As Aomame is riding in a taxi after her latest (and hopefully last) assassination, she asks the driver to turn on the radio to hear whether there is news of a subway closure. No news but the sounds of Japanese folk songs, “popular in the late sixties”. This music brings up unpleasant memories and asks the driver to turn it off. I listen to Japanese Folk Songs, Joji Hirota.
The morning after. Tengo listens to Telemann. While shaving. Perfect shaving music! Bloodless and cool. Partitas 1-6, various artists.
Later, the radio is playing a Marcel Dupre organ piece. Prelude and Fugue in F-Minor, The Organ of Westminster Cathedral, Robert Quinney.
Chantez les Bas, Louis Armstrong again – a “memorable song” according to Tengo. From “Louis Armstrong Plays W. C. Handy”, a January 1954 Legacy/Columbia recording.
Fuka-Eri is again selecting the music, and pulls down what is probably The Rolling Stones album, “Flowers”. As Tengo prepares lunch, the sounds of Mother’s Little Helper (“What a drag it is getting old”). Well, no shit, huh? And Lady Jane. This was a tribute to Marianne Faithfull I think. Tengo does a lot of cooking in this novel. He finds it a great time to think. About “metaphysical propositions”. About his writing and math problems. “Flowers” is really an underrated Stones album, a mandolin inflected gem. “Out of Time” plays with the double meaning of the phrase: out of time in the literal sense and out of touch, left out, out of the picture, “my poor discarded baby!” You’ve had your day. Time’s up. Old fashioned and obsolete. You were unfaithful, baby. You CAN’T come back.
Then they’re listening to Little Red Rooster, and as Tengo says this was “from the time that Mick Jagger was crazy about Chicago Blues”. I liked the Beatles, but the Stones had your lip curling and your feet skittering. The Beatles may have introduced me to Ravi Shankar but the Stomes introduced me to Robert Johnson. The sublime and the nasty. I’m kinda into the nasty, ‘ya know? “Please allow me to introduce myself….”