The Beginning of Doves: EARLY live Marc Bolan performance from 1967
10.24.2014
04:58 pm

Topics:
Music

Tags:
Marc Bolan
John Peel
T. Rex
Tyrannosaurus Rex
Steve Peregrin Took


 
John Peel intros this early on—and I do mean really early on, he’d just left John’s Children—performance by his chum Marc Bolan’s brand new “little group,” Tyrannosaurus Rex.

After a single disastrous gig with a four-piece rock group, Bolan slimmed the act down to just himself and wild-man bongo player Steve Peregrin Took.

The duo are seen here performing in the legendary psychedelic nightclub, Middle Earth in late 1967. Tyrannosaurus Rex were one of the most regular acts to play the club, along with Soft Machine, Tomorrow, The Deviants and the Graham Bond Organization.

The number, “Sarah Crazy Childe,” was a John’s Children b-side written by Marc.

If there’s an earlier clip of Tyrannosaurus Rex, I’ve not seen it.
 

Posted by Richard Metzger | Leave a comment
Mashup fun with Derek Jarman’s 1976 Sex Pistols footage
10.24.2014
04:04 pm

Topics:
Music
Punk

Tags:
Derek Jarman
Sex Pistols


 
So I was searching YouTube, like one does, for interesting obscure music stuff to watch (and post to DM, of course), and lo, laid before mine eyes in the related videos column to the right of a Sylvain Sylvain video was “Sex Pistols - 1976 02 14 Butler’s Warph (sic) Earliest Known Footage,” shot by no less a luminary than the legendary underground filmmaker Derek Jarman! Now, for all I know, there may be earlier extant Pistols footage, but one way or the other, I don’t care, as the stuff is captivating. The young band is captured here in its initial burst of brash glory at a time when punk was still too young for its tropes to have become tedious clichés, and a technical happenstance rendered the footage absolutely lovely—as the captions will inform you when you watch it, Jarman shot this on Super-8 film at a nonstandard frame rate, rendering the footage soft, choppy, gauzy, and otherworldly.

When I muted the sound to answer a phone call, I noticed something—absent the Pistols’ music, it kind of reminded me a little of the video for “Here’s Where the Story Ends” by the Sundays. (If you don’t know it, click the link and take a few minutes to check it out, it’s a very pretty pop song that begins to border on shoegaze. It was popular among the 120 Minutes set in 1990, and it holds up quite well.) So suddenly, I was on a mission. I opened some new browser tabs and tried playing a couple dozen shoegaze, indie, dream-pop and post-rock songs along with the silenced Sex Pistols footage.

There are far worse ways to kill an evening.

I found something out rather quickly—there’s such a thing as too slow. Stuff I tried by Slowdive, Mogwai, and Godspeed You Black Emperor just didn’t work well at all. The music that seemed to work most satisfyingly was dense and trippy, but still uptempo. I encourage you to do some searching on your own—and please post your wins in the comments, of course, as I’d love to try them out—but I included some embeds that I liked in the hope that might start things rolling. Oh, and tiresome punk purist fogies getting ready to agonize at me about how HORRIBLY WRONG it is to play a Lush song over this precious heavenly golden dewdrop of rebel history? It’s a bit of fucking fun, lighten the hell up. I MEAN IT, MAAAAAN.

Here’s that Pistols film, to begin with, and a pile of alternate soundtrack options follows. I don’t even have to tell you to try playing them all at once, right?
 

 
It continues after the jump…

Posted by Ron Kretsch | Leave a comment
Appreciating the peculiar Euro-disco genius of Boney M.
10.24.2014
01:17 pm

Topics:
Dance
Music

Tags:
Boney M.


 
In addition to being a hell of a lot of fun, the 1970s Euro-disco sensations known as Boney M. are an academic paper on gender and ethnicity in popular music—or three—waiting to happen. Boney M.‘s best years were from 1974 to the early 1980s, a pretty healthy run for a genre that often favored one-hit wonders.

Operating out of Germany, Boney M. were an outfit consisting of one man and three women, all four of whom were from the Caribbean and read as “exotic” in the lily-white Vaterland. (Liz Mitchell and Marcia Barrett were from Jamaica; Maizie Williams was from Montserrat; and Bobby Farrell was from Aruba.) As their producer, Frank Farian, later attested, Farrell made almost no vocal contributions to the group’s studio output, while Farian himself performed the male parts for the recordings. Farrell’s primary functions were to look awesome and (just as with the three women) to dance his ass off, often in that synchronized Spinners sort of way. The vocal hooks were often quite infectious, and the busy beat gave people something to dance to. When Boney M. were good, they were very, very good.
 

 
They never did much damage in the U.S., but Boney M. were a force in Europe. Farian had a sense for how to get the most out of “unlikely” combinations of talents. His most notorious act (by far) was Milli Vanilli, who if you notice, followed a very similar template to Boney M., attractive black people pretending to sing vocal tracks they had not sung in the studio (to be fair, Boney M. generally did sing their own vocals in live settings). We encountered Farian a few months ago when we wrote about “Wow,” the Milli Vanilli opera. As Wikipedia blandly says of Farian, “His tendency to create bands with a visual image distinct from the recorded musical performances led to controversy in the case of Milli Vanilli.”
 
 
In any case, 1975 wasn’t 1990, so the media police were quite willing to let Boney M. persevere with their quasi-lip-synched presentation—of course, Boney M. never won any Grammys. Their first hit, “Baby Do You Wanna Bump?” was inventive disco to be sure (ripping off the horn riff from Prince Buster’s 1964 ska hit “Al Capone”—a song also “homaged” in The Specials’ “Gangsters”) but generic in terms of subject matter. With “Ma Baker” and “Rasputin,” Boney M. cashed in on the exoticism implied in their group’s concept.
 

 
The story of “Ma Baker” is likely the most interesting in Boney M.‘s catalog. The birth name of Ma Barker (not “Baker”) was Arizona Donnie Clark, and in the early 20th century her four sons committed enough violent crimes to be called “the Barker gang”—Ma Barker traveled with them as they terrorized the midwest. She was killed in a shootout with the FBI in 1935, and of all possible people J. Edgar Hoover called her “the most vicious, dangerous, and resourceful criminal brain of the last decade.” Now that’s a resume! For whatever reason Farian felt that “Baker” sounded better than “Barker” (not that it matters, but I think he was wrong about this). So this track about a legendary American female crime lord was recorded by four black people from the Caribbean and overseen by a German—calling the music ethnologists, there are monographs to be written here…. (Probably worth pointing out right here that the b-side was a discofied take on the Yardbirds’ “Still I’m Sad” which was practically a Gregorian chant in the gloomy original!)
 

 
The exotic concept continued with “Rasputin,” which likely has the most hilarious lyrics in the Boney M. catalog—for instance, get this: “Rasputin! Lover of the Russian queen, there was a cat that really was gone. Rasputin! Russia’s greatest love machine, it was a shame how he carried on!” Alas, the Soviet Union banned the song, which probably didn’t bother Boney M. too much.
 
“Rasputin”

 
More delirious Boney M. videos after the jump….

Posted by Martin Schneider | Leave a comment
Knick-knacks of the damned: Infernal ceramic children that will haunt your dreams
10.24.2014
12:13 pm

Topics:
Art

Tags:
ceramics
porcelain


 
Danish artist Maria Rubinke creates porcelain figurines of children. Terrifying children. Children of netherworldly terror. These hellish Hummels manage to contrast a traditionally refined medium against cutesy schlock and supernatural horror. Rubinke’s classical skills were honed at the The Royal Danish Academy of Fine Arts, specifically the School of Glass and Ceramics on Bornholm—a Danish island popular among tourists for its scenic nature and tradition of craftsmanship. And don’t these pieces just scream “quaint, bucolic holiday?”

It’s the combination of her skilled hand the formality of porcelain that makes these surreal little cherubs so haunting. Behold, Beelzebub’s babies, for theses are surely Satan’s tchotchkes!
 

 

 

 

 
More of Maria Rubinke’s macabre porcelain figurines after the jump…

Posted by Amber Frost | Leave a comment