Wednesday, July 29, 2009

step off the grass and into the crop circle





My favourite fruit is the blackberry. Brambles, we call them. They grow wild by the roadside in the late summer months into autumn, protected from pickers by a vicious array of thorns. If I remember correctly, their appearance on the vine broadly coincides with the first bloom of psilocybin. Cars travelling over the speed limit with two wheels inches from the ditch pose a more significant threat.

I like blueberries too. A staple in the US, with hardier varieties grown in some parts of Europe, we have to have them imported.

Those blueberries don't travel well.


The best arrive frozen in transit. I am only really fond of them when they retain that keen note of sourness; a bitter tang like the best of grapes and sherbet.

I suspect those 'visitors' which plague late August skies have not come to
harvest berries. They seem more intent on vivisecting cattle in situ. Or spiriting the odd hapless berry-picker off for a haircut and manicure, only to deposit said victim several hours or days later close to the original scene of their abduction.

Probably it is no small co-incidence that many of these strange occurrences take place near military installations. On desert plains, or deep in woods infested with all manner of foreboding notices. Take it as read. Those particular beings are riddled with all too human failings.

Tuesday, July 28, 2009

communis exalti



com•mun•ion
|kəˌmjuːnjən|
noun

1 the sharing or exchanging of intimate thoughts and feelings, esp. when the exchange is on
a mental or spiritual level : in this churchyard communion with the dead was almost palpable. See note at CONVERSATION.

ORIGIN late Middle English : from Latin
communio(n-), from communis (see common).

From wiki:

"Whitley Strieber was born in San Antonio, Texas, the son of Karl Strieber, a lawyer, and Mary Dro
ught Strieber. He attended Central Catholic Marianist High School in San Antonio, Texas. He was educated at the University of Texas at Austin and the London School of Film Technique, graduating from both in 1968. He then worked for several different advertising firms in New York City, rising to the level of vice president before quitting in 1977 to become a free-lance writer."

Fom WFMU:


"The CD was basically the project of Guido Erfen, one of the guys behind the So Healthy Music label. He got involved with the Ukrainian underground music scene when he was language student in Kharkov in 1990."

The CD, "Break Through in a Grey Room" comprises a collection of cut-ups recorded in the 1960's in various hotel rooms in New York, London and Paris. This key piece was recorded circa 1965 with Ian Sommerville between the Chelsea Hotel; 210 Centre Street, NYC and London, and owes as much to Sommerville's technical innovations as Burroughs' readings. 

Sommerville was a much respected contributor to the underground scene in London during the period, working out of a studio allegedly furnished by The Beatles' Paul McCartney.


faux cover designs by ib.
collect the full set!


TOVARICH (ALIEN): BLUES from "Novaya Scena - Underground From Ukraine" CD 1993 (Ukraine)

WILLIAM S. BURROUGHS: K-9 WAS IN COMBAT WITH THE ALIEN MIND-SCREENS from "Break Through In A Grey Room" CD (Sub Rosa) 1994 (US)

when the not so weird turn pro


A couple of nights ago I watched Alex Gibney's "Gonzo: The Life and Work of Dr. Hunter S. Thompson" on terrestrial tv. I have not read any Hunter for quite some time, although I have a good several of his key publications from 1965's "Hell's Angels" through to 1979's retrospective, "The Great Shark Hunt".

Benign and savage on the turn of a sixpence - in life and in prose - Hunter Thompson was not so much a man of contradictions as a man, like all of us, on a mission. Through his various assignments, constantly pitched against the deadline, Hunter sought to carve himself a reputation Sam Peckinpah might have been proud of, and a niche in the real world of politics he simultaneously despised and adored. Ultimately, he may even have created his own living nightmare; an elaborately manufactured similacrum of Mary Shelly's "Frankenstein", warts and all - the inescapable shadow of his own unique self. The angry fist of Gonzo f@cking himself right in the ass. With little or no lubrication.

In the final analysis, shrouded perhaps from too much wine, I found myself agreeing pretty much with his first wife, Sandy Conklin Thompson - now Sondi Wright - regarding his suicide. A single, self-inflicted gunshot to the head within earshot of his one son, Juan. Yes. Hunter S. Thompson was not yet done. He may have had enough, but he was not yet done.


From the suicide note subsequently published in Jan wenner's "Rolling Stone", fondly entitled "The Football Season is Over":

""No More Games. No More Bombs. No More Walking. No More Fun. No More Swimming. 67. That is 17 years past 50. 17 more than I needed or wanted. Boring. I am always bitchy. No Fun — for anybody. 67. You are getting Greedy. Act your old age. Relax — This won't hurt."

I remember reading about his suicide in "The Times" in 2005 with an unholy mixture of sadness and a far from admirable delight, maybe, in a chapter finally closed. At the time, perhaps, I too felt Hunter was done. Simply because I was done reading him. That is one hell of a confession. The world has moved on, I told myself; no more Vietnams, or crooks or peanut farmers in the White House.

Speak about premature ejaculation.

From Bush's foray into Iraq and Afghanistan, to Barack Obama's election as a black candidate, what is missing in today's theatre of politics and corruption is the unrequited observation from the bleachers of a Hunter S. Thompson.
Cigarette holder or Gonzo fist rammed home or not.

Last night I had a dream. The Chinese had invaded, or maybe the invasion came from deep space. Whatever. Twenty-three to thirty of us were detained by day in a 're-education centre', and allowed home at night to complete an assignment. The Chinese were very efficient. And suave in their Jimmy Chu/Mao Tse-Tung suits and elegant footwear.

I had a crush on a female translator with obsidian eyes and a bull horn.

I did not complete my assignment. I missed the deadline. The very next morning I was surrounded by a smiling host of fellow Caucasians shyly unveiling beautifully executed Cartouches depicting the righteousness of occupation.

"You, who have done, have done well. You have exceeded your birthright by stint of meritocracy. In due course, your contribution shall be rewarded. Ruminate."

All I had managed was a cover note outlining my reservations. Even that appeared half-assed. The girl with the bull horn told us to congratulate ourselves. Our contribution to the revolution was inviolate. The best of us could expect to be summarily re-educated and set to work immediately. Women and men to my left and right threw high fives freely.

Their relief seemed infectious. Like Swine Flu blown in on an exotic breeze.

I could not believe my ill fortune. I had failed. Again, it seemed. I could not make it in the world of squares; I could not make it come the revolution.

I sat their forlornly and stared at my shoes. And waited to be expelled.


IT NEVER GOT WEIRD ENOUGH @ THE GAZETEER
, 2005

Monday, July 27, 2009

small and stately



The fifth 45 release from the Small Faces, hitting the #1 spot on the British singles chart two weeks after its release on August 5th, 1966; sharing the top position with The Beatles' "Yellow Submarine", quite bizarrely. Think Rod Stewart's cover of P.P. Arnold's "First Cut is the Deepest" pipping the Pistols' "God Save the Queen" to the post in 1977, and the jubilee jigsaw begins to make sense.

File next to Them's "Gloria" for maximum agitation. For Small Faces' completists, there exists a live session version of the same song recorded for the BBC which seriously rivals the definitive Decca release in raw energy and sinewy bubblegum snapping arrogance. I can think of only a fistful of prime Small Faces numbers which do not at the very least threaten 3rd degree violence. Or the promise of a slap. Not so much domestic abuse, per se, as antisocial loitering. With intent.



From Wiki:

"According to Kay Marriott, Steve's mother, Steve wrote this song about his split with ex-fiancee Sue Oliver, though first wife Jenny Rylance states that Marriott told her he wrote the song for her as a result of her split with Rod Stewart
. Both statements are said to be correct."

I want to see your mum in hot pants, motherf@cker. It's in my freekin' blood.

The smell of damp nylon on rainy Mondays. The crackle of heat and testosterone fueled impatience. Throw all the flowers on the fire and break out the wine.


The towels are in the wash and the baby is hungry. It's just spilled milk and aspiration. Unpaid bills and shopping for pacifiers. Scratching a dire f@cking itch.

Written by Steve Marriott and Ronnie Lane.
Produced by Don Arden.


Recorded at IBC Studios in Portland Place, London, England.

SMALL FACES: ALL OR NOTHING from "All Or Nothing b/w Understanding" 45 (Decca) 1966 (UK)

paging mr. lee



GOLAS 2.

A fractured slice of almost indecently perfect pop from the late 1980's, penned by Merseyside mysterioso, Lee Mavers, and prompted by this interesting tidbit recently posted on Blank Stares and Cricketclaps.

Produced by Bob Andrews, formerly of Brinsley Schwarz; Dr. Feelgood; and The Rumour. Andrews also contributed piano and hammond organ to Johnny Thunders and Patti Palladin's collection of covers, "Copycats", from the same year.

THE LA's: THERE SHE GOES from "There She Goes" 7' & 12" EP (Go! Discs) 1988 (UK)

Saturday, July 25, 2009

byrd with coils



albinio banana california king snake.

A Jaques Levy & McGuinn composition from The Byrds' untitled 1970 LP, featuring Clarence White, Gram Parsons and Skip Battin. Also including the great Terry Melcher on piano in pieces, this was undoubtably the last release from McGuinn under the Byrds banner of any merit. McGuinn's voice on this live cut is a barbed thing of wonder; strangled and bitter and devoid of Christian rectitude.


For the most comprehensive and concise detail on Clarence White imaginable, move directly to The Adios Lounge. Do not pass go. Do not collect $200, or gain surplus pounds. And hang on to your "Get out of Jail" card, brothers and sisters.

THE BYRDS: LOVER OF THE BAYOU (LIVE) from "Untitled" 2 x LP (Columbia) 1970 (US)

Thursday, July 23, 2009

pour a little sugar on it



The Archies, of course, were the saccharine comic-book-creation-made-flesh of Bubblegum Svengali, Don Kirshner; the evil impresario who also played his hand so well in the cynical manufacure of The Monkees. Devised originally in late 1967, there was so much of a liberal sprinkling of sugar on this one that even Kellog's were soon queuing up at the door, cheque in hand.

Written by producer, Jeff Barry and newly appointed staff writer, Andy Kim, and released on the Calendar imprint initially, the 45 - also available on the LP, "Everything's Archi
e" - was subsequently one of the biggest selling singles for media giant, RCA of all time.
Archie Andrews: guitar;
Reggie Mantle: guitar;
Jughead Jones: drums;

Betty Cooper: tambourine;

Veronica Lodge: keyboards.


Jeff Barry;
Ron Dante;
Ellie Greenwich;
Toni Wine.

A Man with the Golden Ear production.


The Chilton cover was culled from those solo sessions reco
rded at Ardent Studios, Memphis in 1970, directly after the collapse of The Box Tops. Lacking cohesion in totality, the projected debut solo vehicle was ultimately shelved. Raucous and deliriously lacking in any attempt for mass appeal, I would easily have revelled in a whole LP's worth of this shit like a pig in muck. Not least because "Sugar, Sugar" may just be one of the finest songs ever written. Sadly, the rest of the material chewed over here comes nowhere close. Think on what might have been.

As Beer N. Hockey recently opined, who wouldn't have fucked Veronica ? Spoiled sugarbabe or not.

THE ARCHIES: SUGAR, SUGAR from "Sugar, Sugar b/w Melody Hill" 45 (Calendar) 1969 (US)


ALEX CHILTON: SUGAR SUGAR / I GOT A FEELING (Heavy Medley) from "1970" CD (Ardent) 1996 (US)

Wednesday, July 22, 2009

capricorn one



A Gerry Goffin & Carole King composition, of course, allegedly named after Pleasant Valley Way; a road in West Orange, New Jersey which stakes out a path from the heart of suburbia into the Watchung Mountains. Or so I am informed.



Produced by Douglas Farthing Hatlelid
(aka Chip Douglas).


Mike Nesmith: lead guitar;
Peter Tork: keyboards;
"Fast" Eddie Hoh: drums;
Micky Dolenz: vocals;
Chip Douglas: bass guitar.


photograph by crowolf.

Famously sporting a riff stolen from The Beatles, the 45 release - issued on July 10th, 1967 - featured in the second series of their hit tv series, and peaked at #3 in the Billboard Charts. It also appears on the group's fourth LP, "Pisces, Aquarius, Capricorn & Jones Ltd." released in November, 1967.


THE MONKEES: PLEASANT VALLEY SUNDAY from "Pleasant Valley Sunday b/w Words" 45 (Colgems) 1967 (US)

philadelphia freedom: drake's cake iced

protect yourself, people. back up.

The following post on Philly Soul legends, The Intruders - sans all audio links - originally ran here on December 3rd, 2008 and was very recently the subject of a DMCA Takedown Notification. If you are fortunate to own their "Cowboys to Girls" LP on Kenny Gamble & Leon Huff's fledgling label, count your blessings.

As it is, there are myriad CD compilations - not least a retrospective, "The Best of the Intruders", issued under the "Cowboys to Girls"
banner on Sony Records, which can be purchased for less than $8 through Amazon - lurking in basement bargain bins and charity shops in a city near you.

From Wiki:

""Don't be evil" is the informal corporate motto (or slogan) for Google, originally suggested by Google employees Paul Buchheit and Amit Patel at a meeting. Buchheit, the creator of Gmail, said he "wanted something that, once you put it in there, would be hard to take out," adding that the slogan was "also a bit of a jab at a lot of the other companies, especially our competitors, who at the time, in our opinion, were kind of exploiting the users to some extent."

"Don't be evil" is said to recognize that large corporations can often maximize short-term profits with actions that destroy long-term brand image and competitive position. By instilling a Don't Be Evil culture, the corporation establishes a baseline for decision making that can enhance the trust and image of the corporation that outweighs short-term gains from violating the Don't Be Evil principles.

While many companies have ethical codes to govern their conduct, Google made "Don't Be Evil" a central pillar of their identity, and part of their self-proclaimed core values."


The issue here, as stated previously, concerns the wholesale deletion of original user content over and above potentially offending infringement; which might, in itself, be more properly resolved on a mutually amicable basis. In short: identify the offending content and make transparent who is acting on whose behalf.

Anything less is mere corporate bullying. The sort of revisionist tactic employed by agents of those with something to hide.



philadelphia, 1968. photograph by jill freedman.


north philly, 2006. photograph by etombotron.


south philadelphia, 1968. photograph by bill wingell.

"Formed in the early sixties, The Intruders were four Philadelphians... Singing together since 1961, the group blended Philly's street corner doo-wop tradition with black gospel influences that attracted Kenny Gamble and Leon Huff to sign them to their fledgling record company, Philadelphia International Records."



The Intruders:
Sam "Little Sonny" Brown; Eugene "Bird" Daughtry;
Phillip "Phil" Terry; Robert "Big Sonny" Edwards.


Produced by Kenny gamble & Leon Huff.
The Sound of Philadelphia.


THE INTRUDERS ON SOUL WALKING
PREVIOUSLY: EVIL IS AS EVIL DOES

Tuesday, July 21, 2009

luna reduxe: and the moon is full of wrinkles

"It was forty years ago today..."
 
Well, almost. Essentially a re-up of a post from a year back; on this
occasion simply to commemorate what many continue to regard as an elaborate
hoax designed to cement President John F. Kennedy's vision of the USA's
triumph in the Space Race and set in stone the mission statement
first put before a joint congress on May 25th, 1961.

from Wiki:


"On September 9, 2002, filmmaker Bart Sibrel, a proponent of the Apollo moon landing hoax theory, 

confronted Aldrin and his granddaughter outside a Beverly Hills, California hotel. 
Sibrel confronted Aldrin, shouting, "You're the one who said you walked on the moon and you didn't!" 
He then called Aldrin a "thief, liar and coward".
Aldrin, at that time 72 years of age, responded by punching Sibrel in the face."


"I saw the new moon late yestreen,
Wi' the auld moon in her arm:
And if ye gang to sea, maister,
I fear we'll suffer harm."

From the anonymous Scottish ballad by Sir Patrick Spens.

Credit to DJ Danny from Office Naps for unearthing following Johnny Harris composition.

THE POGUES: SUMMER IN SIAM from "Hell's Ditch" LP (Island) 1990 (UK)
THE ROLLING STONES: CHILD OF THE MOON from "Jumpin' Jack Flash b/w Child Of The Moon" 45 (Decca) 1968 (UK) 
BIG STAR: BLUE MOON from "Third: Sister Lovers" LP (PVC) 1978 (US) 
THE JOHNNY HARRIS ORCHESTRA: FOOTPRINTS ON THE MOON from "Chance b/w Footprints On The Moon" 45 (Warner Bros) 1969 (UK) 
ELVIS PRESLEY: BLUE MOON from "Elvis Presley" LP (RCA Victor) 1956 (US) 
KRONOS QUARTET: MARQUEE MOON from "Rubaiyat: Elektra's 40th Anniversary" CD (Elektra / WEA) 1990 (US) 
NICK DRAKE: PINK MOON from "Pink Moon" LP (Island) 1972 (UK) CUL DE SAC: THE MOON SCOLDS THE MORNING STAR from "ECIM" CD (Northeastern) 1992 (US)

HELL'S DITCH REMASTERED
;
STONES: SINGLES 1968-1971 BOX SET;
THIRD / SISTER LOVERS REMASTERED;
JOHNNY HARRIS: MOVEMENTS;
ELVIS PRESLEY REISSUED;
RUBAIYAT 2 x CD;
PINK MOON REMASTERED;
ECIM REISSUED

houston, we have no problem

Ouch.

I did not intend to let this 40th anniversary of the Apollo 11 Moon Landing pass unremarked. Launching on July 16th, 1969 from the Kennedy Space Center at 9:32 AM, local time - in the unlikely event that you may have missed all recent television coverage on it - Armstrong, Aldrin and Collins splashed back down to earth four days later on July 20th with just 25 seconds worth of fuel remaining.


Unbuckle your safety belt and grab an earful of Cozy Powell's barefaced homage to Jimi's "Third Stone from the Sun".

The Eagle has landed, siblings. And Eugene lingers on the dark side of the moon.

COZY POWELL: DANCE WITH THE DEVIL from "Dance With The Devil b/w And Then There Was Skin" 45 (RAK / EMI) 1974 (UK)

PREVIOUSLY: AND THE MOON IS FULL OF WRINKLES

auditors and auditties



big star trip thru kansas?

poul•tice |ˌpəʊltɪs|
noun
a soft, moist mass of material, typically of plant material or flour, applied to the body to relieve soreness and inflammation and kept in place with a cloth.

verb [ trans. ]
apply a poultice to : he poulticed the wound.

ORIGIN late Middle English : from Latin pultes (plural), from puls, pult- ‘porridge, pap’.


If anyone were ever bothered to perform an audit of my day to day listening vices, doubtless he or she would find my returns very odd indeed. Much of my regular listening fare is banal in the extreme. File under furtive.

I am not merely waxing bubblegum.

I am talking unadulterated, diuretic pish. The sort of thing which leaves a watery stain at one's crotch.


In fact, I have so much of this litmus neutral crap it is positively unhealthy. I do not possess an iPod, per se, but my MP3 vaults are so inundated as to be diluted of any essence of credible vitality.

There. Let it be on record; laid bare like a warped slab of vinyl under a blunted stylus.


These are the kind of sounds I seek solace in the wee small hours of the morning, or whenever the wine rack runs on full flow. From White Plains to Sinatra, there it can be unearthed and called upon like a healing poultice. Maudlin; wheedling; toothless and draining.


Setting out on the road with a wet nurse
or two and glimpsing Dorothy's discarded shoe in the undergrowth.
picture sleeve, 1977 Island reissue,
b/w "Beautiful People".

KIM FOWLEY: THE TRIP from "The Trip b/w Big Sur" 45 (Corby) 1966 (US)

Friday, July 17, 2009

road runner (thrice)



spirit of '76


In which Rotten, Jones and chums throw up - not without some revolutionary affection - on the spirit of 1956, if not Boston's JR or 1776. Stern and bow, like time travelling pirates from William S. Burroughs' "Cities of the Red Night". Rather aptly too, since it appears a couple of previous posts on the original '74 demo (once) and the definitive Modern Lovers version (twice) have mysteriously been erased... Ah, those witch trials and the puritan spectacle of the ducking stool.

A pox on you, sir.



Spooky. Thank you, John and Jonathan.

SEX PISTOLS: ROAD RUNNER (WESSEX STUDIOS REHEARSAL SESSION, OCTOBER 1976) from "Box Set" 3 x CD (Virgin On The Ridiculous) 2002 (UK)

Thursday, July 16, 2009

white line fever #1



"undertakers to the industry – if they're dead - we'll sign 'em".

A curiosity. From the early compilation - SEEZ 2 - from 33 Alexander Street, London W2; that original little shop of horrors.
An entirely different take to the one which made its way onto their debut LP on Chiswick.

Lemmy: bass, vocals;
Eddie Clarke: guitars;
Philip Taylor: drums.

Written by Ian Kilminster.
(originally catalogue # BUY 9, but previously unreleased)

MOTÖRHEAD: WHITE LINE FEVER from "A Bunch Of Stiff" LP (Stiff) 1977 (UK)

Wednesday, July 15, 2009

agitated: another porky prime cut


RT 008.

Recorded on May 25th, 1975, and released on Geoff Travis' UK label some three years after these Clevelanders finally disbanded; by which time Nick Knox was firmly installed in the percussive seat of psychobilly cheerleaders, The Cramps.

Dave E. (McManus): vocals; Nick Knox : drums;
Brian McMahon:
rhythm guitar; John Morton: lead guitar.

Written by Brian McMahon. Recorded By Paul Marotta.
Artwork by John Morton.



THE ELECTRIC EELS: AGITATED from "Cyclotron b/w Agitated" 45 (Rough Trade) 1978 (UK / US)

Tuesday, July 14, 2009

music city and the wild things



Occasionally, some unexpectedly fine stuff feeds its way under the wire and into my mailbox. Such is the case with Max and the Wild Things, a self-proclaimed "3-piece NewCountryPunkWave band from Nashville".


Not only is it encouraging to find concrete evidence that Tennessee continues to distil raw proof talent of the calibre of a first rate Jack Daniels, it is also unexpectedly heartening to hear it hailing from Music City and not Memphis; unparalleled purveyors of prime sound from Alex Chilton and the Box Tops to Elvis Aaron Presley and Sam Phillips' Sun Records.

Originally a sibling two-piece from West Swanzey, New Hampshire, the brothers Traynor have teamed up with drummer, Brendan Leahy for their debut EP: "Hands Down Mans Down". The following cut, while not on that release, more than admirably captures the visceral slap and punch of Max and the Wild Things in live performance. Expect to hear more from this quarter, here and elsewhere.

Welcome to 1979, the recording company responsible for getting it all down,
has been described as a "refuge from 2008", utilizing only analogue equipment manufactured in the mid-seventies as the perfect antidote to compressed digital orthodoxy. Job well done.


Aidan Traynor: banjo, guitar, vocals; Cole Traynor: bass, vocals;
Brendan Leahy: drums.


Written by Aidan Traynor.
Recorded live at The Basement by Welcome to 1979.

MAX AND THE WILD THINGS: WITHOUT A SOUND (LIVE)


MAX AND THE WILD THINGS@MYSPACE

Monday, July 13, 2009

after the stooges...


above and below: 1970. camp, subjects and photographers unknown.

Hey Keith ?

I never got to summer camp as a kid. It is - or was - a uniquely American phenemonon.

However. This is as close to a soundtrack, short of Charlie Brown, as is feasible.



THE DAMNED: I FEEL ALRIGHT
from "Damned Damned Damned" LP (Stiff) 1977 (UK)

a teardrop explodes


who ate all the pies ?

dig•i•tal•is
|ˈdɪdʒɪˌteɪlɪs|
noun
a drug prepared from the dried leaves of foxglove and containing substances (notably digoxin and digitoxin) that stimulate the heart muscle.

ORIGIN late 18th cent.: from the modern Latin genus name of the foxglove, from digitalis (herba) ‘(plant) relating to the finger,’ from digitus ‘finger, toe’ ; suggested by German Fingerhut: ‘thimble or foxglove'.


When they appeared on the same stage as the Clash in the UK in 1977, Alan Vega and Martin Rev famously prompted howls of derision and an explosion of glass too close for comfort. That was a shame; although I suspect Ian Curtis and his triad of electronic subversives might have provoked a similar neanderthal response at that juncture.

To be expected, if not quite alright.

That first wave of brown shirts were not on ball for informed or distressed 'digitalis', as Jayne Casey would later observe. Sadly, it was their - the bondage trousered sheep's - loss.

More spastically muscular
and incisive than Helios Creed and Damon Edge's Chrome, brittle New Yorkers, Suicide, fully deserve to be remembered for more than just their superlative 45, "Cheree" or the much covered, "Rocket U.S.A.".

There. I prohibit you - siblings and motherf@ckers - to remonstrate or otherwise disagree.

Produced by Craig Leon and Marty Thau.

SUICIDE: FRANKIE TEARDROP from "Suicide" LP (Red Star) 1977 (US)

Sunday, July 12, 2009

a fine fellow



I am standing in the off sales at the counter - in conversation with the proprietor through the open grill - when the bell over the door behind me tinkles and a hand settles none too lightly on my shoulder. All sense of good humour evaporates in an instant.

A mendicant with a melting face appears just to my right and covers his brow apologetically as I wheel about to confront the cause of this impertinence. The purchased bottle is reassuringly heavy should provocation warrant my lashing out.

"What say you, sir, " I demand.

"Have you no manners at all, you impudent fellow ?"

The scoundrel is scarcely more than a midget, luminescent eyes set in a tiny wizened countenance not unlike a monkey's.
Awash with madness and decrepitude. He opens his mouth to offer some imbecilic retort but succeeds only in drooling incoherently. Silver threads of spittle lace the upturned chin.

Quite disgusted, I brush him aside and make for my exit.

"Good day to you, sir," I sneer.

Crablike, the awful creature sidles to the door and holds it ajar. If only I had my cane, I mourn. A damn sight more efficacious than the ungentlemanly swing of a loaded bottle.

He accompanies me out onto the street, persisting still in his ridiculous attempt to engage me in what must pass for banter in the lower orders.


What new foulness is this ?

He rolls back his coat sleeve and and raps on what is evidently some loathsome wooden appendage; a prosthetic of unfathomable crudity.

"Hnnnn... See ?" he croaks, and wags the painted fingers at me in a positively Dickensian gesture. "Fuckin' see ?"

"What's this ?" I snarl. "I'll have no truck with such nonsense. Be off with you,
I say. At once!"


It is not yet dark, else I might bludgeon the grotesquerie to the pavement and make my ill temper manifest. As it is, I feel compelled to stay my hand. Given
the woeful disparity of his circumstance, I can ill afford witnesses.


Still...


I lean into him and bare my teeth.

"Fuck off, then," I tell him. "I don't give a pickled rat's arse."


He stares at me uncertainly. Well. We do what we can.

tarry for a while


ta•rot |ˌtarəʊ|
noun ( the Tarot)
playing cards, traditionally a pack of 78 with five suits, used for fortune-telling
and (esp. in Europe) in certain games. The suits are typically swords, cups, coins
(or pentacles), batons (or wands), and a permanent suit of trump.
• a card game played with such cards.
• a card from such a set.

ORIGIN late 16th cent.: from French, from Italian tarocchi, of unknown origin.


Loose cards from the Pierpont-Morgan Visconti tarot deck, commissioned in the 15th century by Filippo Maria Visconti, the Duke of Milan and generally attributed to the miniaturist, Bonifacio Bembo.

The face cards reputedly feature members of the Sforza and
Visconti families - the ruling Renaissance dynasties dating back to the XIII century - in period costume and key settings.

From Wiki:

"The name "Visconti-Sforza tarot" is used collectively to refer to incomplete sets of approximately 15 decks, now lcated in various museums, libraries, and private collections around the world. No complete deck has survived
"


detail from "the path of life" by hieronymus bosch.
(1485 - 1490)
shutters to "the haywain triptych", oil on wood.

uchenna bright: bass;
jen tobin: vocals and guitar.

Released on the Eternal Amateur label through Bowery Poetry Club Records.


THE FOOLS: THE DREAM from "Lost And Found" CD (Eternal Amateur) 2009 (US)

PREVIOUSLY: FOOL'S ERRAND

Thursday, July 9, 2009

pink military cadet school


photograph by richard kern.

Jayne Casey: vocals;
Dave Balfe: bass;
Bill Drummond: guitar; Ian Broudie: guitar;
Budgie: drums.
Recorded at the M.C.V.U. 4 track studio (Teac 3340S), Liverpool, July 1978.
Produced by Noddy Knowler.

BIG IN JAPAN: NOTHING SPECIAL from "From Y To Z And Never Again" 12" EP (Zoo) 1978 (UK)

Wednesday, July 8, 2009

the pig's whisker



london 'swings'. splice ice lollies and tizer fizz.


A Robin Williamson composition; perhaps the most outstanding of those previously unreleased demos produced by Joe Boyd, and finally issued in 1997. Much of the material here was ultimately re-recorded for 1968's magnificent "5,000 Spirits or the Layers of an Onion" and "Wee Tam & The Big Huge" - released through Elektra - but these original versions offer serious competition to their more lushly arranged definitive counterparts.

Spare and hauntingly elegant in execution, Boyd was not compelled here to contend with the exotic layering of instruments which would later play an integral part in the String Band's sound.

Also captured in these sessions is the eerie, "God Dog" - released by Shirley Collins with sister, Dolly - and "Lover Man", which Mike Heron allegedly penned for - or simply gifted to - fellow Scot, Al Stewart.

For the uninitiated, Pig's Whisker Music is the label founded by Williamson and wife, Bina to promote and distribute their joint ventures.

THE INCREDIBLE STRING BAND: SEE YOUR FACE AND KNOW YOU from "The Chelsea Sessions, 1967" CD (Pig's Whisker Music) 1997 (UK)

Tuesday, July 7, 2009

the greatest story ever told



WHITE SOCK !
[mass hysteria]


Go tell it on the mountain. The circus is still in town; and that means clowns, brothers and sisters. Jugglers and clowns.

I want to throw up. Over and over until there is wholly
f@cking nothin' left.

blue gene, baby



im•ped•i•ment
|ɪmˌpɛdɪm(ə)nt|
noun
a hindrance or obstruction in doing something.

ORIGIN late Middle English : from Latin impedimentum, from impedire (see IMPEDE).


I am more drawn to the crippled gait of Gene Vincent and His Blue Caps, I must confess, than the music it propelled. There is something mildly heroic in its caliper splinted drag; the insistence of a three legged pit bull to get right in one's face.

Ian Dury, of course, summed it up perfectly in his unrequited poem set in song, "Sweet Gene Vincent".

Knotted and twisted by poliomyelitis contracted at the height Britain's post-war (1949) Polio Epidemic
, he formed his first band, Kilburn and the High Roads in 1971. The year Vincent died. It is hardly surprising Dury - the child and teenager - should have idolized Vincent. The leather clad American made it easier to stand apart and face the taunts. He demonstrated that it is the thing which burns within that makes the man, that impediment is merely that: a hindrance to be stared down and overcome.

Heroes come in all shapes and sizes. Their stature alters through the years. We are speaking of role models here; the great, the gifted, and the defiant. He - or she - might be a poet; an idiot; a thief. The f@cking Green Lantern even.

Fathers tend not to possess the stuff out of which heroes are built. They are all too obvious in their failings.

Bukowski detested his. Most of us do, for a while at least. Often unflinchingly.

IAN DURY: SWEET GENE VINCENT from "New Boots And Panties!!" LP (Stiff) 1977 (UK)

IAN DURY
: MY OLD MAN from "New Boots And Panties!!" LP (Stiff) 1977 (UK)