ART/ILLUSTRATiON: The Rainbow Goblins, Ul de Rico (1978)

I first drafted this post in September or October, 2022. But I’ve only now finally gone back to and finished it!

If I’m honest this isn’t my normal mug o’ Java. But I’ve been softened up for it by Masayoshi Takanaka’s wonderful double-album of the same name, that’s both based on the story, and uses Ul de Rico’s art on’t the packaging.

I love this!

Sometimes getting an entry into something this way – so, the fabulous Takanaka album predisposes me to being more receptive to the artwork/story that inspired it – widens one’s aesthetics. If I’d only seen the book, I might’ve rejected it out of hand.

Pretty amazing, eh!?

Some of the artworks, such as the one that adorns Masayoshi’s album cover, or the one directly above this paragraph, really do draw me in, and seduce me. Others, like the one directly below, I’ve grown to love.

And this in turn leads me to dig stuff like this:

The rainbow goblins’ dream. Far out!

And in the end I’m won over, and full of admiration for the simple charms of the story, and the intensity of the artworks. How about this for endpapers:

Flowers melt into a marbled ink pattern.

Ul de Rico did a follow up, called The White Goblin. And Masayoshi Takanaka followed suit! I’m listening to the latter right now. I’m not as immediately smitten by it as I was by his Rainbow Goblins project. It’s a bit more mainstream rock/pop.

The saga continues!

But, truth be told, I feel myself being sucked in and won over. Seduced ever further from my own usual aesthetics. In the end, it feels to me as if I’m relaxing and letting Ul de Rico and Masayoshi Takanaka take me, one by each hand, into their visual and sonic worlds.

And I think that’s a good thing…

MUSiC: CD Review – It’s The Great Pumpkin, Charlie Brown, Vince Guaraldi, 1966/2022

I’ve been digging my other Vince Guaraldi Charlie Brown recordings so much I wanted more. A bit of rooting about online revealed this as a potential next acquisition. So I pulled the trigger!

It’s an odd album compared to the other two CB Guaraldi albums (A Boy Named CB, and A CB Christmas), in that they are both quite conventional musical albums. This, on the other hand, is a collection of shorter ‘musical cues’.

So rather than an album of longer recorded pieces derived from the shorter cues used on the TV animations, these are those short musical cues. And not only that, there are many repeated iterations of the same or very similar short musical themes.

This means this disc largely comprises many renderings of a rather limited number of compositions, plus a few more singular oddments. So, for example, take that old favourite, Linus and Lucy… there are seven, yes, seven versions here! Similarly, there are five Great Pumpkin Waltzes and five Graveyard Themes, and so on.

This makes listening to the entire CD in the way you would most normal albums a bit odd. I love the music contained herein. But I’m not sure how often I’d want to sit through such a repetitive program of music.

But let’s backtrack momentarily. How did this music come down the years to us in this form? Well, the love for Guaraldi’s Peanuts/Charlie Brown themed music endures, and a kind of ‘quest in to the archives’ brought to light what had long been assumed to be lost; master tapes of the Guaraldi sessions for this Halloween themed TV special.

And it’s clear from the liner notes that this has been a passion project for lovers of Guaraldi’s great jazzy extension of the whole Schulz Peanutsiverse, so to speak. So from the perspective of musical and artistic cultural archaeology this is pure gold. Five star fare!

And really it is musically, as well. Admittedly modern mastering does reveal some of the limitations of the source material, in terms of hi-fi or sonic clarity. For those in love with Guaraldi’s CB work, this is a great treasure trove. And I’d count myself in that demographic. But nonetheless, I’ll probably cherry pick my favourite tracks/takes, and make a more succinct less repetitive playlist, rather than frequently listening to the album entirely as it is.

For these 1966 dates Guaraldi was once again in trio with Monty Budwig (bass) and Colin Bailey (drums), who had recorded CB sessions with Vince before. But that core group was further augmented by guitarist John Gray, Emmanuel Klein (trumpet), and Ronald Lang (woodwinds). Also in the studio, in a new development, was a John Scott Trotter, credited with orchestration (waving a baton while the tape rolled, apparently!).

Back to the tunes: it’s interesting hearing the oh so familiar Linus & Lucy getting reworked, and with horns. And there are a few lovely themes or pieces unique to this special, such as the achingly gorgeous Great Pumpkin Waltz, and the spooky Graveyard Theme.

Then there are some slightly odder less oft repeated things, like Snoopy and the Leaf, Frieda, Fanfare/Breathless, and a little suite of solo piano ‘oldies’: It’s A Long Way to Tipperary/There’s a Long-Long Trail a-Winding/Pack Up Your Troubles In Your Old Kit Bag/Roses of Picardy.

I’m pretty sure I read online that this stuff was released a while back in straight-off-the-soundtrack form, with sounds from the cartoon show included/intruding. Alas, I can’t recall where I read that? But mention was made that there was much grumbling about this, and a cleaned up version was in the works. I guess this must be that?

It’s an oddball CD, I guess, and probably likely to appeal most strongly to Guaraldi and/or Charlie Brown über-buffs. Whatever, as folk say these days, I’m glad I got it!

MEDiA: Gene Deitch, RIP

Gene, with sons Kim and Simon.
Fantastic!
We’ve all been here, right?
What has come to be known more recently as ‘crate digging’.

Oh no! I just posted about cataloguing my CD collection on FB. I thought I’d illustrate that post with an image by Gene Deitch, whose character The Cat was an avid record collecting jazz buff.

Deitch did some amusingly prophetic cartoons.
Haha… love this!

In finding an apt image, I discovered that Gene passed, aged 95, in 2020. I have a nice book, Cat On A Hot Thin Groove, about his illustrations for Record Changer magazine.

I bought this book about him years ago.

He also created characters like Nudnik, as well as animating such famous cartoons as Tom and Jerry and Popeye, and doing all sorts of other artistic/illustrative work. I’ve peppered this post with a few images by him I either love for their visual artistry, or their comic wit, or, frequently, both.

I got the image at the top of this post from an excellent obit’ from the NY Times, which you can read in full here.

Deitch in his Prague home/studio, in later life.
I pinched this for an Xmas card one year.
Bold abstraction meets jazzy figuration.
His Record Changer covers alone would be a great legacy.

I’ve not watched Munro (1960) – see below – yet, but as soon as time allows, I’ll be doing so (tomorrow, perhaps?*) * aka later today!

I find Deitch’s art, by which I’m mainly referring to his Record Changer and jazz related cartoons, design and illustration work, really inspiring. His mainstream animation stuff I’m much less familiar with or aware of.

But, rather madly, I’ve discovered that Deitch was also involved with one of the earliest screen adaptations of Tolkien’s writings. I love Tolkien, and I was really quite surprised to find yet another point of connection here with Gene Deitch!

As with Munro, I’ve yet to watch this Hobbit based animation. I glanced at a minute or so of it, whilst drafting this post. It seems quite a loose adaptation! But I look forward to watching it in full.

MEDiA: Hong Kong Phooey, 1974

A sudden wave of nostalgia swept over me, recently, in the guise of the theme song from Hanna Barbera’s Hong Kong Phooey theme song.

Recently, well, today, to be precise, we watched almost all of the episodes whilst child-minding for my sister. I actually dozed off for a considerable portion. And then I had to help cook the evening meal. So I didn’t actually see as much as I’d hoped to.

Now, back home, I’m watching from the start again. And it’s really silly! Not amazing, but just kind of fun, especially as a dose of nostalgia.

Scatman Crothers.-

Scatman Crothers’ voice is perfect for Phooey, somehow approximating in vibe to his half-closed eyes when in Penry mode: mellow, relaxed, and winningly self-confident, despite his hopeless incompetence. Blissfully unaware that his triumphs are all accidental, or brought about by Spot, the cat, or other helpful characters.

Penry and Spot.
The hapless Sgt Flint, centre.

Sgt Flint is endearing, as a gruff, dim and bear-like flat footed-copper. And Rosemary? I loved Rosemary way back when. And I find I still love her now! ‘Your lovable lady fuzz’!? Delicious!

Switchboard sweetheart, Rosemary.

The stories are ridiculous. Never was a ‘McGuffin’ less relevant to the enjoyment of a show! It’s all just an excuse to have Phooey (and frequently Spot) goofing about in crazy situations. The charmingly doofus Phooey, with his correspondence course book of Kung Fu up his sleeve, is undoubtedly where the charm lays.

For a cartoon with such a short run, it seemed to hit some kind of nerve, such that it’s remained on screens ever since it was made, way back in ‘74. And I find, that whilst I’m now far older, I still have a soft-spot for this mild mannered janitor/superhero, and his sidekicks, Spot, Flint, and very definitely, Rosemary!