Brian Jones Presents The Pipes Of Pan At Joujouka

He only wanted to share: Brian Jones was justifiably evangelical about the shrill, gripping music that he heard in a village nestled in Morocco's Atlas Mountains. Simply recording the Pipes of Pan wasn't enough in 1969. In an effort to communicate his own kif-enhanced experience, The Rolling Stones guitarist took his four-track tapes home to England, where he deployed the full arsenal of psychedelic signal processing. The resulting album documents a millennia-old music, the sound of panic itself, as well as the fragmented mind of Jones in the months before his death. Drums throb in the foreground as the pipers are sucked figuratively into the slipstream of a jet engine via extreme phase shifting. A women's chorus, shrieking like seagulls, loops in the distance. Jones's apology for a muffled female solo is sufficient to raise gooseflesh: "It was not for our ears". Well before dub reggae and its spawn - the cult of remixing - Jajouka showcased techno-primitive terror, up where the air was very thin.

The Wire

Tracklisting:

1. "55 ("Hamsa oua Hamsine)" – 0:58
2. "War Song/Standing" + "One Half (Kaim Oua Nos") – 2:22
3. "Take Me with You Darling, Take Me with You (Dinimaak A Habibi Dinimaak)" – 8:06
4. "Your Eyes Are Like a Cup of Tea (Al Yunic Sharbouni Ate)" – 10:35
5. "I Am Calling Out (L'Afta)" – 5:55
6. "Your Eyes Are Like a Cup of Tea" (reprise with flute) – 18:04

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Choir of Vatopedi Fathers - Holy Saturday

Category: Byzantine


Chant Type: Byzantine


Language: Greek

Tracklisting:

1. The Noble Joseph
2. First stasis of the Praises
3. Second stasis of the Praises
4. Third stasis of the Praises
5. Joseph begged Thy holy body
6. First Ode of the Canon
7. Third Ode of the Canon
8. Thy tom, O Saviour
9. Fourth Ode of the Canon
10. Fifth Ode of the Canon
11. Sixth Ode of the Canon
12. Kontakion, Oikos & Synaxarion
13. Seventy Ode of the Canon
14. Eighth Ode of the Canon
15. Ninth Ode of the Canon
16. As the sun hid


As with all Vatopedi recordings, the quality and clarity of the recording is superb. This recording offers the traditional hymns of Holy Saturday, and both a contemporary and ancient setting of Behold the Bridegroom Cometh. The Musical School of the Holy Monastery of Vatopaidi is one of the cradles of Byzantine music. It has endowed the monastery with a history of cantors, a rich library of books and manuscripts, a collection of recordings, and a rich tradition of chant which is continued by the contemporary choir of Vatopedi fathers. This recording of the Holy Saturday Service, sung in the traditional Athonite fashion and recorded live in the monastery is another monument.

Review by Benjamin Williams


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