authority is stated explicitly in some of the texts themselves. "’Smamit‘", Eisenberg explains, "tells how three angels became empowered to protect babies in crib and women in labor. The story unfolds on the body of a woman with her own supernatural powers, which she loses along with her children, but these angels get the power. You rarely get to see the move away from female magic explored so deeply."
Eisenberg began to break the silence, as war raged in Iraq and a new crop of these artifacts turned up on the world market, due to looting, shelling, and theft. The bowls provided an unexpected entry, a chance for connection not only to women living millennia ago, but also to contemporary Iraqis and the ordinary lives of people often lost behind the civilizational myth of Sumer or the tortures of Falujah.
Eisenberg’s arrangements honor the often broken and fragmented nature of the bowls and their voices. Many of the bowls were found in pieces. And to confuse demons, the incantations would often include unpronounceable names or repeated letters. Eisenberg felt the unpronounceability had to stay: "Some of the text will just have a letter over and over again, a kind of a hissing sound to block a demon. Or it will have the letter ‘H’, a name for the Divine. I wanted to take the text and play with the parts that can’t be pronounced and the fragments," as she does in "Malakha."
The heart of the Bowls Project is connection, with a past, with people distant and different, and with a deep aspect of our shared experience. "These bowls are so personal that you can’t not relate to them," Eisenberg muses. "They are similar to our own experience even though they are phrased in their own apocalyptic intimate way. And if you can relate to woman living 1,500 years ago in what’s today Iraq, you can relate to someone living there now. That’s really central."
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