Go here
http://home.williampoundstone.net/Keeler/Home.html
here
http://staff.xu.edu/~polt/keeler/story.html
and here
http://www.ramblehouse.com/HarryKeeler.htm
to learn more about a writer who makes ——– ——– look like ——– ———–
“‘Twas the sort of thing, you know…HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA…” (Fr Bartholomew Dunne)
“Garage music is not bad, because Christ was born in a manger, which was probably like a garage of that time.”
A spoken intro drenched in echo; for European ears, meaning unclear, but then again, not: ” ‘ow come you so trigger-’appy?” Then a simple guitar/bass motif set against a second guitar glissando; vocal percussion, soon aided and abetted by furious snare drum and hi-hat, tight, edgy, resonant. A playful, childlike vocal, as much rhythmic as it is lyrical or melodic; “do it Hank/do it Frank/from bank to bank/ah-uh, ah-uh, ah-uh”. A sublime exercise in rhythmic uncertainty and an incisive questioning of what reggae, or indeed music, is. Brian Eno recalls eulogising this recording to UK music journalists in the mid-70s. They laughed at him. Doubtless they all sported red green and gold badges and copies of “Live at the Lyceum” a few years later.
You can find it on this
and on this
Both are packed to the rafters with other examples of singularity.
