Moondog's Corner Main Page |
1. | WIND RIVER POWWOW (7:11) Arapa - host Arapa - home Arapa - hope |
2. | WESTWARD HO! (6:00) Ship at Sea Prairie Schooners On The Oregon Trial |
3. | SUITE EQUESTRIA (Trail versus Road and Rail) (7:14) The Horse The Wheel The Motor |
4. | MARIMBA MONDO 1 - THE RAIN FOREST (5:33) |
5. | FUJIYAMA 1 (4:43) (instr.) |
6. | MARIMBA MONDO 2 - SEASCAPE OF THE WHALES (5:51) (Quintet; featuring the Weiner-Sabinsky Duo) 5/4 |
7. | FUJIYAMA 2 (5:01) (Lovesong) 5/4 |
8. | BIRD OF PARADISE (2:40) |
9. | THE MESSAGE (1:01) (a capella male chorus) |
10. | INTRODUCTION and OVERTONE CONTINUUM (2:25) |
11. | COSMIC MEDITATION (24:10) |
Cover Notes
This disk is largely a protest against our treatment of aboriginese people, against our treatment of nature, plants and animals, also against the idea that "we discovered the New World", when it is as old or older than ours. |
WESTWARD HO!
(Louis Hardin) |
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SHIP AT SEA:
"Westward Ho!" "Little Man, close your eyes and go to sleep, if you can." "Westward Ho!" Out of Plymouth, on to Plymouth we go." "All is clear. You're asleep without so much as a tear." "Westward Ho!" |
PRAIRIE SCHOONERS ON THE OREGON TRAIL: "Westward Ho!" "Westward Ho!" "out of Portland, on to Portland we go" "Westward Ho!" |
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SUITE EQUESTRIA (Louis Hardin) |
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1. movement
Whenever Man began to tame the horse, He had himself a potent power source. For draft and riding, horses were supreme. From two to three and more they made a team. The dog was not his only friend of course. He knew he had another in the horse. But he would come to cast his friend aside. In favour of a motor-driven ride. |
2. movement The Incas had no wheel. The Aztecs had no wheel. The Mayas had no wheel on which to reel. Before the wheelers came to wage the war they won, The Aborigines had need of none. The Natives knew the year the Norsemen would appear, To rediscover half a hemisphere. The horse had always been, the horse would always be The safer source of Man's mobility. The horseless carriage came to take him for a spin, On carriage ways and means to do him in. |
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3. movement On fossil fuel the engine up and ran, Ostensibly the bosom friend of Man. In serving Man the motor came to be The Master, even Man began to see. If pride preceds a fall it's time he fell For horses who have ever served him well. A toiler and a spoiler all in one, The engine had its day, whose day is done. |
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FUJIYAMA (Louis Hardin) |
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Fujiyama, take me too. Now she's gone, my life is through, Fujiyama. Show me where she stood and fell. There I'll stand and fall, as well, Fujiyama. When she heard I died at sea, She was bent on joining me, Fujiyama. |
Unbeknown to her I'd live, Till I'd have a life to give, Fujiyama. Coming home I'd come too late, Tide, alone, would seal our fate, Fujiyama. Fujiyama, when I'm gone, Tell the world that love lives on, Fujiyama. |
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THE MESSAGE (Louis Hardin) |
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The Overtone Continuum began With interactivation of the Plan. |
The overtones were in the hunter's bow, Before Pythagoras was in the know. |
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He showed us what they were, Not what they did. |
He showed us what they were, Not what they hid. |
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What overtones can do is told in brief, What overtones can do defies belief. |
From one to four and six to nine equate the tetrachords, with five to mediate. |
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The one that's known is F, G, A and B. The one that's not is G, D, G and B. |
The Middle Overtone, in synchrony, On which the others all converge, is D. |
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Celestial is the sound the partials make, As heavenly as half the time they take. |
The Overtone Continuum is there, On any planet having sea and air. |
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How stunning is the stone the Message brings, That Mind is privy to the Scheme of Things. |
Contraction and Expansion came to be Through Diminuation, starting over three. |
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The ratio, two to one, the octave shares With Diminuation, Diminuation shares. |
Contraction and Expansion oscillate, While serving as each other's counterweight. |
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The cause becomes the last effect on six. The last effect becomes the cause on six. |
That cause-effect inversion is alive, Is proven by Expansion after five. |
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Each level of Existence, be it known, Perpetuates a time-scale of its own. |
The Overtone Continuum is law, The law that people heard before they saw. |
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The sum of all the numbers, one to nine, is forty-five. The number is a sign. |
Reducable to five and nine, they grow, forever nine above and five below. |
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The ratio representing Life and Grade, Is representing Death and Retrograde. |
The nine above occur within the space, Within the space the five below embrace. |
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Regarding Reproduction, it applies To plants and animals of every size. |
Gestation came with Incubation, came With Germination, came with florid flame. |
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The two-directionality of Time Is proven by the overtones that rhyme. |
The Overtone Continuum is proof, That (S)He, the Master Mind is not allof. |
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How whimsical the Master Mind must be, To have it found by one who couldn't see. |
It shows us how the Universe behaves, That everything's reducable to waves. |
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The most important overtone is D, Dividing four and four, divisvely. |
Contraction and Expansion can't be seen Without their leaps and lags to intervene. |
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Where D for Density is at its height, At maximum Contraction, there's no light. |
The message came to be when Time began, For any mind of any kind of Man, |
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On any atmosphere there might be, In this, or any other galaxy. |
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HENRY SCHUMAN: | Oboe |
PETER WENDLAND: | Violone |
Viola Da Gamba (Diskant, Tenor, Bass) | |
JOHANNES LEIS: | Piccolo |
Saxophone (Alt Tenor, Bass) | |
GÖTZ ALSMANN: | Banjo |
ANDI TOMA: | Guitar |
LOUIS HARDIN: | Keyboards |
Percussion | |
VOICES: | ANDI TOMA (Solos, whistling) |
AKBAR HUCK | |
LOUIS HARDIN | |
MAX ALSMANN ("Little man") | |
RECITATION: | NOBUKO SUGAI |
All compositions by | Louis HARDIN (MOONDOG), ASCAP |
Produced by: | LOUIS HARDIN |
ANDI TOMA | |
Recorded at: | ACADEMY OF ST. MARTIN'S IN THE STREETS |
Engineered and mixed by: | ANDI TOMA |
Digital Mastering and Editing by: | ULF HORBELT at DMS, Gelsenkirchen |
Sleeve Design: | DIRK RUDOLPH |
Photography: | Volker (PIT) PIGORS/H. GROSS |
Andi Toma courtesy of Sony Music. | |
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