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  • Marc Almond sings Aleister Crowley
    02:57 pm


    Aleister Crowley
    Marc Almond

    Since I have already weighed in on the monumentally brilliant new 10 CD Marc Almond box set Trials of Eyeliner: Anthology 1979-2016 (spoiler: I loved it) I will just direct you to that, but I do want to say that several weeks later I am still deeply into it. If you are looking for something new to give your full attention to—especially if you’re a fan of, say Nick Cave or Scott Walker—then Trials of Eyeliner is the high quality rock snob box set of this Xmas season, hands down. Anyone picking it up who is barely familiar with Almond’s non-“Tainted Love” career is surely in for something… profound. As a long, longtime major major Marc Almond fan, I would almost envy the discovery of his genius via this one fabulous package and not doled out over the the decades.

    It’s 10 CDs and you can find it for around $75 on Amazon. It would still be a bargain at twice the price. I can’t say enough good things about it.

    Anyway, when I posted about Trials of Eyeliner last month, there was one thing on it that I wanted to hold back on, and present later on its own to call your attention to it especially. One of the “deep cuts”—indeed one of the very deepest cuts of all—is Almond’s emphatic performance of one of the only songs known to have been composed (in this case co-written) by the Great Beast hisself, Mister Aleister Crowley.

    The sheet music for this song, referred to in a footnote, was thought to have remained unpublished and lost. None of the major Crowley collections throughout the world had a copy, but in 1991, a copy was discovered.

    “The Tango Song” was written by Aleister Crowley and set to music by Bernard Page. It’s a musical adaptation of Crowley’s poem “The Tango,” first published in The Equinox Vol I, No 9 in March of 1913 as part of a short play co-written by Crowley and Mary D’Este (the mother of the great madcap Hollywood film director Preston Sturges):

    What is money to the bliss
    Of the honey of a kiss?
    What are rank and fame and fashion
    To the ecstasy of passion?

    Give me dancing!
    Give me wine!
    Bright eyes glancing—-
    Yours in mine!
    Kisses sucking
    Up my breath—-
    Give me passion!
    Give me death!

    Were the town of Paris mine,
    Its renown should drown in wine
    I would pay the land of France
    For a day and night of dance.

    Dreams entrancing float above
    Music, dancing, wine and love.
    Sober sinks the sobbing breath;
    Smiles the sphinx of sleep and death.

    More after the jump…

    Posted by Richard Metzger | Leave a comment
    Literal lyrics of ‘Bohemian Rhapsody’ provide basis for gripping four-minute crime movie
    02:09 pm



    Mike Myers, Penelope Spheeris and company weren’t the first people to capitalize on the out-there strangeness of Queen’s “Bohemian Rhapsody,” which as a six-minute song incorporating plentiful operatic elements and an incomprehensible melodramatic narrative of sorts, was not exactly the template of a chart-topping pop hit, which it was twice, once after Queen released it on Halloween 1975 and then again after Wayne’s World used it in a signature bit in 1991.

    The song’s lyrics lay it all out there emotionally—“Mama, Didn’t mean to make you cry, If I’m not back again this time tomorrow, Carry on, carry on as if nothing really matters, I sometimes wish I’d never been born at all,” etc.—and in one of rock music’s most memorable bridges, sprinkles in a bunch of European keywords for spice: “Scaramouche, will you do the Fandango? Galileo Figaro Magnifico-o-o-o….”

    Who knows what it all is supposed to mean, but it’s a catchy brew by any standard. Corridor Digital have just released “Literal Bohemian Rhapsody,” a short film in which 100% of the dialogue is simply the lyrics of the movie spoken without music, in order; you can do it if you conceive of the situation as an R-rated crime drama that is just a tad absurd.

    Check it out. 

    via Daily Dot

    Posted by Martin Schneider | Leave a comment
    Chris Butler of The Waitresses is writing the longest song ever, and he wants YOUR help!
    10:44 am


    Chris Butler
    The Waitresses

    We all know The Waitresses, right? “I Know What Boys Like?” The Square Pegs theme song? Surely at least “Christmas Wrapping”? That band was the product of the storied Northeast Ohio scene of the late ‘70s, forming when Akronite Chris Butler, a veteran of 15-60-75 (The Numbers Band) and Tin Huey, moved to New York and assembled a group with Television’s drummer Billy Ficca, improv jazz sax giant Mars Williams, and the unforgettably droll and flippant Cleveland vocalist Patty Donahue (RIP 1996). That band recorded a version of Butler’s “I Know What Boys Like” that became an underground hit. The band went on to make two LPs, Wasn’t Tomorrow Wonderful? and Bruiseology before breaking up in 1984, when Williams joined the Psychedelic Furs.

    Since then, Butler has continued an edifying if low-key music career, writing and editing music criticism, serving as a producer, and of course writing, playing, and recording original music. (He also made some headlines in the ‘oughts for unknowingly buying the Ohio home in which cannibalistic serial killer Jeff Dahmer grew up. You’d think that kind of thing would have been in the disclosures.)

    In 1995, Butler wrote a five-minute pop song called “The Devil Glitch,” which ended with a numbing number of variations on its main vamp, the phrase “Sometimes you can fix something by just [whatever].” Joking around with a musician pal, Butler determined that what was there wasn’t enough, and wouldn’t it be hilarious to fill an entire CD with just the one song? And so it was that, with collaborators, a 69-minute version of the song was recorded, exactly fitting the capacity of a CD, and that version was accepted by The Guinness Book of World Records as the longest song ever recorded. And of course, in the digital era, there are no mechanical limitations on the length of a release, and so now hearing the entire song occupies approximately four and a half hours of a listener’s life. Because I’m not a sadist, here’s the original 5-minute version. Longer versions can be streamed at

    Well, four and a half hours still isn’t enough for Butler. On December 4th, Akron’s Hive Mind art space posted the following, from Butler, to a Facebook event called “Grand Open Call to Submission for The Infinite Glitch,” which is exactly what it says in the title:

    You got all that? Great! The range of dates on the event page would seem to imply that the call for submissions is open until December 18th, but info on the “Contribute” tab on Butler’s own “Devil Glitch” site doesn’t mention any ending date. It’d sure be cool to hear a lot of submissions from Dangerous Minds’ readers—we KNOW there are plenty of musicians and writers who follow us.
    More after the jump…

    Posted by Ron Kretsch | Leave a comment
    FEEL THE FUZZ: Insane music from obscure vintage Japanese psych & garage rock bands

    An excellent shot of Ai Takano, the timekeeper for Japanese psychedelic ‘group sounds’ band The Carnabeats. The band was well-known for their numerous covers from the catalog of English rock band The Zombies.
    As I’ve said before, of the many excellent aspects of my “job” here as a writer for Dangerous Minds is that I get to share things I love with all of you groovy readers. As I’m a huge fan of Japanese art and culture my show and tell for you today is some prime sounds from little-known Japanese psychedelic and garage rock bands from the 1960s and 1970s. I can say with complete confidence that you’re going to want to carve out some time to listen to The Voltage covering Sam and Dave’s “Hold On, I’m Comin’” and The Spiders’ out-of-sight riff on John Lee Hooker’s 1962 “Boom Boom” as well as original jams from some of Japan’s lesser-known vintage rockers.

    The Voltage was one of many bands associated with “group sounds” (or simply “GS”) music genre in Japan and the band demonstrated a strong affinity for classic Motown, recording numerous musical homages to artists like The Temptations, Otis Redding and Wilson Pickett throughout their career. Though I’m a sucker for bands putting their own unique spin on vintage hits, I always love digging up different sounds from around the globe that mirrored more famous genre-defining moments in better-known geographical locations. Such as Japan’s vibrant interpretation of the psychedelic and garage rock movement that was flourishing in the 60s and 70s in the United States. Though it’s a little difficult to imagine a happening psyche-rock scene in Japan without the proper party-favors (drugs were and still are very illegal there) you’d never know that the bands you’re about to hear in this post were kicking out groovy, LSD-free grooves such as The Flowers (who later became “The Flower Travellin’ Band)” like their rambling fifteen-minute instrumental from 1969 “Opera Yokoo Tadanori Wo Utau” that gives “In-A-Gadda-Da-Vida” a run for its money.

    Like you perhaps, I’m also a huge fan of the super-psyche rock trio, Speed, Glue & Shinki that featured the wizardry of guitarist Shinki Chen who before he even turned 21 was already commonly referred to as the “Japanese Jimi Hendrix.” The band itself at times also channels one of my other beloved heavy metal staples, Black Sabbath so it’s no wonder I can’t get enough of them. As I’m quite sure that you’re going to dig the shit out of the bands in this post I’d highly recommend picking up the 2015 release Kaminari-Nineteen Japanese Garage Monsters or The Definitive Collection of Group Sounds (Japanese Garage & Psychedelic Bands) 1965-1971 released back in 2000 that contains a staggering 122 songs from several of the bands included in this post. And though I’ve written about them previously on DM, I don’t want to get called out for not including The Mops so I included the fucking impossibly heavy track “Illjanaikada” below along with many others and some sweet vintage images of what it looked like to be a rock star in Japan all those decades ago.

    Dig theFUZZ!

    Speed, Glue & Shinki.

    The Dynamites.

    The Spiders.
    More after the jump…

    Posted by Cherrybomb | Leave a comment
    Dead at 17: ‘The Fatal Consequences of Masturbation’—a handy guide from 1830
    09:52 am



    ‘He was young and handsome…his mother’s hope.’
    He was young and handsome, his mother’s pride and joy—but he died in torment, blind, sick and paralyzed—at the age of seventeen. If only he’d known the perils of masturbation, then he might have lived a better life.

    This, in a nutshell, was the warning to young French men as published in Le livre sans titre (“The Book With No Title”) in 1830. At that time, masturbation was considered by moralists and physicians as a malady which lead to early death.

    In 1716, Dr. Balthazar Bekker published a pamphlet on this “heinous sin” of “self-pollution” entitled Onania, which cautioned the reader self-abuse would lead to:

    Disturbances of the stomach and digestion, loss of appetite or ravenous hunger, vomiting, nausea, weakening of the organs of breathing, coughing, hoarseness, paralysis, weakening of the organ of generation to the point of impotence, lack of libido, back pain, disorders of the eye and ear, total diminution of bodily powers, paleness, thinness, pimples on the face, decline of intellectual powers, loss of memory, attacks of rage, madness, idiocy, epilepsy, fever and finally suicide.

    Yeah, but still…

    Then in A Medicinal Dictionary of 1745, Dr. Robert James stated that onanism was responsible for “the most deplorable and generally incurable disorders.”

    Another medical book L’Onanisme by physician Samuel-Auguste Tissot claimed semen was an essential body oil—which when wasted through masturbation caused:

    ....a perceptible reduction of strength, of memory and even of reason; blurred vision, all the nervous disorders, all types of gout and rheumatism, weakening of the organs of generation, blood in the urine, disturbance of the appetite, headaches and a great number of other disorders.

    These men weren’t quacks, either—they were highly eminent and respectable scientists working in the Age of Enlightenment. It is hardly surprising that these seemingly informed and scientific views should become so ubiquitous in the 19th century that they could end up as the cautionary tale of Le livre sans titre.

    This edition of the book was the find of Jim Edmondson who scanned the pages and posted them on his blog.
    ‘He became corrupted! Soon his crime makes him old before his time. His back becomes hunched.’
    ‘A devouring fire burns up his entrails; he suffers from horrible stomach pains.’
    More cautionary tales of jerkin’ the gherkin, after the jump…

    Posted by Paul Gallagher | Leave a comment
    Just in time for the holidays: A HUGE realistic-looking beetle earring!
    09:34 am



    Still don’t know what to get your loved one or friend for the holidays? Well if they don’t suffer from insectophobia, why not get him or her this realistic looking beetle earring? It’s a Dynastinae or rhinoceros beetle to be exact which are a subfamily of the scarab beetle family.

    As freaky as this earring looks, I must admit I kinda dig it. I’ve never seen anything quite like it before. It certainly is a fashion statement, wouldn’t you say? (That statement being: “Look at me!”)

    The beetle earring is available at Japan Trend Shop for $47 here.


    Posted by Tara McGinley | Leave a comment
    EMI sends Venom the greatest rejection letter of all time, 1980
    02:07 pm



    It seems like the two main things you hear about the British heavy metal band Venom are: “Venom suck” and “Hey, they invented black metal.” Occasionally you see hybrids: “Venom suck, but they did invent black metal,” or, alternately, “Venom might have created black metal but they still suck.”

    It has to be said that it’s pretty unclear how much of a debt the black metal movement even owes Venom. Aside from issuing an album in 1982 with the title Black Metal, Venom qualifies more as thrash metal and it’s hard to argue that there is much influence flowing from them to, say, Belphegor or Impaled Nazarene or whomever.

    In 1980 EMI responded to Venom’s demo tape with a succinct answer that left little room for interpretation. I don’t know who wrote it and it seems like it could well have been an Internet-era concoction, but as best as I can tell, it appears that it was legit. Some think that it was typed out but never sent. If you’re interested in the details, there’s ample argumentation on both sides in this epic reddit thread about the letter.

    In any case, we know that Venom never signed with EMI (their first few albums were on Neat Records) and that EMI signed Iron Maiden about a year earlier, so it can’t be said that EMI didn’t “get” heavy metal or was in any way liable to misjudge Venom’s fan appeal or sales potential. Venom suck.

    More after the jump…

    Posted by Martin Schneider | Leave a comment
    A final ‘Fuck You’ from 2016
    12:43 pm

    Current Events


    As we all know 2016 has been a spectacularly shitty year. Bowie. Prince. Leonard Cohen. President Trump. Okay, scratch that, it’s been the fucking worst year ever in the history of humankind. To add insult to injury, this annus horribilis (pronouce that however you wish) just got even worse, as Joseph Sudiro points out on Twitter: All the holidays in December fall on the weekend. No one gets a goddamned day off work.

    I can’t wait for 2016 to be behind us, although frankly I see no silver lining for 2017 either. Shit’s just going to get worse. It’s in the air, ain’t it kids?

    Posted by Tara McGinley | Leave a comment
    Iggy Pop singing ‘Surfin’ Bird’ to his cockatoo is exactly what the world needs now
    12:22 pm


    Iggy Pop

    So OK, if you’re not following “Biggy Pop,” the eponymous Instagram Iggy Pop made for his pet bird Biggy earlier this year, you’re missing out. Go do that now. We’ll wait.

    OK, then, having done that, you’ve seen that Pop’s Instagram is a series of home movies of the proto-punk godfather with his feathered companion (who looks to be a salmon-crested cockatoo, if you’re interested in that sort of thing). And it’s pretty wonderful. Biggy is the same bird who appeared in Pop’s Christmas video a couple of years ago…

    More after the jump…

    Posted by Ron Kretsch | Leave a comment
    Pixies telepathically host ‘PostModern MTV’ in 1989
    12:20 pm



    After the arrival of Surfer Rosa in 1988, Pixies became the unavoidable new darlings of the college rock circuit—as this segment from MTV’s PostModern MTV from early 1989 amply demonstrates. PostModern MTV was kind of a truncated weeknight edition of their long-running 120 Minutes, which offered “underground” rock for a two hour programming block on Sundays.

    In an MTV News segment hosted by Kurt Loder, the band is introduced purchasing knishes on the sidewalk in midtown Manhattan. Still known officially then as “Black Francis,” Frank Black is quoted as saying “We just wanna make everyone spine-tingly and everything.”

    The original host of the show, Kevin Seal, kicks things off but then the four Pixies themselves take over—this YouTube video shows their bumpers and video intros but not the videos themselves. The bits were taped at the much-missed Scrap Bar on MacDougal Street in the West Village following a highly “clever” conceit that actually just comes off as “awkward.”

    Seated behind a heavy iron grate, the band members were tasked with presenting their palaver “telepathically”—that is, keeping their mouths shut and gesturing emphatically in sync to pre-taped audio bits imparting the relevant info. Just watch it, you’ll see. It’s a good reminder of the tryin’-too-hard ethos of what would soon become associated with Generation X. In retrospect, perhaps the band members’ obvious discomfort with the setup was itself kind of a coded message to their collegiate (and college-adjacent) faithful.

    Towards the end of the episode the band runs through the top ten “PostModern” videos, whatever that means, and based on the tracks that made the list that week, I’d peg this segment at June 1989, which was a couple of months after the release of Doolittle and also around when “Here Comes Your Man” came out. Anyone born during the Nixon administration is likely to have some strong opinions about the bands that charted that week…

    More after the jump…

    Posted by Martin Schneider | Leave a comment
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