Popol Vuh

 

Popol Vuh - Short Visit At The Great Sorcerer

 

trance tune

 

I actually agree.

 

The real problem is that there are way too many folks out there doing stuff under the auspices and the name of this and that, and the spiritual'ness of it all is just a set of words or lyrics, and not really anything else.

 

For example, YES's TFTO is one of the most spiritual things ever written that I have ever seen, or heard. It is no different than reading the Bardo, the Popol Vuh (the book!), and many others. However, because it was here at the time of rock music and some popular music, it is not thought of as this at all, but as something else ... that more folks find a way to trash, then appreciate good work.

 

Jon Anderson's Olias in SunHillow is the same thing ... quite out there ... but we have a problem here ... it's folks thinking that "religious" music has to have an ORGAN ... loud and clear and if it has pipes all the better ... that makes it "religious" and that is one of the most bizarre and silly ideas ever devised ... so now comes something where the folks are heavily into meditation and internal work, and they create something ... and no one knows about it, because the most internal and spiritual folks, don't usually talk about it ... it's a personal trip ... but we, as an "audience" (and a PAYING audience for that matter) always feel that you can't do this, because you MUST know what day and hour Jesus came and went and what happened to believe it, 2k years after terrible translations and ideas and mis-translations ...

 

In general, from what I understand, if you are innerly centered, regardless of how you do it -- I believe arts are no different than a "religion", btw -- it doesn't matter what your medium is ... you will do whatever makes sense to you ... and no one will understand it anyway ... this was the case with so many of them, going all the way back to the Summerian days ... and nobody believed them and even persecuted many of them because they were "thinkers" that were against the feudal lords with their words! It's still like this today - except in America and England we use a board like this one and state that there is no opinion, or reality ... there is only a database! ... you have to draw your own conclusions, even if you are not centered enough!

 

Yeah ... as some mystic said, everything you ever wanted or needed is right in front of you if you ever want to reach for it! Unfortunately, you have been told that you need so many CD's and crystals, and books and people saying that it is good in PA for you to know the difference! Someone's individual experience is not important to you, to learn how to figure it all out! This is what my tagline is about, in case you didn't notice it!

 

And there is other music in the film as well, including Wagner.

 

Of all the films he did music for, none fit the film better than "Aguirre", which actually had Florian compose something that Werner used a lot, with the long cut on side 2 of the LP. And used very well, to help you feel the anguish, the fear and everything else.

 

There is a line in the Florian interview that is fun and far out for me ... and it was about Werner going into the closet, picking up some tapes and next week he would come around ... look Florian, I have a film!

 

So if you think that one image/idea influences the other, here is the opposite ... some music helped Werner see things though it that he went out and immediately put together a story around it ... and the whole thing is soooooo "krautrock" that it is insane. It's the free-form-ness of the creativity of the work ... you don't think twice ... you do the work ... and you can evaluate and edit later and add/subtract anything that you wish. But in general, from film, theater and writing experience, you always KEEP about 90% of the original ... because that is where the color, the vision and the detail is ... and you pretty much only fix a couple of words here or there! With Werner, and Klaus Kinki (the krautrock of acting!) ... it was all free form and his camera catching as much as possible! Now tell the the difference between Florian's forays into his vision and experiment, Guru Guru's early albums, Werner Herzog's early films (remember one of his first films was about Amon Duul 2!), Wim Wenders camera and photographs, Peter Handke and his word "plays" and many other folks that became famous in Germany for their work.

 

And unlike others, even Klaus Schulze is appreciated in his land, and Edgar Froese gets an evening with an orchestra that does his work! ...

 

And we just do top ten!

 

I wanted to ask you - may be someone here is having the information - Florian was frequently credited on the albums as piano player - even on those albums there you could hardly hear the sound of piano (City Raga/Sheperd's Symphonie).

Why? Did he compose the music on the piano, did he play keyboards and the keyboards were simply called "piano"?

What do you think about it?

That one has "Aguirre III" for the bonus track, and unfortunately I'm not a big fan of that one. I have two copies of this version (second one was purchased due to miscommunication). Plus, it has a version of "Vergegenwartigung" (that I really didn't fancy) that is different from the one I heard first (which I thoroughly enjoyed). But I hope you will feel differently about it.

I just don't know where I can get that one version that I love. I probably should hit Discogs.com or some place else.

Looks like I'm gonna have to spend a few more bucks on the version I actually love. And hey, thanks for the link, by the way, and it's always great to hear from other Vuh fans.