Xylophone

Shooby Taylor Rewired

The new Basta album Raymond Scott Rewired features a radical overhaul of the entire Scott catalog by three of the music world's premiere remix artists — The Bran Flakes, Evolution Control Committee, and Go Home Productions. It was released on February 18.

The final track, Scott's iconic "Powerhouse," which was collaboratively layered by the three mixmeisters, features a special guest. The late, legendary outsider scat-master William "Shooby" Taylor, a.k.a. "The Human Horn," takes a few vocal turns throughout the mix. I chronicled Taylor's story over at a website devoted to my Y2K outsider music book and CDs, Songs in the Key of Z. Taylor's idiosyncratic vocal stylings were studio-recorded in the 1980s over commercial LPs by artists like Miles Davis, the Harmonicats, Erroll Garner, Eddie "Lockjaw" Davis, and Johnny Cash. Needless to say, these artists were not consulted about the collaborations, and all went to their graves none the wiser.

I own the dozen or so Shooby master reels, which contain 94 tracks, many of which I intend to release digitally in the near term. The samples used in "Powerhouse" originated from a series of a cappella recordings by Taylor. Buy the album — or at least the track — to appreciate Shooby in a remarkable setting. You can hear (and buy) four Shooby solo recordings in the iTunes Store: "Stout-Hearted Men," "Lift Ev'ry Voice and Sing," "Indiana," and "It Gets Better All the Time."

Raymond Scott on Mickopedia

Raymond Scott, as profiled on Mickopedia ("the feckin' free Irish encyclopedia"):

A 1931 graduate of the feckin' Juilliard School of Music, where he studied piano, theory and composition, Scott, under his birth name, began his professional career as an oul' pianist for the feckin' CBS Radio house band. Would ye swally this in a minute now? His older (by eight years) brother Mark conducted the oul' orchestra. Arra' would ye listen to this shite? Harry reportedly adopted the bleedin' pseudonym "Raymond Scott" to spare his brother charges of nepotism when the orchestra began performin' the bleedin' pianist's idiosyncratic compositions. In 1935 he married Pearl Zimney (1910-2001). Be the hokey, here's a quare wan.

April Fools' Day prank revealed

Last week, I made an audio discovery during a research mission to Santa Clarita, California. At the home of Mitzi Scott, Raymond's widow, I found a 15-inch tape reel in the garage that contains an electronic 1963 remake of Scott's '30s Quintette classic, "A Boy Scout In Switzerland." • Listen here:

April Fools' Day stunt revealed: Although I did make many discoveries during my recent research mission to Mitzi Scott's home, the track I uploaded yesterday was in fact created by composer, musician, and prankster, Ego Plum (the voice is me, Jeff Winner). The recording was commissioned for the forthcoming 2-CD compilation "SONGBOOK," produced by Takashi Okada. Ego explains his process — and apologizes to Moby (who tweeted it to his approx. 1.5 million followers) — here. Plum and Steve Bartek of Oingo Boingo are curating a concert at the Redcat theater in the Walt Disney Concert Hall to celebrate the 75th Anniversary of Raymond Scott's music.

Urban Dictionary

Finally, Raymond Scott has hit the big-time:

http://www.urbandictionary.com/define.php?term=Powerhouse+B

What A Character

A few years ago David Garland, host of WNYC's SPINNING ON AIR, wrote to me:

I'm about a third of the way into Michael Chabon's [Pulitzer Prize winning novel], The Amazing Adventures of Kavalier and Clay (published by Random House), and to my surprise Raymond Scott shows up as a character in the story. The novel is set in New York City, and at this point in the story it's 1940. They've just gone to a party for Salvador Dali:

"Most of the names were unfamiliar to Joe, but he did recognize Raymond Scott, a composer who had recently hit it big with a series of whimsical, cacophonous, breakneck pseudo-jazz pop tunes. Just the other day, when Joe stopped at Hippodrome Radio, they had been playing his new record, 'Yesterthoughts,' over the store PA. Scott was feeding a steady diet of Louis Armstrong platters to the portable RCA while explaining what he had meant when he referred to Satchmo as, 'the Einstein of the blues.' As the notes fluttered out of the fabric-covered loudspeaker, he would point at them, as if to illustrate what he was saying, and even tried to snatch at one with his hands. He kept turning the volume up, the better to compete with the less important conversations taking place around him."

A few pages later, Dali, who was wearing an old-fashioned diving suit, begins to suffocate, and Raymond Scott tries to remove Dali's metal helmet. In that scene, when someone suggests they remove Dali's helmet, Scott shouts, "What the f*ck do you think I'm trying to do?!" That seems uncharacteristic to me, but what the f*ck do I know about how much d*mn cursing Raymond did? So far, I'm enjoying the book a lot.
—David Garland

Another email I received today:

Hi: I am a librarian in San Bruno, CA and I have a patron who is trying to find the sound/music for something he thinks Raymond Scott wrote. Michael Chabon, in his "The Amazing Adventures of Kavalier and Clay," writes, "The doorbell played its weird tune, Raymond Scott's shortest composition, 'Fanfare for the Fuller Brush Man.'" Does such a composition exist and if yes, can I get the sheet music or do you know where the patron could hear it?
 Thank you in advance.

Although Scott released a tune titled "Yesterthoughts" in 1940, the events depicted in this novel, as well as the composition "Fanfare for the Fuller Brush Man," are creations from Chabon's imagination. Scott did, however, invent an electronic musical doorbell.

• Order the book from: Amazon

PART FIVE: The Case of the Multiple Raymond Scotts

Raymond Scott had a wild imagination, yet the man born Harry Warnow chose a banal pseudonym. A Google search spotlights plenty of Raymond Scotts who are not our Raymond Scott. Part five — possibly the final installment — of a diversionary series (part 1, part 2, part 3, and part 4):

Raymond Scott:
RETIRED RAPPER WITH A BEEF

Benzino is the stage name of this Raymond Scott, who was also an owner of The Source magazine. An "inactive" or "failed" rapper, he may be most famous for his feud (a "beef" in hip-hop vernacular) with rival rap star Eminem, aka Slim Shady, aka Marshall Mathers. Benzino was hating on Eminem's fame, claiming that his success further isolated black and Latino rappers. He even went so far as to call Em "THE RAP HITLER."

Ray fired first with a disrespect record titled "I Don't Wanna" in which he asserted that Eminem was not true to the rap culture. Eminem retaliated with two diss tracks, attacking The Source by revealing their tactics of "butt-kissing motherfuckers for guest appearances," and claiming "real lyricists don't even respect you or take you serious." "The Sauce" reveals a similar lyrical theme as Em continues attacking Benzino and his magazine: "No more Source for street cred, them days is dead / Ray's got AKs to Dave Mays' head / It's extortion, and Ray owns a portion."

The Source then dug up an old tape in which a young Eminem was rapping slurs against Blacks and women. The publication devoted extensive coverage to the discovery of the recordings, and also the (alleged) negative impact that Eminem has had on the hip-hop industry. Em did not deny making the tape, yet sued The Source for defamation and copyright infringement.

Mr. Scott, who is no longer involved with the magazine, still hasn't officially squashed the beef, and continues to feud with Mr. Shady and his associates.

Em discusses the disses: here.

PART FOUR: The Case of the Multiple Raymond Scotts

Raymond Scott had a wild imagination, yet the man born Harry Warnow chose a banal pseudonym. A Google search pinpoints plenty of Raymond Scotts who are not our Raymond Scott. Part four of a diversionary series (part 1, part 2, and part 3):

Raymond Scott: REBELLIOUS COUNTRY STAR

I learned of this Raymond Scott thru an email query to RaymondScott.com:

From: Georgia B.

Date: September 22, 2008 2:43:49 PM EDT

To: Jeff Winner

Subject: Young Ray Scott

Is the country singer, Ray Scott, that is

so popular now, Raymond Scott's son? They

don't have the same voice. I love the young

Ray Scott's bassy voice! And I love his music!!

Just curious,

Georgia B.

I explained to Georgia that there is no known blood relation. Yet the manifesto on young Scott's site reveals some striking similarities in musical philosophies: "I'm taking the bull by the horns and doing it my way, callin' the shots, and putting out an album on my own. This stuff is real, it's raw, and it's 100 percent Ray. I'm calling the project 'CRAZY LIKE ME,' I think you'll agree that's a pretty fitting title. The tattoo on my left arm says 'Create the Path,' damn right! The time has never been better in the music biz to do something different - independent of these narrow-minded, chicken-shit, so called behemoth record companies."

Our Raymond Scott didn't have tattoos and was not known to use colorful language like "damn right" or "chicken-shit," but he was often accused of being crazy. The two also share a penchant for descriptive titles. Examples from country Scott's albums include "Do It With The Lights On," "Ashtray On A Motorcycle," "Rats Don't Race," and "Sometimes The Bottle Hits You Back." Damn right, indeed. Check this video for "Hell Got Raised."

PART THREE: The Case of the Multiple Raymond Scotts

Raymond Scott had a wild imagination, yet the man born Harry Warnow chose a banal pseudonym. A Google search pinpoints plenty of Raymond Scotts who are not our Raymond Scott. Part three of a diversionary series (part 1 and part 2):

Raymond Scott: RENAISSANCE OUTDOORSMAN

Called "America's outdoor icon" and the "godfather of modern bass fishing," this Raymond Scott has championed the fishing and hunting industry for decades thru magazines, TV shows, and foundations. Yet Ray is preparing to embark on another career—motivational speaker. "I've done everything from manufacture my grandmother's recipe for chow-chow (a type of relish) to inventing my own LAKE LIFE pump (a water aeration system) to protect my personal bass lake," the p/t inventor explains. His new speaking career has him pumped! "I can't remember the last time I have been so excited about a new direction. It's a perfect fit at this stage of my career." Told he's been called "the Dale Carnegie and Zig Ziglar of the outdoor world," Scott accepts the compliment. His motivation is simple: "I've got a story to tell. I can help people." And for your safety: The Mustang Survival Deluxe Inflatable Personal Flotation Device.

PART TWO: The Case of the Multiple Raymond Scotts

Raymond Scott had a wild imagination, yet the man born Harry Warnow chose a banal pseudonym. A Google search reveals plenty of Raymond Scotts who are not our Raymond Scott. Here's part two of a continuing series (intro & part one here):

Raymond Scott: THE POP SINGER

"This fresh, multi-talented dreamboy is the next international singing and performing sensation," according to this Raymond Scott's MySpace. You're probably assuming young Ray is just another vapid, prefab ATM for the music industry, but don't be cynical: "This sunnyboy with the golden voice is not a quick manufactured Popstar product, but a well-defined, versatile artist dedicating himself to music projects that speak to his fans." One project indicates boy Ray has something in common with man Ray: both were world-music pioneers. The kid's upcoming "hit single 'Black Widow' is a freshy new tune, combining a trendy blend of Scandinavian pop sounds with a strong American black beat. He calls it Europe meets America!" Check out more photos of dreamboy.

tek saport

PART ONE: The Case of the Multiple Raymond Scotts

There were several Raymond Scotts. In 1991 Irwin Chusid and Will Friedwald re-introduced Scott as "THE MAN WHO MADE CARTOONS SWING" with a CD of his famous 1930s 'jazz.' Eight years later Gert-Jan Blom and I produced the MANHATTAN RESEARCH INC. book & CD set to reveal another Raymond Scott — the electronic music pioneer and inventor. And there were others: the Broadway composer, the TV star, and the Motown tech-wiz.

Scott had a wild imagination, yet the man born Harry Warnow chose a rather banal pseudonym. A Google search reveals plenty of Raymond Scotts who are not our Raymond Scott. Here's part one of a continuing series:

Raymond Scott:
THE SHAKESPEARE THIEF

This Raymond Scott has been getting lots of press lately. Reportedly, he's an "eccentric playboy" who lives with his mother in England. He's also a book dealer who is accused of stealing a first edition Shakespeare, printed in 1623, that could be worth millions. Following a world-wide manhunt conducted by the FBI, he was arrested in June of 2008 for the alleged theft. Following a court hearing on February 10th, the flamboyant Mr. Scott, who denies the charges, told reporters, "Like Hamlet, Prince of Denmark, I have had to suffer not only the whips and scorns of time but also the law’s delay." The self-described dilettante is currently out on bail, awaiting a trial scheduled for late-August of this year. He faces a total of ten charges; three counts of theft, three of handling stolen goods, and four additional counts relating to crimes of fashion. I'll keep you posted. Meanwhile, check this: video news report.

August, 2010 update: He was sentenced to 8 years in prison.

Private Music

Irwin and I have previously warned about the dangers of a stunningly boring album recorded by Raymond Scott in 1957, and subsequently issued under three titles in the US. It's my duty to further caution collectors who value their time and/or ears: a fourth pressing of this dreary record was released in 1966 by the Spanish label Orlador, with the title MUSICA PARA LA INTIMIDAD. I would have guessed this means "Music For Intimacy," but according to at least one Google translator, it's "Music For Privacy." Had RS kept the recording private, the world would be a better place. Not even a sexy chica displaying her color-coordinated pants, shoes, and upholstery can make this lackluster album worth purchasing. If you see this record, run away. If you're unfortunate enough to already own a copy, under any of its titles, please smash it with a hammer into a thousand little pieces, place the debris into a Ziploc baggie, and send it to me or Irwin; we will incinerate all copies at a public bonfire in Texas on September 9th at midnight. Location TBA. Consider this a WANTED poster (click image for larger view):

Raymond Scott: The Musical

ACT 1, SCENE 1 A basement in Brooklyn. Saturday. 

GRANDFATHER: Who in the basement makes such noise?

YOUNG BOY: Methinks should I, ere this box opn'd
T'would suffer most grievous shellacking
Yet respond I must and feign surprise
Ho, Grandfather, 'tis I that ventured
To this most subterranean homesick place.

GRANDFATHER: Ay, t'were foretold one day the boy would come To find the discs that music play'd To rent the air with kitt'nish pseudo-jazz and end these years of peace My heart darken'd. O lost! 

YOUNG BOY: Yet who hailed as king 'mid these ancient tunes?

GRANDFATHER: Dare speak I not, nor say the name 'Tis now struck twelve; get thee to bed, lad. 

YOUNG BOY: For this relief, much thanks: 'tis bitter cold, And I am sick at heart. 

GRANDFATHER Fear not the turgid trembl'ng within thy bowels 'Tis but Grandma's chili racing for the exit.

They both laugh. The doorbell rings. Grandfather opens the door 

Enter two friends of Grandfather -- Marcel and Fellatio

YOUNG BOY: What, is Fellatio there?

GRANDFATHER: Welcome, Fellatio: welcome, good Marcel.

MARCEL: What, has this thing dost appear'd again to-night?

GRANDFATHER: I have witness'd naught.

MARCEL: Fellatio says 'tis but our fantasy, And will not let belief take hold of him Of this dread music, twice heard of us: Therefore I have entreated him along With us to listen the minutes of this night; As new year's eve in a haunt'd house That if again this apparition cometh, He may approve our eyes and speak to it.

FELLATIO: Tush, tush, 'twill not appear.

GRANDFATHER: Sit down awhile; And let us once again assail your ears, As the kittenish pseudo-jazz doth assail ours That are fortified against our story What we have two nights heard. 

FELLATIO: Well, sit we down, And let us hear Grandfather speak of this.

GRANDFATHER: Last night of all, When yond same star that's westward from the pole Had made his course to illume that part of heaven Where now it burns, Marcel and myself, The bell then beating one,--

Enter Ghost of Raymond Scott

MARCEL: Peace, break thee off; look, where it comes again!

GRANDFATHER: In the same figure, good radio's hit parade.

MARCEL: Thou art a scholar; speak to it, Fellatio.

GRANDFATHER: Looks it not like the bandleader? Mark it, Fellatio.

FELLATIO: Most like: it harrows me with fear and wonder.

GRANDFATHER: It would be spoke to.

MARCEL: Question it, Fellatio.

FELLATIO: What art thou that usurp'st this time of night, Together with that fair and warlike form In which the majesty of Shirley Temple Did sometimes march? By heaven I charge thee, speak! 

MARCEL: 'Tis offend'd.

GRANDFATHER: See, he stalks away!

FELLATIO: Stay! speak, speak! I charge thee, speak!

Exit Ghost 

MARCEL: 'Tis gone, and will not answer.

GRANDFATHER: How now, Fellatio! You tremble and look pale: Is not this something more than fantasy? What think you on't?

FELLATIO: Before my God, I might not this believe Without the sensible and true avouch Of mine own eyes.

MARCEL: Nor would I aver The entire quintette, should they arise.

FELLATIO: As thou art to thyself: Such was the very tux he had on When he the ambitious cartoon scor'd; So frown'd he once, when, in an angry parle, He smote the grievous saxophone man. 'Tis strange.

MARCEL: Thus twice before, and jump at this dead hour, Thus pow'rhous'd hath he gone by our watch.

FELLATIO: In what particular thought to work I know not; But in the gross and scope of my opinion, bodes bumpy weather o'er the new ark.

MARCEL: Good now, sit down, and tell me, he that knows, Why this same strict and most confusing watch So nightly toils the subject of the land, Among a fleet of brazen cabs, And soothing sounds, the playful drummer; Why such impress of stalling made, whose sore task To score the moods of stutt'ring pigs and insane poultry? What might be toward, that this sweaty haste Doth make the reckless night with the day: Who is't can inform me?

FELLATIO: That can I; At least, the whisper goes so.

[to be continued ...] 

by Don Brockway

Lies!

ALL LIES!!

Status: The third memo, which said that the second memo — the one that said to disregard the first memo — was erroneous and should be disregarded, reinstates the first memo and all executive and administrative directives therein, pending further memos. Conflicting bureaucratic logistics -- we haz dem!