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Steely Dan’s hilarious tongue-in-cheek ‘open letter’ to Wes Anderson
03.21.2014
10:17 am
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I think I have the same relationship with Wes Anderson movies as a lot of people my age. We saw The Royal Tenenbaums as teenagers, and having never seen a François Truffaut film, it blew our minds. The colors, the shots, the soundtracks, the ennui—we were absolutely certain no one had ever made movies like this. Of course, age, experience and Netflix eventually set us straight, and Anderson’s movies never quite glowed the same way again—for me, they feel pretty cloying at this point.

Conversely, I grew up thinking of Steely Dan as my mom’s lame-o jazz-rock “mellow gold” relics. But at some point I listened to Aja on a whim of childhood sentiment and found myself really enjoying it. You might say, I had a change of heart. (Sorry, I had to do that.)

Had you told teenage Amber that someday late-20s Amber was going to laugh with Steely Dan, at Wes Anderson, she would have rolled her eyes harder than she had ever rolled them before—quite the feat for an adolescent of such practiced disdain and sprezzatura.

And yet, here I am, laughing my ass off at an open letter from Walter Becker and Donald Fagen, posted from their very own website in 2006. The pair start off with some heavy-handed praise, then transition to a brilliant back-handed concern-troll; they were of the opinion he had lost his touch. Honestly, it’s a little difficult to tell if they’re being sarcastic or earnest—right up until the point that they offer to save Anderson’s career with some custom-written Steely Dan originals for the low price of $400,000.

When questioned about their offer in a 2007 interview, Anderson said that he “appreciated their advice.” But when pressed, he admitted, “I can’t say that Steely Dan made me feel like a million bucks actually; but, I think it was kind of funny.” At least he’s a good sport about it?

From: W. Becker and D. Fagen [AKA Steely Dan© ]

To: Wes Anderson

Maestro:

As you may know, we are the founders of the celebrated rock band “Steely Dan”©.  If for some reason you don’t know our work, check with Owen and Luke Wilson - they’re both big fans.  Here’s something you may not know about us: when not distracted by our “day job” – composing, recording, touring and so forth – we like to head downstairs into the paneled basement of our minds and assume the roles we were born to play - you may have already guessed it by now – the roles of Obsessive Fans of World Cinema.

That’s right. Eisenstein, Renoir, Rene Clair, Bunuel, Kurosawa, Fellini, Godard, Tarkovsky, Ophuls the Elder, Blake Edwards, Ophuls the Younger, you name it. Sat there, dug it.

Maestro, we give to you this Message: there was a time when Giants walked among us. And, damn, if you, Wes Anderson, might not be the one to restore their racial dominance on this, our planet, this Terra, this… Earth.

You may have heard that we have recently made it our personal project and goal to deliver a certain actor of no small importance to your past and present work from a downward spiral of moral turpitude from which it seemed there might be no escape. We are delighted to report that, with the news of Mr. ________’s participation in your new film (which we understand to be entitled, indeed, charmingly,  “Darjeeling Limited”), our efforts have been repaid, and How.

This unqualified victory has inspired us to address a more serious matter. Let’s put our cards on the table -  surely, we are not the first to tell you that your career is suffering from a malaise. Fortunately, inasmuch as it is a malaise distinctly different than that of Mr.______ , and to the extent that you have not become so completely alienated from the intellectual and moral wellsprings of your own creativity, we are hoping that we - yours truly, Donald and Walter - may successfully “intervene” at this point in time and be of some use to you in your latest, and, potentially, greatest, endeavor.

Again, an artist of your stripe could never be guilty of the same sort of willing harlotry that befalls so many bright young men who take their aspirations to Hollywood and their talent for granted. You have failed or threatened to fail in a far more interesting and morally uncompromised way (assuming for a moment that self-imitation and a modality dangerously close to mawkishness are not moral failings, but rather symptoms of a profound sickness of the soul.)

Let’s begin with a quick review of your career so far, as it is known to us and your fans and wellwishers in general.

You began, spectacularly enough, with the excellent “Bottle Rocket”, a film we consider to be your finest work to date. No doubt others would agree that the striking originality of your premise and vision was most effective in this seminal work. Subsequent films - “Rushmore”, “The Royal Tenenbaums”, “The Life Aquatic” - have been good fun but somewhat disappointing - perhaps increasingly so.  These follow-ups have all concerned themselves with the theme we like to call “the enervated family of origin”©, from which springs diverse subplots also largely concerned with the failure to fulfill early promise. Again, each film increasingly relies on eccentric visual detail, period wardrobe, idiosyncratic and overwrought set design, and music supervision that leans heavily on somewhat obscure 60’s “British Invasion” tracks a-jangle with twelve-string guitars, harpsichords and mandolins. The company of players, while excellent, retains pretty much the same tone and function from film to film. Indeed, you must be aware that your career as an auteur is mirrored in the lives of your beloved characters as they struggle in vain to duplicate early glories.

But, look, Mr. Anderson, we’re not trying to be critical – dammit - we just want to help.

Enter the Faboriginals©, Donald Fagen and Walter Becker of Steely Dan©. The muse is a fickle mistress at best, and to leave her high and dry, with just a “lick and a promise” of the greatness of which one is capable - well, sir, it’s just plain wrong.  It is an Art Crime© of the first magnitude and a great sin against your talent and your Self.  We just don’t want to see it go down that way. 

So the question, Mr. Anderson, remains: what is to be done?  As we have done with previous clients, we have taken the liberty of creating two alternative strategies that we believe will insure success -  in this case, success for you and your little company of players.  Each of us – Donald and Walter - has composed a TITLE SONG which could serve as a powerful organizing element and a rallying cry for you and Owen and Jason and the others, lest you lose your way and fall into the same old traps.

STRATEGY 1:

Donald believes that you are at a crossroads and that you must do what none of your characters has been able to do - namely, let go of the past: leave it as it lies with no concern for the wreckage, and move boldly forward towards new challenges and goals. To this end he has composed a fresh, exciting title song for your new film, “Darjeeling Limited”. It’s rousing, it’s hip, by turns, funny and sad, and then funny again. Although the music is not entirely out of line with the chic “retro” pop you seem to favor, it’s been fire-mopped© clean of every last trace of irony and then re-ironized at a whole new level – “post-post-post-modern” if you will. The lyrics are as follows:

[CHORUS ]
Darjeeling Limited©
That’s the train I wanna get kissed on
Darjeeling Limited©
But I’ll be lucky if I don’t get pissed on

This is a country of starving millions
We’ve got to get ‘em their tea on time
I know romance should be on the back burner
But girl I just can’t get you off my mind
Cause baby every single time I’m with you
I’d like to have as many arms as Vishnu
(Arms as Vishnu)

[CHORUS ]
Darjeeling Limited©
That’s the train I wanna get kissed on
Darjeeling Limited©
But I’ll be lucky if I don’t get pissed on

You told me you’d be mine forever
That we’d get married in the Taj Mahal
The minute I’m done baggin’ this tea, babe
Then I’ll be makin’ you my Bollywood doll
Forget the Super Chief, the China Star now
Give me the choo-choo with the Chutney Bar now
(Chutney Bar now)

[CHORUS ]
Darjeeling Limited©
That’s the train I wanna get kissed on
Darjeeling Limited©
But I’ll be lucky if I don’t get pissed on

STRATEGY 2:

Walter believes that the best strategy for you now would be to return to the point in your career when it was all good, when all was working as it should, when there was magic in every song you sung, so to speak.  Youthful idealism, jouissance©, original spirit - these will be your watchwords.  “Birth is residual if it is not symbolically revisited through initiation” - it’s an old French proverb.  In other words, your new film will be called “Bottle Rocket Two©” and will be the logical continuation of the first film which was so well loved. (“Bottle Rocket” was our fave among your movies, did we mention that?) You pick up where you left off and find a new continuation that takes you elsewhere than to ruin.  The eponymous title song would reframe the important existential questions which are at the core of your artistic vision and would go something like this:

Bottlerocket Two©

Any resemblance
Real or imagined
People or places
Living or dead

Any resemblance
As-if or actual
Characters or circumstance
It’s all in your head

Flying out to India
Trying to get into you
Old Bombay
It’s a very long way
To chase a “bottlerocket” to©

Precise simulations
Possible parallels
Never intended
Co-incidentals

Persons and places
Present or otherwise
Comrades in comedy
Brothers in crime

Hiding out in India
Babycakes they’re watching you
This is our latest -
It may be our greatest -
It’s called “bottlerocket” too©!

Who pitched the story?
Who built the scenery?
Who raised the money?
Whose movie is it,
Anyway?

[Guitar Solo ]

Come to think about it, these songs are both so fucking strong that you may wish to consider a hybrid approach that uses both of them - after all, they’re both set in India, which is where your company is setting up shop now.  You could go with some kind of “film within a film” or even a “film within a film within a film” or some such pomo horseshit, just like Godard’s “King Lear” or whatever.  That’s your call, you’re the director.

Please note that all these lyrics and titles have been heavily copywritten, trademarked, registered, patented, etc., etc., so anybody using them will have to negotiate the rights from the legitimate Faboriginal© owners, which is us.  We are currently represented by Michael “Mickey” Shaheen, Esq., of Howard Beach, Queens County, New York NY.

The other change that we would have to make would concern Mark Mothersbaugh.  Everyone in Hollywood knows that he is a first class professional musical supervisor.  Obviously you and he have a lot of great history together and we can imagine there is a certain rapport both professional and personal.  But we certainly can’t work with him, anymore than he would consent to work with us.  Same thing for the mandolins and the twelve-string stuff and the harpsichord, they’re out.  You yourself may be partial to those particular instruments. We’re not. Remember, we saw “Tom Jones” in its original theatrical release when we were still in high school, we had to listen to “Walk Away Renee” all through college and we fucking opened for Roger McGuinn in the seventies, so all that “jingle-jangle morning” shit is no big thrill for us, OK?

Argh!...goddammit…sorry, guy! We kinda lost it for a minute there.  Look - Mark is probably a swell guy.  But you, Wes Anderson, must remember that Mark and his music are part of the old way of doing things, the old way of being, the old way that has brought you to the precipice. Mr. Anderson, you must be fearless in defense of your creations and your genius, absolutely fearless, and not give in to sentimental considerations.

So - let’s get going, shall we?  Send the check for US$400,000 (advance on licensing fees) out by Fedex to Mickey by tomorrow and we’ll talk a little later in the day about merch, percentages, backend, soundtrack, ASCAP, etc. Mickey himself doesn’t need any kind of an advance but he’ll probably take a couple of points on your net career action.  It’s a little expensive - and Mickey certainly doesn’t need the bread - but just pay the points, okay?  It’s a lot better than the alternative.

We remain your abject servants,

W. Becker and D. Fagen AKA Steely Dan©

Below, the Dan on The Midnight Special in 1973:
 

Posted by Amber Frost
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03.21.2014
10:17 am
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Kate Bush announces first tour dates in 35 years
03.21.2014
09:57 am
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Good news for Kate Bush fans, as the reclusive singer has announced her first tour in 35 years. The announcement, made this morning, on her website katebush.com attracted such interest it caused the site to crash.

Ms. Bush will perform fifteen concerts as part of the Before the Dawn tour at the London Eventim Apollo in Hammersmith, during August and September this year. Tickets will go on sale on March 28th, and prices range from £49-£135.

The last time Kate Bush toured was for six-weeks in 1979. The tour was eventually brought to a halt as Ms. Bush felt she did not have full control over the show, and (apparently) her fear of flying. It was also during this tour that her lighting director Bill Dufield died, which severely affected the singer.

She also subsequently claimed:

“By the end, I felt a terrific need to retreat as a person because I felt that my sexuality, which in a way I hadn’t really had a chance to explore myself, was being given to the world in a way which I found impersonal.”

Ms. Bush has been hinting at a return to touring since 2011, when she told Mojo magazine that she wanted to get back on stage before she became “too ancient.

“I still don’t give up hope completely that I’ll be able to do some live work, but it’s certainly not in the picture at the moment because I just don’t quite know how that would work with how my life is now.”

For details of Kate Bush’s Before the Dawn tour click here.

And here’s Kate on her first and only tour in 1979, from the BBC’s magazine show, Nationwide.
 

 
Via the Daily Telegraph

Posted by Paul Gallagher
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03.21.2014
09:57 am
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Genesis: The legendary Shepperton Studios concert in HD
03.20.2014
09:42 pm
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The restoration of the film of Genesis performing at Shepperton Studios in 1973 is perhaps the single most heroic episode in the history of fanatical fandom.

I might not have all the details exactly correct, but the gist of it is that about ten years ago a guy who goes by the online handle of “King Lerch” became aware of a 16mm film of of a live Genesis concert from 1973 that was being auctioned off as part of an estate sale in New York. He then noticed that a small group of Genesis fans were planning to pool their resources, rather than bid against each other and joined forces with them. No one had any idea what exactly was on the film or even what condition it was in, so by banding together, their risk was spread out, and minimized.

Like most reels of Kodak film from 1973, the film had gone a bit red and required significant clean-up in that department. The audio was kind of iffy, too, coming as it would from the magnetic track on the celluloid print. Apparently a few hundred man hours were devoted to the project and it became widely known when it was released—for free—to grateful Genesis fans on the Internet.

The version that was done ten years ago amazed and delighted fans of the group, but a couple of years ago, good King Lerch and his merry men opted to make yet another better version, taking advantage of updated audio/visual technology, and the fact that many people now have Blu-ray burners, to offer an HD version—it’s free for download at the Genesis Museum—of the Shepperton concert. That’s… really generous

Old Michael went past the pet shop, which was never open, into the park, which was never closed, and the park was full of a very smooth, clean, green grass. So Henry took off all his clothes and began rubbing his flesh into the wet, clean, green grass. He accompanied himself with a little tune - it went like this….

Set list:
“Watcher Of The Skies”
“Dancing With The Moonlit Knight”
“I Know What I Like (In Your Wardrobe)”
“The Musical Box”
“Supper’s Ready”

This is perhaps the single best representation of Peter Gabriel-era Genesis on film. Sadly there is next to nothing that exists of live footage of them playing their enigmatic, inscrutable masterpiece, The Lamb Lies Down on Broadway, but if I had to pick a second choice, it would be seeing them do their seven-movement progressive rock sonata, Foxtrot‘s epic “Supper’s Ready.”
 

Posted by Richard Metzger
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03.20.2014
09:42 pm
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The Jesus and Mary Chain’s Douglas Hart, this week on ‘The Pharmacy’
03.20.2014
03:37 pm
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Gregg Foreman’s radio program, The Pharmacy, is a music / talk show playing heavy soul, raw funk, 60′s psych, girl groups, Krautrock. French yé-yé, Hammond organ rituals, post-punk transmissions and “ghost on the highway” testimonials and interviews with the most interesting artists and music makers of our times…

This week’s guest is Douglas Hart, the original bassist of The Jesus and Mary Chain who played with the group from 1984 to 1991. Hart is a music video director with over 80 promo clips under his belt, including videos for My Bloody Valentine, The Stone Roses, Babyshambles, Primal Scream and Paul Weller.

Topics discussed include:
- Recording Psychocandy
- The JAMC’s notoriously short live sets and the rioting at their gigs.
- Why we join bands
- The influence of The Cramps and The Stooges and discovering the psych/garage records of the Pebbles and Nuggets sets and the effect they had on The Jesus and Mary Chain
 

 
Mr. Pharmacy is a musician and DJ who has played for the likes of Pink Mountaintops, The Delta 72, The Black Ryder, The Meek and more. Since 2012 Gregg Foreman has been the musical director of Cat Power’s band. He started dj’ing 60s Soul and Mod 45’s in 1995 and has spun around the world. Gregg currently lives in Los Angeles, CA and divides his time between playing live music, producing records and dj’ing various clubs and parties from LA to Australia.

Set List

I Wanna Testify - The Parliaments
I’m Rowed Out - The Eyes
Intro 1 (I’m Not a Young Man Anymore - Velvet Underground)
Rebellious Jukebox - The Fall
La fille de la ligne 15 - The Limiñanas
Russian Roulette - Lords of the New Church
8 Teen - Question Mark and the Mysterians
Intro 2 (Valmont’s Go-Go Pad -Ennio Morricone)
Jesus and Mary Chain Douglas Hart Interview PT 1
Taste of Cindy - The Jesus and Mary Chain
Shot By Both Sides - Magazine
Swamp Thing (Rx Organ Replay) - Mel Brown (Rx Remixed and played the Piano and Organ)
Candyman - Siouxsie & the Banshees
The Way You Do - Jimmy Nolan
Forever Filthy - LowLife
Intro 3 (Ghetto Organ - Jackie Mittoo)
Dandelion Seeds - July
Dreams Never End - New Order
6 am - Vacant Lots
Jesus and Mary Chain Douglas Hart Interview PT 2
Human Fly - The Cramps
Intro 3 (Grits - James Brown at the Organ w the Jb’s)
Mr.Pharmacist - The Fall
 

 
You can download the entire show here.

Posted by Tara McGinley
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03.20.2014
03:37 pm
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Killer Alice Cooper concert live at the Paris Olympia, 1972
03.20.2014
01:17 pm
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Like my DM colleague, Richard Metzger, I am a big fan of Alice Cooper, the band. But unlike Richard, I’m also a fan of Alice Cooper, the artiste, and have followed Vince Furnier’s solo career with a mixture of joy and frustration.

But back to Alice Cooper the band. In the early seventies they were utterly superb, and their albums from Love It To Death to Billion Dollar Babies were all near perfect.

My introduction to the band came in 1972, when Alice Cooper had conquered most of Europe, and their single “School’s Out” had spent the summer at the top of the UK charts. There followed the albums, the singles, the sell-out concerts, and the usual teenage hysteria, with some tut-tutting from TV news reports on the outrage caused.

Now an interesting footnote to all this excitement happened in November of that year, when Derek Jarman was introduced to Alice Cooper’s manager, who suggested to the young designer and filmmaker, “as he spooned cocaine like rat poison” that he stage Alice on Broadway.

As Jarman later explained in his memoir Dancing Ledge, he joined the band briefly on their tour of Europe.

I joined the band a couple of months later in Copenhagen. There were thirty or more of them, resembling a gang of Davy Crockett trappers. They travelled in a private jet, took over floors of an hotel, and played long-running table-tennis tournaments as they downed an infinite supply of Budweiser.

Jarman was rather prissy about all the anarchy, sex, drugs and drink, and after seeing the band perform in Germany, where “Alice, python and beer can, cavorted around the stage singing ‘School’s Out’ before hanging himself,” he took a plane back to England, to work on his ideas for Alice Cooper’s Broadway show.

I sent a letter explaining a staging for Alice, who was to arrive on a huge articulated black widow spider. It would crawl out of a steely web on to the Broadway stage with Alice at its helm holding a gold and leather harness, dressed in rubies from head to foot, like Heliogabalus entering Rome—and that was that. I never heard from them again.

December 1972, Alice Cooper played the Olympia Theater in Paris. A documentary crew were in tow, who filmed the band’s arrival in the City of Lights, and a selection of songs from the show, including “Public Animal #9,” “Eighteen,” “Is It My Body,” “Gutter Cats vs. The Jets,” “Killer,” and “Elected.”
 

Posted by Paul Gallagher
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03.20.2014
01:17 pm
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Videos from the Glen Matlock/Sylvain Sylvain tour are popping up, and now I’m sad that I skipped it
03.20.2014
01:02 pm
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Sex Pistol Glen Matlock and New York Doll Sylvain Sylvain have been on an acoustic tour of the USA together this month. While the idea of an acoustic tour by two punk pioneers, famous for much more cacophonous music than acoustic guitars are generally associated with, might prompt a smirk or two in some circles, they’ve done this together before, and reviews have generally been quite enthusiastic, with much praise for the casual intimacy of the shows, and for Sylvain and Matlock’s easy humor and engaging storytelling. It would seem that with the tour being such a hit, and given the ease of recording such a stripped-down setup, a live album would be in the offing, but Matlock kiboshed the idea in a recent piece in the Michigan entertainment magazine Revue:

When asked whether or not they would be recording any of the shows for sale later, Matlock was more or less pretty sure that wouldn’t be happening.

“We’re just doing it for fun,” Matlock said. “If you want to hear it, you’ve got to come to the show.”

“Well, CRAP,” said this writer, having totally missed the tour’s stop in his city. But the fan videos being posted online tend to shore up the positive consensus. Check out Sylvain at Detroit’s Magic Bag, performing “Teenage News,” a never-recorded Dolls track that he made the lead-off song on his first solo album, posted by rawdetroit:
 

 
Plenty more after the jump…

READ ON
Posted by Ron Kretsch
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03.20.2014
01:02 pm
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Go Sketch Alice: Grace Slick’s ‘Alice in Wonderland’ artwork
03.20.2014
09:40 am
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After her retirement from music in 1988, singer and ‘60s icon Grace Slick took up visual art. Although she had been interested in drawing and painting since she was a child, she admits to not being able to concentrate on several things at once, and leaving music finally freed her to pursue art. She has done portraits of fellow musicians and friends such as Jerry Garcia, Jimi Hendrix, Jim Morrison, Stevie Ray Vaughn, Janis Joplin, Pete Townshend, her Jefferson Airplane bandmates, and Sting, of course, but the other originals and prints that sell well are her charming Alice in Wonderland-themed works. Many of them feature, as one would expect, the White Rabbit. He is prominent in her 420 Collection  pro-marijuana legalization pieces.

slick tea party
 
Once Upon a Time


slick cheshire cat
 
The Cheshire Cat


slick white rabbit
 
White Rabbit


slick trust
 
Trust


slick rabbit lap
 
Alice with White Rabbit


slick catepillar
 
Hooka Smoking Caterpillar
 
More after the jump…

READ ON
Posted by Kimberly J. Bright
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03.20.2014
09:40 am
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High flying Byrd: Long overdue documentary on Gene Clark is essential viewing
03.19.2014
06:43 pm
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Gene Clark’s No Other is an album that I’ve loved with a passion only rivaled by my love of Love’s Forever Changes. Ignored or misunderstood by both critics and audiences, Clark’s cocaine cowboy masterpiece has finally been receiving its due in recent years. A tribute tour including Beach House, Fleet Foxes and Grizzly Bears playing all the songs from No Other toured the East Coast late last year. Four Men With Beards has released a remastered version of the album on 180 gram vinyl that sounds good, though it is most likely pressed from digital sources rather than the original analogue masters. Not perfect, but I’m glad it’s out there. No Other will be a revelation for those of you who haven’t heard it. I promise.

A new BBC documentary, The Byrd Who Flew Alone The Triumphs and Tragedy of Gene Clark , is viewable right now on YouTube and I heartily recommend it. I suggest you watch it as soon as possible. It may not last long and you’ll kick yourself for missing it. It does a terrific job of covering the life and times of one of the greatest and most underrated artists of the past five decades. Gene Clark was like no other.
 

Posted by Marc Campbell
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03.19.2014
06:43 pm
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Pink Floyd’s earliest post-Syd Barrett TV appearance, 1968
03.19.2014
06:15 pm
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It’s rare to see footage of Pink Floyd performing one of Syd Barrett’s songs without him, but this extended live set taped for French television’s Bouton Rouge program on February 22, 1968 (only a few weeks after the group decided they were better off without him) has David Gilmour—looking somewhat uncomfortable—taking over vocal duties on two: “Astronomy Domine” and “Flaming.”

They also do killer versions of “Set The Controls For the Heart Of The Sun” and “Let There Be Light.”
 

 

Posted by Richard Metzger
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03.19.2014
06:15 pm
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Bills ‘n’ Thrills and Bellyaches: ‘Bez’ of Happy Mondays is running for Parliament
03.19.2014
08:38 am
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Bez
Bez and his maracas
 
It was reported on Monday that legendary “freaky dancer,” maracas player and alleged former ecstasy dealer Mark “Bez” Berry of the Happy Mondays and Black Grape has revealed his intention to run for Parliament in the UK general election next year.

Bez, who is currently 49 years old, told the Manchester Evening News of his plans to run as an MP in his home city of Salford, After years, if not decades, of sober study of the nation’s political problems, Bez has stated his plans to “stir things up,” redistribute wealth, end all war, and solve cancer and dementia. Frankly it sounds a lot less harmful than a lot of things I’ve heard politicians say.
 

I’ve been saying we need a revolution, and there’s no good shouting about it when you’re not actually doing anything. ... If you want to do something about things you’ve got to get into the corridors of power and take them on. ... If you’re voting for me, you’re voting as a protest about what’s happening in the world at the moment. ... I’m going to create a new world order and get rid of them and start again with a new, fairer system without evil being the main policy. ... One of my policies would be a permacultural society where we’ll end illness and get everybody back to an alkaline state.

 
Bez has a history of achievement in the political arena; in 2005 he won the UK reality show Celebrity Big Brother.

I have long believed that Bez’s role as semi-musician/mascot/dancing idiot is essentially unique in rock history, and I’d love it if he could parlay being the Linda McCartney of Happy Mondays into a slot in Parliament. Voters looking to assess Bez’s fitness for dealing with matters involving the Exchequer will be interested to learn that he’s “been made bankrupt twice” in his life, as revealed on the talk show This Morning with Martin Lewis (is his name really Martin Lewis?) last year.
 

 
Here he is in his heyday, on Top of the Pops with the Happy Mondays dancing to “Kinky Afro”:
 

 
via Brooklyn Vegan

Posted by Martin Schneider
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03.19.2014
08:38 am
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