01. “God On The Tongue” - Executive Slacks
02. “After Dark” - Seraphim Shock
03. “Riot Rhythm” - Sleigh Bells
04. “Commando” - The Ramones
05. “Slap Slap Slap Pound Up Down Snap” - Death Set
06. “You Can’t Sit Down” - Phil Upchurch Combo
07. “Ghost Power” - The Cords
08. “Heathen” - Temple
09. “Asmodoi” - Tac Poum Systeme
10. “Rabies Is A Killer” Agony Bag
11. “Ship On Fire” - Temple
12. “Tough As Nails” - Shiver
13. “You’re Pretty Face Is Going To Hell” - Iggy Pop
14. “LSD” - The Pretty Things
15. “Cantique 1” - Die Form
Because the Mayan calendar promises that the world shall end in late 2012, Ann Magnuson has decided to celebrate early. And, like Cher and Streisand before her, she shall begin the first of many ‘farewell’ tours to prepare for the aforementioned Apocalypse.
But because she wants to go out with neither a bang nor a whimper, she has chosen the route of Gentility: partly because of age but mostly because, in an increasingly vulgar world, it’s the most radical thing to do.
A mashing up of ‘end of the world’ songs, appropriately themed spoken word stories and bona-fide poetry will be presented as a contemporary twist on the “Victorian Drawing Room Entertainment”.
With original songs by Ann Magnuson and Kristian Hoffman including material from the albums Pretty Songs & Ugly Stories, The Luv Show as well as golden nuggets from Ms. Magnuson’s former psycho-sexual-psychedelic alt-cult band, Bongwater.
Ms. Magnuson’s drawing room guests may also hear new variations on songs written by Jacques Brel, Kurt Weill, Bessie Smith, David Bowie, Skeeter Davis, The Rolling Stones and the Doors (in a special Tribute to the Occupy Wall Street Movement).
In keeping with Victorian Drawing Room tradition, Ms. Magnuson shall recite poetry both classical (by Percy Bysshe Shelley-woven into The Rolling Stones classic GIMME SHELTER) and contemporary (by California’s own bard, The Lizard King himself, Jim Morrison).
With musical director Mr. Kristian Hoffman on grande pianoforte and Mr. Joseph Berardi demonstrating a variety of exotic primitive percussive instruments from cultures occidental, oriental, and accidental.
Celebrate the beginning of the end in true style!
I am told there will also be a tribute to Ann’s friend, the late artist Mike Kelley, who at one time was part of Ann’s art world “super group” backing band, Super Session, circa 1996,
Below, a seldom-seen video for Bongwater’s (amazing!) cover of The Monkees’ “Porpoise Song.” So seldom-seen that this morning was the first time I’ve seen it myself and I am truly a Bongwater super-fan.
A little something for a Sunday, 3 excellent showcases from The Doors recorded in Toronto, Denmark and New York between 1967 and 1969. With introductions and interviews with Ray Manzarek, John Densmore and Robby Krieger.
01. “The End” Performance Europe 1968 - Denmark TV
02. “Whiskey Bar”
03. “Back Door Man”
04. “Love Me Two Times”
05. “When The Music´s Over
06. “Unknown Soldier” New York 1968 PBS ‘Critique’ 1969
07. “Follow Me Down”
08. “Whiskey Bar”
09. “Back Door Man”
10. “Wishful Sinful”
11. “Build Me A Woman” Critique interview with The Doors
12. “The Soft Parade”
Sad news. Michael Davis who played bass in The MC5 and Destroy All Monsters has died of liver failure at the age of 68.
In an interview conducted in 2010, Davis looked back on the Sixties and the pop culture crucible in which the MC5 were formed.
The energy of times of the late ‘60s was something that probably won’t ever be duplicated because at that point in time everything was changing from the post-war era into what we might call modern society and technology. When I first started playing in the MC5, a lot of things were still in black and white, not everything was in color, especially the things from Europe, what we called foreign film back then. It had a certain character back then, a lot of the photos of British bands were in black and white. It carried that rainy day mood, it wasn’t all bright and lollipops. It was somber and bluesy. It was such enormous fun to break away from being a straight kid, and dress in Carnaby fashions, skinny pants, pointy boots, little skinny ties and white shirts.
It was an era that was unique, and really a lot of fun. It had this particular soul to it, Motown was happening, everybody was very dapper, before the psychedelic thing took over. The spirit of the times is what stands out.
I believed in us (the MC5), and believed what we were doing was so unique. For me the important thing was to be original, because I came from an art background. Copying someone else’s stuff wouldn’t get the attention that I wanted. Originality was the key to any kind of long-term recognition. I wanted us to be totally original. I thought what we were doing was totally unprecedented, at least not in rock and roll. There was plenty of jazz music, Sun Ra, where people improvised and played free. When we started doing it with electric instruments I just felt the energy levels that we achieved were so profound. I could see it in the audience reactions to it. Audiences absolutely hated it or went crazy. I thought that it would have a long-term effect. But you know it wasn’t successful in the business part of it. It wasn’t that marketable. It wasn’t like the Beatles. But I actually did have a kind of a suspicion that it would be long-term. Having said that, I am really surprised it did turn out that way.”
This footage of The MC5 from 1967 features Michael Davis in supreme form.
Age may weary and death may claim, but the ears will not condemn this fine selection of essential listening from Blondie, Joe Strummer, Ian Dury, Sonic Youth, David Bowie, Johnny Cash and Leonard Cohen taken from Later with Jools Holland.
01. Blondie - “Heart of Glass” from 1998
02. Joe Strummer - “London Calling” from 2000
03. Ian Dury - “Sex and Drugs and Rock ‘n’ Roll” from 1998
04. Sonic Youth- “Sacred Trickster” from 2009
05. David Bowie - “Ashes to Ashes” from 1999
06. Johnny Cash - “Folsom Prison Blues” from 1994
07. Leonard Cohen - “Dance me to the End of Love” from 1993
“Mr Cheeks”, perhaps the most unintentionally gay name in rap
Unintentional Gay Rap Lyrics is a blog that compiles, well, unintentionally gay-sounding lyrics from rap songs. Most of these rhymes were not designed to be, ahem, taken that way but it’s still pretty hilarious thinking of these über-butch (and in some cases homophobic) dudes in that kind of situation. Here are some choice examples:
GURU: “To all you herbs, i got something for that ass - the tongue of terrifying fury”
(From Gangstarr’s “Tongue of Terror”)
BEANIE SIEGEL: “I’ll blow a nigga for a box of Huggies.”
(From “Toney Siegel aka The Barrell Brothers”)
BEENIE MAN: “How can i make love to a fella in a rush”
(From “Who Am I”)
BIGGIE: “We fucked in his bed, quite dangerous, I’m in his ass while he playing against the Utah Jazz”
(From “I Got A Story To Tell”)
DMX: “Suck my dick. And while you niggas that’s been to jail before know it’s about to get thick. Let’s get it on baby. I’m gonna be goin’ against 4 niggas and you think you crazy?”
(From “What’s My Name”)
SNOOP DOGG: “I got a pocket full of rubbers and my homeboys do too.. so turn out the lights and close the door (but for what?) we don’t love them hoes!”
(From “Gin and Juice”)
So let’s be clear here: You’ve got condoms, so do your boys, you just turned off the lights and closed the door. And you hate women. That’s so gay.
BIG PUN: “When you awaken, your manhood will be taken.”
(From “The Dream Shatterer”)
Thaaaat sounds like rape, and I bet you’d wake up if a 400 pound Puerto Rican man started deflowering you in your sleep.
Although perhaps their best days are long behind them, The Cult were a powerful live act in the 1980s. I’ve seen them play several times, in both London and New York going back to 1983 and those shows were among the more memorable gigs I’ve ever attended.
Especially early on, the Cult’s rabid fan-base was so incredibly devoted that they’d follow the group around like crusty punk Deadheads, night after night. Back packs and sleeping rolls were in (annoying) abundance at every show. The band could really capture the imagination of their followers who seemed like they were having a pagan religious experience watching them. Their shows had a truly Dionysian drama to them that no other group I can think of achieved so totally and completely other than maybe Killing Joke. (It’s no wonder that the surviving Doors wanted Ian Astbury to be their front man, he was the obvious choice!)
I found their concerts mesmerizing and unlike anything I had ever seen before. Or smelled. The Cult’s fans were among the first “New Age Travelers” and a few hundred of them in one room was not something you’d care to get a whiff of, as anyone who saw them back then can attest to. “BO” was an unavoidable element of a Cult gig in the early 80s. Probably 90% of the audience (including me) lived in squats. It was that kind of scene.
I saw them at the Camden Palace in London sometime soon after this Lyceum show was shot, but the shamanic intensity and the tribal vibe I experienced when I saw them are evident here, too in spades. They weren’t even beginning to peak at this point.
These days when a rock star sells out to a car manufacturer or Pepsi Cola my respect for them is diminished, particularly whenever they’re an artist I revere. But these ads from the Sixties make sense, if you’re going to sellout, at least sellout to the things that got you where you are. John Lennon shilling for Rickenbacker is hip. The Clash for Pontiac, not so much.
He blew his mind out in car, he didn’t notice that the lights had changed. These are the lyrics from The Beatles’ “A Day in the Life”, which immortalized the death of sixties socialite Tara Browne.
On the night of December 18th 1966, Browne, together with his girlfriend, Suki Potier, drove through the streets of South Kensington in his Lotus Elan. The couple had just left a friend’s apartment at Earls Court around 1am, and were now in search of food. Browne sped through a stop signal at the corner of Redcliffe Square and Redcliffe Gardens. As he swerved to avoid an oncoming vehicle, Browne crashed his car into a parked van. His last minute actions saved Potier from certain death, but left Browne fatally injured, and he died in hospital the following day.
Browne was 21-years-of-age, a member of the Irish aristocratic family Oranmore and Browne, and heir to the Gunness fortune. He looked like a cross between Paul McCartney and Peter Cook (more of which later), was said to be barely literate - having walked out of a dozen schools, lived with his mother, Oonagh Guinness and her boyfriend a “show designer” Miguel Ferreras, drank Bloody Marys for breakfast, smoked Menthol cigarettes, and according to his friend Hugo Williams lived the life of a “Little Lord Fauntleroy, Beau Brummell, Peter Pan, Terence Stamp in Billy Budd, David Hemmings in Blow-Up.”
‘Tara could hardly have failed to be a success in Swinging London. While I was wandering around the globe in ’63 and ‘64, he embarked on the second and last phase of his meteoric progress. He got married, met the Stones and the Beatles, opened a shop in the King’s Road and bought the fatal turquoise Lotus Elan in which he entered the Irish Grand Prix. He let me drive it once in some busy London street: ‘Come on, Hugo, put your foot down.’ I had just got my first job and our ways were dividing. His money and youth made him a natural prey to certain charismatic Chelsea types who turned him into what he amiably termed a ‘hustlee’.
He reputedly gave Paul McCartney his first acid trip. The pair went to Liverpool together, got stoned and cruised the city on mopeds until Paul went over the handlebars and broke a tooth and they had to call on Paul’s Aunt Bett for assistance. There is still a body of people — and a book called The Walrus is Paul — who believe that Paul is dead and is now actually Tara Browne with plastic surgery.’
A month after his death, January 17th 1967, John Lennon was working on a song when he read a newspaper article on the coroner’s report into Browe’s death:
‘I was writing “A Day In The Life” with the Daily Mail propped in front of me on the piano. I had it open at their News in Brief, or Far and Near, whatever they call it. I noticed two stories. One was about the Guinness heir who killed himself in a car. That was the main headline story. He died in London in a car crash.’
Lennon further explained his inspiration in Hunter Davies’ biography of The Beatles:
‘I didn’t copy the accident. Tara didn’t blow his mind out. But it was in my mind when I was writing that verse.’
However, more recently, in the authorized biography, Many Years From Now by Barry Miles, Paul McCartney added his tuppence worth:
‘The verse about the politician blowing his mind out in a car we wrote together. It has been attributed to Tara Browne, the Guinness heir, which I don’t believe is the case, certainly as we were writing it, I was not attributing it to Tara in my head. In John’s head it might have been. In my head I was imagining a politician bombed out on drugs who’d stopped at some traffic lights and didn’t notice that the lights had changed. The ‘blew his mind’ was purely a drugs reference, nothing to do with a car crash.’
Whichever version is true, Tara Browne is still the man best associated with lyrics. Here is Tara, and his Lotus Elan, in some incredibly rare footage from a short French TV feature, where the aristocrat drives around London and mumbles in French about his car, art, fashion, music and life. There are no English subtitles, but they’re not really necessary as the film is easily understandable. Appearances from Paul McCartney, Marianne Faithfull and famed gallery owner Robert Fraser.