#this is us tour 5 but this one performance is just bizarre and has no dancing

[millenari]

whatever the hell is going on here

[newyorkkiss]

obviously nobody gives a fuck about this but me, but here's an explanation of everything i have discovered about the japanese sneaks variant because i am 1) bored and 2) could be interesting to somebody else? doubtful on the latter but alas, let me explain.

as you'd know, i came into possession of a mint, sealed copy a series of sneaks around two months ago now. i'd actually spotted it many months earlier and had been eying it for awhile because it was so bizarre. why was there a japanese release of an album that had historically upon release, sold very bad, like 1,200 copies bad. so why was i only now discovering this? there was virtually nothing on this at all, and by nothing i mean no discogs page which i usually would expect on things. it just seemed to exist. anyways, i got the damn thing and that's when i started to figure out what's going on.

while scanning it i decided to translate the obi just out of pure curiosity.

for the sake of this here's what the back top half translated as:

This is the major label debut album of Spoon, a trio from Austin, Texas. Formed in 1992, they released the album "Telephono" in 1996 and the EP "Soft Effects" in 1997 on Matador. They made waves on the college charts while steadily increasing their fan base through tours with Yo La Tengo, Guided by Voices, and others. The dull and rough performance typical of an American indie guitar band is perfectly matched with catchy melodies.

pretty standard, normal OBI stuff. however, the part that made me notice we have something odder on our hands was the chunk at the bottom:

one thing i noticed straight away was the date of the album release (written year/month/day here) was august 15th. now, sneaks was released on april 28th in the US and got dropped 3 months post-release, in july. so this little thing seemingly existed after they got dropped which in itself, is kind of crazy. i also found it a little odd that its japanese release was so delayed, usually with a lot of them they are either slightly before western release or maybe a month later at that – but i could be wrong.

moving onto the red text, i have several japanese releases and their OBIs so seeing this was kind of strange. so again, i translated it:

Sample product This sample product is not for sale and has been loaned for promotional purposes. Any use other than the intended purpose (such as transferring or transferring to a third party) is strictly prohibited.

interesting! a promo product! wasn't expecting it to be a promo release, which made it more mysterious and illusive. usually promo material exists before an album release so this factored in with the almost 4 months after US release date was even more baffling.

i don't really know japanese album issue standards so if this is normal i wouldn't know, but it is maybe worth comparing it to this promotional copy of justice's † which has a release date of june 6 – a mere 5 days before its western release on june 11. just something to note, i guess.

anyways, with that scanned and looked at, i knew i'd never have the heart to open it to find out what the little japanese booklet contained. thought it was over, leaving with more questions than answers. however by some fucking stroke of sheer luck i managed to locate ANOTHER copy of it that was unsealed and contained the japanese booklet which, despite not having its OBI, was worth obtaining for the sake of preservation.

↑ first thing i noticed that was really cool but not really relevant to this at all – i just think its neat sorry – is that the outer spine on the inlay is written in japanese while the inner is in english. the OBI on my sealed one obscured that!

upon opening it up to get the booklet out, i noticed that it was well, a sheet, and a one-sided one at that. all the other sheets i've scanned have been double sided, one side has a write-up the reverse has all the lyrics translated into japanese.

here's a rough translation of all of that:

In the March 1997 issue of Crossbeat, I wrote a column called "Dislocated Rock, Played by the Distortion of Regional Cities." The column introduced the indie guitar bands (in the broad sense of the word) that were emerging simultaneously all over the United States at the time and invading the college charts one after another. The bands featured are Pavement, Neutral Milk Hotel, Archers of Loaf and their side unit, Barry Black, Number One Cup, Cake, and Built to Spill, a total of seven bands. I would say that what they have in common is "songs and performances that somehow seem to work on the edge of breaking down" and "melodies that don't pierce the ears, but penetrate the ears and stick to the folds of the brain."

I go on to point out that "they appear to have grown up in relatively wealthy families in regional cities (all seven bands are from regional cities), but the brutal Uranai rock and sweet melodies they play symbolize the dark side of suburban life, which may seem happy at first glance," and concludes by saying that the dark side of suburban life, that is, the distortion of regional cities," is one of the themes of modern America, so they are the most American of all." Basically, that idea hasn't changed, but now I think we can add another commonality: they see rock music as a part of their daily lives, as if it were a given. In other words, rock is the "ke" of "hare and ke." So their performance is sometimes rough, sometimes languid, reflecting the mood of the day, or rather, the mood that changes from moment to moment. In that difference in amplitude, I feel the breath of these so-called indie guitar bands living in regional cities.

Spoon, who recently made their major label debut, are originally an indie guitar band that blossomed in one of those local cities. Their major label debut album, "Series of Sneaks," is, so to speak, the result of indie guitar rock that was carefully crafted without being poisoned by trends fabricated in the heart of the music industry.

The band was formed in 1992 in Austin, Texas, with Britt Daniel (vocals/guitar), who worked on sound effects for CD-ROM games at a computer software company, as the core member, along with Wendell Stivers (guitar), currently with Sincola, Andy McGuire (bass), currently with Ursa Major, and Jim Eno (drums).

Just before their debut live show (they were going to play at a club and suddenly needed a band name), Daniel picked out some words he liked from his record collection as candidates for the band name, and all the members voted on it, and the name was decided to be "Spoon." Incidentally, the name was taken from the title of a song by the representative German rock band Can. However, what's interesting is that Daniel said, "I think it's the most boring word I've chosen."

And they called Fluffer and Peek-A-Boo, while recording for small indie bands, they also began to play live in the local Austin club scene, aiming to imitate Modern Lovers, Wire, Pixies, and Lou Reed. After Stivers left the band, Daniel took over as guitarist.

A turning point came in 1994, when they appeared at Anti-South by Southwest in Austin (apparently an alternative version of the South by Southwest rock festival held annually in Austin), and their performance caught the eye of Gerald Cosley, president of Matador Records, a major New York indie label. The following year, they signed with Matador.

By the time they toured with Yo La Tengo, Archers of Loaf, Guided by Voices, Pavement and others, they had steadily gained a fan base, and in 1996, they recorded the album Telephono with Austin producer John Croslin and the EP Soft Effects, which were hits on the college charts.

Incidentally, after the release of "Telephono," McGuire left the band. The bass player was replaced by Croslin and Scott Adair (currently with Paranoids), who also participated in the recording of "Soft Effects, but then left in the middle of the tour. At the end of 1996, Joshua Zarbo, who was in a band called Maxes Rajater in Denton, joined the band as his replacement, and they began recording at their own expense, produced by Croslin.

The material that was completed over the course of a year in 1997 was released in April (in the US) under the title "Series of Sneaks", after they signed with major label Elektra Records earlier this year.

Just to be sure, let's summarise the lineup once again:

Britt Daniel (vo/g)

Joshua Zarbo (b)

Jim Eno (ds) Then there's Brad Shenfeld, the unsung member of the trio. Shenfeld, the self-described spiritual leader and percussionist of Spoon, lives in Baja, Mexico, as a fisherman and has been touring and recording with the band since its formation.

John Croslin, who is a producer but also used to play bass and is almost a fourth (or maybe fifth, since Shenfeld is there?) member of the band, was originally a musician who led a guitar pop band called Reivers in Austin, and released two albums for local indie band DB (their debut is a masterpiece!). After the band broke up, he apparently turned to being a producer. In addition to Spoon, he also produced two albums for fellow rock'n'roll/power pop band Wannabes. He must be something of a leading figure in the Austin indie scene.

By the way, the music magazines over there keep mentioning the Pixies in this album.

I have listed and introduced them, but when I first heard them, I thought it was like Pavement playing The Who's songs. I think what I wrote in the first half of this article applies to their appeal, but specifically, their two main elements, the rough performance that is typical of an indie guitar band, and the subtle melody that lives within it (the impressive song melodies are layered with skilful chord changes), are firmly utilised in every song, from 1, which reminds me a little of Slade's "That's Why I Love You," to the murderously beautiful 14 there are certain things that are clearly utilised in every song.

This kind of melody (which doesn't really pierce the ear, but enters through the ear and sticks softly to the folds of the brain) is combined with a performance that is straight but distorted in a way, distorted but still straight, to create an intense and extremely raw sense of elation. This rawness would never be produced in the polished and harsh mainstream rock (I'm not saying that I'm denying mainstream rock music.)

Another highlight of this album is the performance or arrangement, where solid guitar riffs and lead guitars that sound like they are numb from a weak electric current are interwoven in each song, or even within a single song, to enrich the overall expression. Also, I really like how they don't resort to the method that indie bands tend to do, which is to blur the outline of the song and create a chaotic atmosphere, but instead focus on clearly outlining the song and ending each song concisely. Or rather, I think this properly conveys the image of the band Spoon and the impression of this album to the listener.

Well, overall the performance is relaxed, or rather there's nothing pretentious about it, but the explosiveness and concentration they show (and let us hear) when they lose their temper on tracks 6, 8, 11, 13 remind us that they still have that initial impulse, and it also makes you realise the unfathomable depths of this band. This album already ranked 14th on the College Chart dated May 18th (it remained at 14th on the chart dated June 1st), but even though they have moved to a major label, it doesn't have much sex appeal. I hope that they will continue to evolve and deepen their music at their own pace, without releasing anything (the same can be said for Elektra). However, I'm guessing that these people have nothing to do with such sex appeal. Or rather, as you progress step by step at your own pace, you might find yourself rising to the top of the scene before you know it. So let's all watch over the long term.

By the way, at the end of 2, the lead guitar suddenly plays the melody of "Sakura Sakura", but I wonder if it's just me hearing it?

↑ massive lol at the britt lie about brad. also all the text at the bottom below all of that is CD care instructions which i think is super neat!

once i got around to scanning the disc i noticed that there was something up, that something being a massive red text SAMPLE stamped in the center.

so not only did i find another japanese copy of sneaks, i found another promotional copy. what luck!

with all of that i have to assume: there was no actual wide domestic of a series of sneaks in japan and that all japanese copies that exist of it are entirely promotional – all other copies i have seen on japanese resale are mostly elektra US imports (with the odd merge reissue). with that, it's more than likely a full domestic release was abandoned as soon as the band got dropped – but this release existing well after that is just... odd i feel?

i leave this again with questions rather than answers, but i think it's safe to make some assumptions now. a very interesting little thing indeed.

[independentartistbuzz]

INDIE 5:0 - 5Q'S WITH MARYEN CAIRNS

Introducing the fabulous singer-songwriter Maryen Cairns!

Maryen is based in Guernsey and is well known for her allegorical folk-pop style which has delighted fans around the world, as well as gaining critical acclaim.

Her music career spans the last three decades, and includes the release of seven solo albums under the mentorship and guidance of esteemed music producer Chris Kimsey (of Rolling Stone), as well as collaborations with Fish, the former lead singer of Marillion.

In August 2023, Maryen embarked on a transformative journey across the UK, reconnecting with her audience in a series of ten intimate performances. These shows offered her fans to experience her music in a really personal way.

Her music initiative called "The Cairns Club" also provides another way for fans to engage with her music. More recently, Maryen collaborated with producer Chris Kimsey at Echotown Studios.

Over two days of live recording sessions, Maryen poured her heart and soul into nine carefully curated tracks, resulting in the creation of "One Woman Band, Live at Echotown Studios, Vol. 1", due to be released next month.

We caught up with Maryen to find out more about her passion for all things music, her inspirations, and what fans can look forward to next:

Your upcoming live album, "One Woman Band, Live at Echotown Studios, Vol 1,"   re-imagines your classic recordings in an intimate setting. 

What inspired you to embark on this project, and what do you hope listeners will take away from it?

I’ve always believed that a song should  be able to stand on it’s own, just a voice singing by itself - and this was the inspiration behind the Cairns Club Livestreams, the resulting ANEW tour, and the “One Woman Band, Live at Echotown Studios” sessions. 

My mission was to give the audience each song in a very simple way, but to still have sonic intrigue, and my fascination with percussion is a big part of this journey… “Give To The Chase” features an entirely percussive backdrop to the voice, whilst fingerpicked or plectrum driven acoustic guitar, or piano, come to the fore on other tracks… occasionally all at once. I hope that listeners can enjoy their immersion into the sound, knowing that it exists exactly like this for just that moment… I never play a song exactly the same twice.

Throughout your career, you've demonstrated a talent for storytelling through your music.

Can you share a bit about your creative process when crafting narratives and characters within your songs? Do you take inspiration from personal experiences mainly, literature, or other sources?

Inspiration hits me from different sources, and historic stories, real stories, are definitely a big one for me - I’ve discovered reality is often way stranger than fiction. I’m intrigued with people and why they do what they do and their relationships with each other. 

Of course my own experiences and life lived come into play, and this has become deeper over time… growing up myself, entering the world of birth and motherhood, living with babies and toddlers all the way through the teens and segueing into adulthood, watching ones’ children having their own lives… the whole of these human experiences come out through my art.

I’m inspired by nature and the elemental forces - and I’m inspired by bizarre possibilities, of fantasy & science fiction… I love to read fiction and almost always have a book I’m in the middle of.

If I’m writing about a real historical person or event, I research extensively and I tend to write many more words than my final lyrics will have… and then the melody and chords will come from those words. The hardest thing writing about history is settling on the version of the truth… because most of the time there are differing accounts, and at some point I have to decide which version of the story to go with… this is harder than when I’m writing my own fictional story!

From your early days using home studio recording equipment to working with acclaimed producers like Chris Kimsey, you have experienced various aspects of the music industry.

How have these experiences shaped your approach to production, and what advice would you give to emerging artists looking to hone their own sound?

Overall my approach to production comes down to keeping complete control, but knowing when to hand over the reins to someone whom I trust.

Hence, in general I do all my own recording at home in my little studio and I spend a lot of time shaping a track… but when I feel more is needed then I reach out.

With my recent focus on capturing what I was doing live, though, I completely changed my approach… instead I went into the very high-end quality Echotown Studios and was purely the performing artist playing the songs to the small audience. In fact, I went so far as refusing to even listen back to the tracks, because I didn’t want to get distracted from my performance. This resulted in 30 tracks being recorded in 2 days, which were mixed later in Chris Kimsey’s own home studio.

My advice is to take a good look at what your main skills are, and make sure you have autonomy over your own work. 

Most artists are best learning how to record themselves: set up as good a studio as you can to work in by yourself - and believe me, a lot can be done with a very simple set up! - and spend as much time in it as possible experimenting with songs and sound.

However, if performing is your highest skill then concentrate on that, engaging other music professionals to record your performances. 

In all cases, do your research to find a producer or mixing engineer who has worked with artists you like. Don’t be afraid to approach them… everyone likes to discover new amazing artists, and maybe you’ll meet someone great who’s on your wavelength and helps you reach your full potential!

Your connection with your audience has deepened over the years, especially through initiatives like The Cairns Club and livestream concerts.

How do you cultivate this sense of intimacy and engagement in your performances, both in-person and online? 

I used to be very shy with my listeners, but The Cairns Club has brought me into conversation with my audience, which has given me confidence and deepened my connection with them. This happened initially online, and now that I’m venturing off the island (I live in Guernsey) I’m finding myself enjoying continuing the conversations & songs in-person. 

Looking forward to more shows in the UK in 2024 and hoping to venture further afield in 2025!

Throughout your career, you've explored a wide range of themes and topics in your music, from personal reflections to broader social issues.

Are there any particular subjects or messages that you find yourself increasingly drawn to convey in your songs as your career progresses. 

I’m more and more drawn to writing about connections between us - past and future -  and of nature, Mother Earth… and our connection, as human beings, as ethereal beings, with this amazing planet we have grown from.

… I also have a notebook filled with stories, amazing stories, that I need to tell… 

Listen to Maryen Cairns' new single "Give To The Chase", out now!

Keep up to date with Maryen on her Website, and social media Facebook and Instagram.

Stream music on Spotify, Apple Music and YouTube Music.

[jedivoodoochile]

(46 YEARS AGO) August 29, 1977 - Iggy Pop: Lust for Life is released.

# All Things Music Plus+ 5/5

# Allmusic 5/5

# Rolling Stone (see original review below)

Lust for Life is the second solo album by Iggy Pop, released on August 29, 1977. It reached #120 on the Billboard Top 200 LP's chart and #28 on the UK Albums chart.

Iggy and Bowie at the height of their respective powers presented a formidable artistic engine, and Lust For Life sees them working up a full head of steam. Two songs will need little introduction - 'Lust For Life' and 'The Passenger' are as intrinsic to the tapestry of 70s rock music as sundry Beatles efforts were to the previous decade (their influence on 90s film soundtracks is a testament to their durability). Those monolithic jukebox favorites aside, listeners may also find space in their hearts for the swaggering 'Neighbourhood Threat' (shades of the Stooges, without the musical clatter) and the disquieting 'Turn Blue', written from the viewpoint of an overdosing junkie.

The Lust for Life sessions took place soon after the completion of a concert tour in support of The Idiot album, the tour ending on 16 April 1977. Pop has stated, "David and I had determined that we would record that album very quickly, which we wrote, recorded, and mixed in eight days, and because we had done it so quickly, we had a lot of money left over from the advance, which we split."

The singer slept little during its making, commenting "See, Bowie's a hell of a fast guy... I realized I had to be quicker than him, otherwise whose album was it gonna be?" Pop's spontaneous lyrical method inspired Bowie to improvise his own words on his next project, "Heroes".

Bowie, Pop, and engineer Colin Thurston produced Lust for Life under the pseudonym "Bewlay Bros." (name via the final track on Bowie’s Hunky Dory). The recording was made at Hansa Studio by the Wall in Berlin and featured Ricky Gardiner and Carlos Alomar on guitars with Hunt and Tony Sales on drums and bass, respectively. With Bowie on keyboards and backing vocals, the team included three-quarters of the future Tin Machine line-up; the Sales brothers’ "gale-force" contribution to this album led Bowie to invite them to join his new band twelve years later ("Check out Lust For Life," he told guitarist Reeves Gabrels, "I’ve found the rhythm section!").

__________

ORIGINAL ROLLING STONE REVIEW

Iggy Pop's second comeback album leaves one with ambivalent feelings: glad that Iggy is alive, apparently well, writing, singing and performing again, but upset because his new stance is so utterly unchallenging and cautious. Taken purely on its own terms, Lust for Life is a successful album. Side one is quite good, starting with the title cut, which rocks with a Sandy Nelson-like drum style while Iggy delivers his survivor message to the masses, and continuing to the closing track, "Tonight," easily the most straightforward pop song Iggy has written. Side two is considerably weaker, with a pair of overdrawn ballads, an infectious throwaway and one bona fide winner, the ominous "Neighborhood Threat."

Were this just another album by just another artist, that might be the end of it, but Iggy Pop has never been just another entertainer. As rock's truest bad boy, Iggy led the Stooges with a vision of frustrated, depressed and angry young adult life that will probably never be seen (or dared) again. That he has come back from the edge relatively intact is almost a miracle. With David Bowie as producer and guide, he is actually realizing a career for the first time. Like Lou Reed, Iggy is most likely headed on a course just left of center, bizarre enough to attract those inclined toward something different but safe enough not to scare them away.

It is questionable, though, whether Iggy has anything important left to say. To make any art in the future, he would probably have to start self-destructing, and neither he nor any of us really want to see him crawling through the broken glass again. Here comes success, Iggy, and you deserve it more than just about any perform I've ever seen or heard. I just wish there were some way that your music could be important and your life happy at the same time.

~ Billy Altman (January 12, 1978)

TRACKS:

All lyrics written by Iggy Pop except "Turn Blue" by Pop and Walter Lacey.

Side one

"Lust for Life" – 5:13 (David Bowie)

"Sixteen" – 2:26 (Pop)

"Some Weird Sin" – 3:42 (Bowie)

"The Passenger" – 4:44 (Ricky Gardiner)

"Tonight" – 3:39 (Bowie)

Side two

"Success" – 4:25 (Bowie, Gardiner)

"Turn Blue" – 6:56 (Bowie, Warren Peace)

"Neighborhood Threat" – 3:25 (Bowie, Gardiner)

"Fall in Love with Me" – 6:30 (Bowie, Hunt Sales, Tony Sales)

[lochtayboatsong]

The Jesus Christ Superstar essay absolutely no one asked for.

Last weekend, I watched the pro-shot of the 2012 arena tour of Jesus Christ Superstar starring Ben Forster, Tim Minchin, and Melanie C, because it was Easter and it was up on YT for the weekend.  I never managed to do my annual listen-through of Leonard Bernstein’s Mass this year, as is my usual Easter tradition, so I figured “Why not watch/listen to this instead?”  It was my first time seeing and hearing JCS in full, and Y’ALL, it has been living rent-free in my brain ever since.  I have a mighty need to get my thoughts out, so here they are, in chronological order by song.  

1) Prologue: I love the way JCS 2012 makes use of the arena video screen.  The production design and concept clearly took a lot of inspiration from the “Occupy ______” movement, which makes it feel a bit dated now.  But every single production of JCS is a product of its time period, so this is a feature and not a bug.  

2) Heaven On Their Minds: This is a straight-up rock song.  It wouldn’t be out of place on any rock and roll album released between 1970 and 2021, and it boggles my mind that Webber and Rice were both in their early twenties when they wrote it.  Also, the lyric “You’ve begun to matter more than the things you say” hits hard no matter the year.

3) What’s the Buzz: A+ use of the arena screens again, this time bringing in social media to set the tone.  Also, this song establishes right from the outset that Jesus is burnt out and T I R E D by this point in the story.  Seriously, can we just let this man have a nap?

4) Strange Thing Mystifying: Judas publicly calls out Mary and Jesus claps back.  Folx, get you a partner who will defend your honor the way Jesus defends MM in this scene.  Also Jesus loses his shoes and is mostly barefoot for the remainder of the show.

5) Everything’s Alright: Okay, this is one of the songs I have A LOT to say about.  First, it’s important to know that I was a church musician throughout all of my adolescence and into my early adulthood.  The pianist at the services I usually played at was a top-notch jazz pianist, and also my piano teacher for about six years while I as in high school and undergrad.  (Incidentally, I had a HUGE crush on his son, who was/is a jazz saxophonist and clarinetist and also played in the church band, but that’s a story for another day.)  One of the hymns we played a few times a year was called “Sing of the Lord’s Goodness,” which is notable for being in 5/4 time.  Whenever this hymn was on the schedule, it was usually the recessional, or the last song played as the clergy processed out and the congregation got ready to leave, so we were able to have some fun with it.  After a couple verses the piano player and his son would usually morph it into “Take Five,” a famous jazz standard by Dave Brubeck which is also in 5/4 time.  Anyway, the first time I listened to this song in full, it got to Judas’s line “People who are hungry, people who are starving,” and I sat bolt upright and went “HOLY SHIT THIS IS ‘SING OF THE LORD’S GOODNESS/TAKE FIVE.’”  And I was ricocheted back in time to being fourteen and trying to keep up with this father/son duo in a cavernous Catholic church while simultaneously making heart-eyes at the son.  Final note: This is the only song in the musical to feature all three leads (Jesus, Judas, and Mary Magdalene) and is mostly Jesus and MM being soft with each other in between bouts of Jesus and Judas snarling at one another.

6) This Jesus Must Die: I LOVE that all the villains in this production are in tailored suits.  LOVE IT.  Also, Caiaphas and Annas are a comedy duo akin to “the thin guy and the fat guy,” except in this case it’s “the low basso profundo and the high tenor.”  Excellent use of the arena video screen again, this time as CCTV.

7) Hosanna: My background as a church musician strikes back again.  It honestly took me two or three listens to catch it, but then I had another moment of sitting bolt upright and going “HOLY SHIT THIS IS A PSALM.”  Psalms sung in church usually take the form of call-and-response, with a cantor singing the verses and the congregation joining in for the chorus.  If I close my eyes during this song, I have no trouble imagining Jesus as a church cantor singing the verses and then bringing the congregation in for the “Ho-sanna, Hey-sanna” chorus. 

8) Simon Zealotes: This is part “Gloria In Excelsis” and part over-the-top Gospel song.  Honestly it’s not my favorite, but it marks an important mood change in the show.  The end of “Hosanna” is probably Jesus at his happiest in the entire show, and then Simon comes in and sours the mood by trying to tip the triumphant moment into a violent one.  Jesus is not truly happy again from this moment on.

9) Poor Jerusalem: Also not my fave.  It kinda reads like Webber and Rice realized that Jesus didn’t have a solo aria in Act I, so they came up with this.  But it has the distinction of containing the lyric, “To conquer death you only have to die,” which is the biggest overarching theme of the story.

10) Pilate’s Dream: Pontius Pilate might be the most underrated role in this entire show, and I love that this production has him singing this song while being dressed in judge’s robes.  

11) The Temple: The first half of this is one of the campiest numbers in Act I, at least in this production, and it’s awesome.  The second half is one of the saddest, as Jesus tries to heal the sick but finds there are too many of them.  Also the whole scene is almost entirely in 7/8 time, which I think is just cool.

12) I Don’t Know How To Love Him: Mary Magdalene’s big aria, and one of the songs I knew prior to seeing the full-length show.  This production has MM taking off her heavy lipstick and eye makeup onstage, mid-song, which is kind of cool.  Melanie C says in a BTS interview that MM’s makeup is her armor, so this is a Big Symbolic Moment.

13) Damned For All Time: The scene transition into this song is played entirely in pantomime, and I love it.  The solo guitarist gets to be onstage for a bit, A+ use of the video screen again to show Judas on CCTV, etc.  Love it.  And then this song is Judas frantically rationalizing what he’s doing, and what he’s about to do, with Caiphas and Annas just reacting with raised eyebrows and knowing looks.

14) Blood Money: This is where the tone of the show really takes a turn for the dark.  I think this might be one of Tim Minchin’s finest moments as Judas, because his facial expressions and microexpressions throughout this scene speak absolute volumes.  And the offstage chorus quietly singing “Well done Judas” as he picks up the money is a positively chilling way to end Act I.

15) The Last Supper: Act II begins with major “Drink With Me” vibes.  (Except JCS came WAY before Les Miz, so it’s probably more accurate to say that “Drink With Me” has major “The Last Supper” vibes.)  Jesus and Judas have their knock-down, drag-out fight, and it’s honestly heartbreaking, thanks again to Tim Minchin’s facial expressions.  A well-done production of JCS will really convey that Jesus and Judas were once closer than brothers, even though their relationship is at breaking point when Act I begins.

16) Gethsemane: This is Jesus’s major showpiece and one of my faves.  Jesus knows he has less than 24 hours to live, he knows he’s going to suffer, and worst of all, he doesn’t know whether it’s going to be worth it.  It’s an emotional rollercoaster to watch and to perform, and it goes on for ages: something like 6 or 7 minutes.  Fun fact: the famous G5 is not written in the score.  Ian Gillan, who played Jesus on the original concept album, just sang it that way, so most subsequent Jesuses have also done it that way.  Lindsay Ellis has a great supercut of this on YT.  John Legend notably sang the line as written during the 2018 concert.  

17) The Arrest: Judas’s Betrayer’s Kiss is played differently across different productions.  The 2012 version is pretty tame - I’ve seen clips and gifs of other productions, including the 2000 direct-to-video version, where they kiss fully on the mouth and have to be dragged apart by the guards and it is THE MOST TENDER THING.  Then the 7/8 riff from “The Temple” comes back and the 2012 version lets the video screen do its thing again as Jesus is swarmed by reporters.

18) Peter’s Denial: Not much to say about this one, as it’s basically a scene transition.  But it’s a significant moment in the Passion story, so I’m glad they included it.

19) Pilate and Christ: The 2012 production continues with the theme of Caiaphas, Annas, and Pilate all being bougie af, since Pilate intentionally looks like he just came from tennis practice during this scene.  Also he does pilates...hehehe.

20) King Herod’s Song: Tim Minchin says in a BTS interview that JCS works best when Jesus and Judas are played seriously and the rest of the production is allowed to be completely camp and wild and bizarre all around them, and he is bloody well CORRECT about that.  Case in point: King Herod.  There is not a single production of JCS that I know of where Herod is played “straight.”  He’s been played by everyone from Alice Cooper to Jack Black, and everyone puts a different zany spin on him.  In JCS 2012 he’s a chat show host in a red crushed velvet suit, who is clearly having the time of his LIFE. 

21) Could We Start Again Please: This is another of my faves.  Just a quiet moment where MM, Peter, and the disciples try to grapple with the fact that Jesus is arrested and things are going very, very badly.  This is also my favorite Melanie C moment of the 2012 show.  Her grief is very real, and the little moment she has with Peter at the end is very real.

22) Death of Judas: This is basically Tim Minchin screaming for about five minutes, and incredibly harrowing to watch on first viewing.  

23) Trial Before Pilate: Possibly my single favorite scene in the entire 2012 production.  This is another harrowing watch, but there’s so much to take in.  The “set” that the entire show takes place on is essentially just a massive staircase, and the people with power are almost always positioned above the people without power.  In this scene, the crowd shouting “Crucify Him!” is positioned above Pilate, which is a very telling clue to Pilate’s psychology during this scene.  Jesus is at the very bottom of the stairs, of course.  Excellent use of the video screen once again during the 39 Lashes, to show the lash marks building and building until the entire screen is a wash of red.  Pilate’s counting also gets more and more frantic, especially starting around “20.”  And all the while the guitar riff from “Heaven On Their Minds” is playing.  Jesus’s line “Everything is fixed and you can’t change it” is played quite differently in different productions - here it’s defiant, but elsewhere (in JCS 2000 for example) it’s almost tender, like Jesus is absolving Pilate for his part in the trial.  But it always ends the same - with Pilate almost screaming as he passes the sentence and “washes his hands” of the whole sorry business. 

24) Superstar: The most over-the-top number in the show.  Judas, who died two scenes ago, comes back to sing this.  There are soul singers.  There are girls in skimpy angel costumes.  The parkour guys from the prologue are back.  Judas pulls a tambourine out of hammerspace midway through the song.  And Jesus is silently screaming and crying as he gets hoisted onto a lighting beam while all this is going on.

25) The Crucifixion: More of a spoken-word piece than a song, it’s Jesus’s final words on the cross over eerie piano music, and another harrowing watch.

26) John 19:41: An instrumental piece in which Jesus is taken from the cross and carried, at last, to the top of the stairs, before being lowered out of sight as the video screen turns into a memorial wall and everything fades to black.

So.  I know I’m anywhere from three to fifty-one years late to this particular party, but I am on the JCS bandwagon now and I’m thoroughly enjoying myself.  :)

[guiltypleasurefandomface]

1, 5, 8, 12, 13, 14, 15, 16 ok, I'll stop LOL // onegoldenglance

Blimey! This took me a while 😁

1) an album you can’t stop listening to lately

Good Years by The Shires.

5) name an album you feel is perfect

A Night at the Opera

8) name an artist/band that isn’t touring at the moment who you’d really like to see in concert

Does The Beatles count for this answer? 

12) if you could hear any album performed live in its entirety, which would it be?

Ooooh! This is a tough one. I always forget how much I struggle to make decisions until I do one of these ask games. 

I mean, you've got Pink Floyd's Dark Side of the Moon and Meatloaf's Bat out of hell and then all of Queens albums. Roger's Outsider and KT Tunstall's acoustic extravaganza. Westlife's Unbreakable Best Of Album 2002  Oh it's so hard to choose. 

Queen II

13) if you could talk to any musician, who would it be? what would you want to say?

I have to choose one!? Out of all the musicians dead or alive!?

It would have to be Freddie. I would tell him what lyrics of which songs resonate with me and that I love his imagery and his poetry in all of his music  and that he was one of the most beautiful and talented artists this world has ever seen.

14) is there any band/musician who you really strongly dislike? if so, why?

Erm. Well nothing to do with her music but there's Laura Mvula. Long story short, she is/was an amazing singer who was diagnosed with CFS/ME way outside of the window and parameters of a CFS/ME diagnosis because she didn't believe her getting so sick on her first tour could be just stress and exhaustion leading to a viral infection. 

She somehow bypassed the post viral syndrome stage of being diagnosed with CFS. Within the time frame of what would be PVS recovery, she underwent the controversial Graded Exercise Therapy which is based on bad fraudulent science from a study filled with medical errors and bizarre conclusions and whilst most people get worse under it, and she miraculously got better. Then she became a vocal advocate of GET, her story was used as a success story for GET and she supported the people behind the fraudulent study who called sufferers of CFS/ME who did not get better after undergoing GET "malingerers" and "people who just like being ill". Mvula then suddenly went quiet when campaigners were successful in getting NICE to remove GET as an approved treatment for CFS and now you can't even find any mention of her ever having CFS/ME in any of her biographies, or the fact it was most likely post viral syndrome in the first place. She hasn't apologised or acknowledged how her actions and attitude caused harm to others with CFS/ME, she just acts like it never even happened.

15) have you ever traveled outside of your area to see a concert? if not, would you want to?

Yes. London, baby! But never again though. 

16) have you ever been in the first row for a concert? if not, what was the closest seat you’ve ever had?

I have! Funny story to this actually. In the time between booking the tickets in the beginning of the year and the concert at the end of the year, the venue changed the seating layout and 5 of us - me and my friend and a group of 3 we didn't know - turned up to find our seats sort of no longer existed. Two of them were now restricted view. The venue had to find us seats wherever they could. I bagged front row with the couple of the 3 and my friend got the back of the stalls because she was tall and I think the third person of the other group got the balcony. 

[thefakejeffreyazoff]

‘He’s our Satan’: Mega music manager Irving Azoff, still feared, still fighting

(x)PEBBLE BEACH, Calif. —  

This is not Irving Azoff’s house. Irving and his wife Shelli own houses all over, from Beverly Hills to Cabo San Lucas, but right now in the last week of October it’s too cold at the ranch in Idaho and too hot at the spread in La Quinta, so he’s renting this place — a modest midcentury six-bedroom that sold for $5 million back in 2016.

From the front door you can see all the way out, to where Arrowhead Point juts like the tail of a comma into the calm afternoon waters of Carmel Bay. More importantly, the house is literally across the street from the Pebble Beach Golf Links, where Azoff likes to play with his college buddy John Baruck, who started out in the music business around the same time Azoff did, in the late ’60s, and just retired after managing Journey through 20 years and two or three lead singers, depending how you count.

(Via LA Times) 

Azoff is 72, and this weekend he’ll be inducted into the Rock and Roll Hall of Fame alongside Bruce Springsteen’s longtime manager Jon Landau. Beatles manager Brian Epstein and Rolling Stones manager Andrew Loog Oldham are already in, but Azoff and Landau are the first living managers thus honored. Azoff is not only alive — he’s still managing. As a partner in Full Stop Management — alongside Jeffrey Azoff, his oldest son and the third of his four children — he steers the careers of clients like the Eagles, Steely Dan, Bon Jovi and comedian Chelsea Handler, and consults when needed on the business of Harry Styles, Lizzo, John Mayer, Roddy Ricch, Anderson .Paak and Maroon 5. Azoff has Zoom calls at 7, 8 and 9 tomorrow morning, and only after that will he squeeze in a round.

The work never stops when you view the job the way Azoff does, as falling somewhere between consigliere and concierge. “My calls can be everything from ‘My knee buckled, I need a doctor’ to ‘My kid’s in jail,’” Azoff says. “I mean, you have no idea. The ‘My kid’s in jail’ one was a funny one, because the artist then said to me, ‘Y’know, I’ve thought about this. Maybe we should leave him there for a while.’”

Golf entered Azoff’s life the way a lot of things have — via the Eagles, whom Azoff has managed since the early ’70s. Specifically, Azoff took up golf in the company of the late Glenn Frey, the jockiest Eagle, the one the other Eagles used to call “Sportacus.” By the time the Eagles returned to the road in the ’90s they’d left their debauched ’70s lifestyles largely behind, but Azoff and Frey got hooked on the little white ball.

“Frey would insist on booking the tour around where he wanted to play golf,” Azoff says. “We made Henley crazy. Henley would call me in my room and he’d go, ‘Why the f— are we in a hotel in Hilton Head North Carolina and starting a tour in Charlotte? Is this a f— golf tour?’”

Trailed by Larry Solters, the Eagles’ preternaturally dour minister of information, Azoff makes his way down the hill from the house for dinner at the golf club’s restaurant. He’s only 5 feet, 3 inches, a diminutive Sydney Pollack in jeans and a zip-up sweater. In photos from the ’70s — when he was considerably less professorial in comportment, a hipster exec with a spring-loaded middle finger — he sports a beard and a helmet of curly hair and mischievous eyes behind his shades, and looks a little like a Muppet who might scream at Kermit over Dr. Teeth’s appearance fee.

His father was a pharmacist and his mother was a bookkeeper. He grew up in Danville, Ill., booked his first shows in high school to pay for college, dropped out of college to run a small Midwestern concert-booking empire and manage local acts such as folk singer Dan Fogelberg and heartland rock band REO Speedwagon. Los Angeles soon beckoned. He met the Eagles while working for David Geffen and Elliot Roberts’ management company and followed the band out the door when they left the Geffen fold; they became the cornerstone of his empire. “I got my swagger from Glenn Frey and Don Henley,” he says. “No doubt about it.”

Azoff never took to pot or coke. The Eagles lived life in the fast lane; he was the designated driver. “Artists,” he once observed, “like knowing the guy flying the plane is sober.” This didn’t stop him from trashing his share of hotel rooms, frequently with guitarist Joe Walsh — whose solo career Azoff shepherded before Walsh joined the Eagles, and who was very much not sober at this time — as an accomplice.

“This was a different age,” Walsh says of his time as the band’s premier lodging-deconstructionist. “We could do anything we wanted, so we did. And Irving’s role was to keep us out of prison, basically.” He recalls a pleasant evening in Chicago in the company of John Belushi and Dan Aykroyd, which culminated in Walsh laying waste to a suite at the Astor Towers hotel that turned out to be the owner’s private apartment. “We had to check out with a lawyer and a construction foreman,” Walsh remembers. “But Irving took care of it. Without Irving, I’d still be in Chicago.”

Azoff became even more infamous for the pit bull brio he brought to business negotiations on behalf of the Eagles and others, including Stevie Nicks and Boz Scaggs. He didn’t seem to care if people liked him, and his artists loved him for that. Steely Dan co-founder Walter Becker said they’d hired Azoff because he “impressed us with his taste for the jugular … and his bizarre spirit.” Jimmy Buffett’s wife grabbed him outside a show at Madison Square Garden, pushed him into the back of a limo and said, You have to manage Jimmy, although Buffett already had a manager at the time.

His outsized reputation as an advocate not just willing but eager to scorch earth on behalf of his clients became an advertisement for his services, a phenomenon that continues to this day. In August 2018, Azoff’s then-client Travis Scott released “Astroworld,” which debuted at No. 1 on the Billboard 200 chart, and occupied that slot again the following week, causing Nicki Minaj’s album “Queen” to debut at No. 2. On her Beats One show “Queen Radio,” Minaj accused Scott of gaming Billboard’s chart methodology to keep her out of the top slot and singled his manager out by name: “C—sucker of the Day award,” she said, “goes to Irving Azoff.” Azoff says he reacted as only Azoff would: “I said, ‘I’m really unhappy about that. I want to be c—sucker of the year.’” In 2019, Minaj hired Azoff as her new manager.

Most of the best things anyone’s ever said about Azoff are statements a man of less-bizarre spirit would take as an insult. When the Rock and Roll Hall of Fame inducted the Eagles in 1998, Don Henley stood onstage and said of Azoff, “He may be Satan, but he’s our Satan.”

An N95-masked Azoff takes a seat on a patio with a view of hallowed ground — the first hole of the Pebble Beach course, a dogleg-right par 4 with a priceless view of the bay. He cheerfully admits that he and his partners at Full Stop are “obviously, as a management business, kind of losing our ass” this year due to COVID-19. In another reality, the Eagles would have played Wembley Stadium in August before heading off to Australia or the Far East. Styles would have just finished 34 dates in the U.S., Canada and Mexico. As it stands Azoff is hearing encouraging things about treatments and vaccines and new testing machines, and is reasonably confident that technology will soon make it possible for certified-COVID-free fans to again enjoy carefree evenings of live music together; he doesn’t expect much to happen in the meantime.

“What are you gonna do,” Azoff says, “take an act that used to sell 15,000 seats and tell them to play to 4,000 in the [same] arena? The vibe would be horrible, and production costs will stay the same.”

He knows of at least six companies trying to monetize new concert-esque experiences — pay-per-view shows from houses and soundstages, drive-in events and so on. But he’s not convinced anybody wants to sit in their parked car to watch a band play. More to the point, he’s not convinced it’s rock ’n’ roll.

“Fallon and Kimmel, all these virtual performances — people are sick of that,” he says. “Your production values from home aren’t that good. And they’re destroying the mystique. I mean, Justin Bieber jumping around on ‘Saturday Night Live’ the other night without a band, and then he had Chance the Rapper come out? It made him look to me, mortal. I didn’t feel any magic. So we’ve kinda been turning that stuff down to just wait it out.”

In the meantime, he says, Full Stop is picking up new clients during the pandemic. Artists with time on their hands, he believes, “have taken a hard look at their careers— so we’ve grown. No revenues,” he adds with a chuckle, “but people are saying, ‘We need you, we need to plan our lives.’”

“IN HIGH SCHOOL,” Jeffrey Azoff says, “I wanted to be a professional golfer, which has obviously eluded me.” He never expected to take up his father’s profession. “But my dad has always loved his job so much. There’s no way that doesn’t rub off on you.”

The younger Azoff got his first industry job at 21, as a “glorified intern” working for Maroon 5’s then-manager Jordan Feldstein. After a week of filing and fetching coffee, he called his father and complained that he was bored. According to Jeffrey, Irving responded, “Listen carefully, because I’m going to say this one time. You have a phone and you have my last name. If you can’t figure it out, you’re not my son.”

“Direct quote,” Jeffrey says. “It’s one of my favorite things he’s ever said to me. And it’s the spirit of the music business, by the way. There are no rules to this. Just figure it out.”

Over dinner I keep asking Irving how he got the temerity, as a kid barely out of college, to plunge into the shark-infested waters of the ‘70s record industry in Los Angeles. He just shrugs.

“I never felt the music business was that competitive,” he says. “It’s just not that f—ing hard. I don’t think there’s that many smart people in our business.”

It’s been written, I say, that once you landed in California and sized up the competition, you called John Baruck back in Illinois and said —

“We can take this town,” Azoff says, finishing the sentence. “Where’d you get that? John told that story to [Apple senior vice president] Eddy Cue on the golf course three days ago. It’s true. I called John up and said, ‘OK, get your ass out here. We can take this town.’”

In the ensuing years, Azoff has occupied nearly every high-level position the music industry has to offer, surfing waves of industry consolidation. He’s been the president of a major label, MCA; the CEO of Ticketmaster; and executive chairman of Live Nation Entertainment, the behemoth formed from Ticketmaster’s merger with Live Nation. In 2013 he and Cablevision Systems Corp. CEO and New York Knicks owner James Dolan formed a partnership, Azoff MSG Entertainment; Azoff ran the Forum in Inglewood for Dolan after MSG purchased it in 2012.

Earlier this year Dolan sold the Forum for $400 million to former Microsoft CEO and Clippers owner Steve Ballmer, who’s since announced plans to build a new stadium on a site just one mile away. Despite the apocalyptic parking scenario that looms for the area — two stadiums and a concert arena on a one-mile stretch of South Prairie Boulevard — Azoff is confident that the Forum will live on as a live-music venue. “People are going, ‘They’re going to tear it down’ — they’re not going to tear it down,” Azoff says. “It’s going to be in great hands. I have many of the artists we represent booked in the Forum, waiting for the restart based on COVID.”

The holdings of the Azoff Co. — formed when Dolan sold his interest in Azoff MSG back to Azoff two years ago — include Full Stop, the performance-rights organization Global Music Rights and the Oak View Group, which is developing arenas in Seattle and Belmont, N.Y., and a 15,000-seat venue on the University of Texas campus in Austin. Azoff describes himself as increasingly focused on “diversification, and building assets for the family that aren’t just dependent on commissions, shall we say.”

But as both a manager and a co-founder of a lobbying group, the Music Artists Coalition, he’s also devoting more time and energy to a broad range of artists’-rights issues, from health insurance to royalty rates to copyright reversion to this year’s Assembly Bill 5, which threatened musicians’ independent-contractor status until it was amended in September. (“That was us,” Azoff says, somewhat grandly. “I got to the governor, the governor signed it — Newsom was great on it.”) He describes his advocacy for artists — even those he doesn’t manage — as a “war on all fronts,” and estimates there are 21 major issues on which “we’ve sort of appointed ourselves as guardians.”

He does not continue to manage artists because he needs the money, he says. (As the singer-songwriter and Azoff client J.D. Souther famously put it, “Irving’s 15% of everybody turned out to be more than everyone’s 85% of themselves.”) Everything he’s doing now — building clout through the Azoff Co., even accepting the Hall of Fame honor — is ultimately about positioning himself to better fight these fights. “I’d rather work on [these things] than anything else,” he says. “But if I didn’t have the power base in the management business, I couldn’t be effective.”

The recorded music industry, having fully transitioned to a digital-first business, is once again making money hand over fist, he points out, but even less of that money is trickling down to artists. That imbalance long predates Big Tech’s involvement in the field, but the failure of music-driven tech companies to properly compensate musicians is clearly the largest burr under Azoff’s saddle.

“These people, when they start out — whether it’s Facebook, Snapchat, TikTok, whatever — they resist paying for music until you go beat the f— out of them. And then of course, none of them pay fair market value and they get away with it. Your company’s worth $30 billion and you can’t spend 20 grand for a song that becomes a phenomenon on your channel? Even when they pay, artists don’t get enough. Writers don’t get enough. Music, as a commodity, is more important than it’s ever been, and more unfairly monetized for the creators. And that’s what creates an opportunity for people like me.”

AZOFF’S FIRM NO longer handles Travis Scott, by the way. “Travis is unmanageable,” Azoff says, nonchalantly and without rancor. “We’re involved in his touring as an advisor to Live Nation, but he’s calling his own shots these days.”

I ask if, in the age of the viral hit and the bedroom producer, he finds himself running into more artists who assume they don’t need a manager. Ehh, Azoff says, like it’s always been that way. “There’s a lot of headstrong artists,” he says. “I haven’t seen one that’s better off without a manager than with,” he says, and laughs a little Dennis the Menace laugh.

We’re back at the house. Azoff takes a seat on the living-room couch; Larry Solters sits across from him, his back to the sea. Azoff recalls another big client. Declines to name him. Says he was never happy, even after Azoff and his people got him everything on his wish list. “He hit me with a couple bad emails. Just really disrespectful s—. I sent him an email back that said, ‘Lucky for me, you need me more than I need you. Goodbye.’”

He will confirm having resigned the accounts of noted divas Mariah Carey and Axl Rose. Reports that he once attempted to manage Kanye West have been greatly exaggerated, he says, although they’ve spoken about business. “Robert [Kardashian] was a good friend of mine. The kids all went to school together,” Azoff says. “What I always said to Kanye was, you’re unmanageable, but we can give you advice.

“A lot of people could have made a dynasty on the people we used to manage,” Azoff says, “let alone the ones we kept.”

But he still works with many artists who joined him in the ’70s — with Henley, with Steely Dan’s Donald Fagen and with Joe Walsh. Walsh has been sober for more than 25 years; it was Azoff, along with Henley and Frey, who talked him into rehab before the Eagles’ 1994 reunion tour. “Irving never passed judgment on me,” Walsh says. “And from that meeting on, he made sure I had what I needed to stay sober.” If he hadn’t, Walsh says, there’s no chance we’d be having this conversation. “All the guys I ran with are dead. Keith Moon’s dead. John Entwistle’s dead. Everybody’s dead, and I’m here. That’s profound to me.”

The first client Azoff lost was Minnie Riperton — in 1979, to breast cancer when she was only 31. Then Warren Zevon, to cancer, in 2003. Fogelberg, to cancer, four years later.

“And then Glenn,” says Azoff, referring to the Eagles co-founder who died in 2016. “I miss Glenn a lot. And now Eddie.”

Van Halen, that is. I ask Azoff if he can tell me a story that sums up what kind of guy Eddie Van Halen was; he tells me a beautiful one, then says he’d prefer not to see it in print. It makes perfect Azoffian sense — profane trash talk on the record, tenderness on background.

I ask if he’s been moved to contemplate his own mortality, as his boomer-aged clients approach an actuarial event horizon. Of course the answer turns out to involve keeping pace with an Eagle.

“Henley and I are having a race,” he says. “Neither one of us has given in. Neither one of us is going to retire.”

Henley was born in July 1947; Azoff came along that December. Does Don plan to keep going, I ask, until the wheels fall off?

“I don’t know,” Azoff says.

Do you ever talk about it?

“Yeah! He’ll call me up and he’ll go, ‘I really feel s— today.’ And I say, ‘Well, you should, Grandpa. You’re an old man. You ready to throw in the towel? Nope? OK.’”

Azoff says, “I contend that what keeps us all young is staying in the business. I’ve had more people tell me, ‘My father, he quit working, and then his health started failing,’ and all that. Every single — I mean, every single rock star I know is basically doing it to try and stay young. And I think it works. I really think it works.

“I have this friend,” Azoff says. “Calls me once a week, he’s sending me tapes, it’s his next big record. Paul Anka! He’s 80 years old. OK? And my other friend, Frankie Valli …”

“Do you know how old Frankie Valli is?” Solters says. “Eighty-six. And he still performs.”

“Not during COVID,” Azoff says. “I told the motherf—, ‘You’re not going out.’”

[ribcagecarnival]

NO. 4 (Obama the Gleek)

Glee premiered in May 2009. I was about to transfer to a new middle school and Obama was four months into his first term. At just shy of 12 years old, I considered that pilot episode to be the best episode of television I’d ever seen. In seventh, eighth, and ninth grade, my mother and I watched the show religiously every week. In 2010 and 2011, we attended the concert tours—at one of them, we foolishly purchased VIP tickets that gave us virtually no perks, but through a cracked door, we saw Cory Monteith, and he waved at me before security shuffled him away to what I presumed was the actual VIP room, where he would participate in a real meet-and-greet. Monteith died in July 2013, the same day that George Zimmerman was acquitted of killing Trayvon Martin. By 2015, when the show ended, I hadn’t watched for years, and Donald Trump was entering the presidential race. And now, in early 2021, two more members of the original cast have died, Trump went from joke candidate to fascistic president to twice-impeached private citizen, and the entire world is in the throes of the worst viral pandemic in just over a century. Obviously I spent part of 2020 rewatching Glee. All art is a product of its time, either reflecting it back to us directly or functioning as a vision of what’s to come. Glee belongs firmly in the former camp. The progressive aspects of the show would not have been possible in the conservative pre-Obama era of American media, but plenty of premises and plot lines that passed for merely transgressive at the time would be shut down by contemporary cancel culture. Kurt’s coming out storyline in season 1 was a heartfelt, tender portrait of teen sexuality and coming-of-age that felt unprecedented and nuanced in 2009. But having an able-bodied actor play a wheelchair-bound teen (Kevin McHale) would have brought the full force of the online mob if it happened a decade later. A moment that has come under scrutiny on Twitter and TikTok comes from season 1, when Mercedes (Amber Riley) asks Mr. Schuester (Matthew Morrison) if the club can perform more Black music, to which Rachel (Lea Michele) snaps that it’s “glee club, not krunk club.” There are countless memes joking that in spite of the dizzying number of romantic pairings on the show, the OTP of Glee is Mr. Schue and jail—his bizarrely intimate relationships with his students were only ever called out by the show’s antagonist, Sue Sylvester (Jane Lynch), and it was always played for laughs. The most heartbreaking episode of Glee is Season 5, Episode 3, “The Quarterback,” which is a tribute to the late Cory Monteith. But it is arguably more difficult to watch a moment from the following season, in which a group of McKinley alums crash an adolescent Tea Party Patriots meeting in order to recruit members for the rebuilding glee club. The episode is from 2014, but the remarks made by the student attendees are downright depressing when you know that 2 years later, Donald Trump would be the president-elect of the United States. In season 4, when a new cheerleader named Kitty (Becca Tobin) is introduced, she makes remarks about the “lame stream media” that are snuck into a litany of insults as rapidly as machine gun fire. The audience never has a moment to meditate on the significance of these jokes, because pre-2016, we didn’t have to. At the time, having characters parrot the fringe commentary of Sarah Palin and Fox News commentators was a shorthand meant to indicate that said characters would either undergo a change of heart or be permanently vanquished. Glee’s run spanned Obama’s time in office, and the Hope & Change candidate’s ascent did not make room for the victory of villainy. We had entered the Liberal Gilded Age. One thing I forgot about Glee was how often it mentioned the failing economy. As we all know, Obama inherited a broken economy from his predecessor, and the entire country was wracked by home foreclosures and unemployment. But as a preteen, all those references were lost on me in favor of glittery show choir competitions and the Finn/Rachel romance. The constant mention of budget cuts seemed more like an arbitrary plot device than a grasp at historical accuracy. Watching the show as an adult, however, the economic currents underpinning the show are impossible to ignore. Sue Sylvester often mocked the glee club for having a warped, rosy, show-biz view of reality, but they always prevailed. Even when they were temporarily down, they would rebound, and they would eventually win. But Sue, the comically evil opponent to the superficially valorous glee club, was right. You could not fix the evils of the world by simply celebrating diversity, accruing celebrity guests, and singing a feel-good song. Yet this has been the Democratic establishment’s strategy since 2009. And it hasn’t worked for a long time. The secondary characters, much like real American citizens of the time, were desperate for real change and real solutions. This is not an Obama Exposed essay—of course, he made progress on certain issues. But most of what the country got were charming late-night appearances, secret concessions to conservativism as the Democratic establishment shifted further to the right, and an increasingly divided populace that left both the progressive wing of the Democratic party and the growing alt-right movement increasingly agitated with the state of the union. I loved Barack Obama when I was a teenager. But over the course of the Trump presidency, I became radicalized. I saw the flaws in his administration that wreaked havoc both domestically and internationally, and that ultimately enabled Trump to carry out much of his hateful agenda over the last four years. Just as I have outgrown the version of myself that watched Glee uncritically as an adolescent, I too have outgrown the fractured politics I parroted before I was of voting age. Glee characters are prone to flights of fancy, acts of supposed altruism that often wind up harming themselves or others, and inspirational speeches that are ultimately meaningless. Mr. Schuester is offered the opportunity for a transgender student to have private access to a single-stall bathroom in exchange for a moratorium on student twerking. At first, he refuses. It takes the full length of an episode for him to realize that this thing is not worth fighting for. And even then, it’s seen as some huge sacrifice for the club! This, to me, is a perfect allegory for the Democratic party—an institution that is purportedly invested in betterment and equality, but in reality was more concerned with optics and symbols. I can say without a shadow of a doubt that Mr. Schue would have wept seeing BLACK LIVES MATTER murals being unveiled, and likely would have said that instead of looting the protestors should’ve just knelt and sang a Journey medley to the cops. Rachel Berry would have gone to a protest for a photo op while carrying a sign that said IF HILLARY WON I’D BE AT BRUNCH RIGHT NOW. I know this as deeply as I know that Spongebob Squarepants is gay and Daffy Duck is Black. Some things are just TRUE. In 2009, simply having queer and PoC characters centered on television was groundbreaking. In 2020, this is no longer enough. Simply acknowledging that marginalized people exist is not sufficient activism. In media, we deserve nuanced and complex stories that don’t subject them to even more of the stereotyping we’ve been experiencing for decades. And in politics, we deserve more legitimate structural change—reparations, secure voting rights, anti-discrimination laws, a livable minimum wage, universal healthcare that includes access to safe abortions—and less empty virtue-signaling. Glee is a tremendous way to escape from the horrors of our current state of affairs. But it is not merely a camp masterpiece. It is a cautionary tale. The circumstances that gave us Glee—an Obama presidency, decreasing voter turnout, the rise of the social internet, increased representation for queer and PoC and disabled people—are the same circumstances that gave us Trump. We don’t merely need our lives to be visible, we need them to be viable. We need to weaponize our passion and empathy against tyranny. We need to rebuild the world for the versions of ourselves that first loved Glee, without reverting back to who we were when it first aired.

[wesleyhill]

The Voice from the Whirlwind

A homily on Job 38:1-11, preached at Trinity Cathedral, Pittsburgh, on the Fourth Sunday after Pentecost 2021

Our Old Testament reading today is taken from the book of Job. Many scholars consider Job to be a literary masterpiece and its poetry the most beautiful in the entire Hebrew Bible. In light of that, I’m going to read our text again from the King James Version, which does better than most any other version at capturing the grandeur of the language.

 Then the LORD answered Job out of the whirlwind, and said, 2 Who is this that darkeneth counsel by words without knowledge? 3 Gird up now thy loins like a man; for I will demand of thee, and answer thou me. 4 Where wast thou when I laid the foundations of the earth? declare, if thou hast understanding. 5 Who hath laid the measures thereof, if thou knowest? or who hath stretched the line upon it? 6 Whereupon are the foundations thereof fastened? or who laid the corner stone thereof; 7 When the morning stars sang together, and all the sons of God shouted for joy? 8 Or who shut up the sea with doors, when it brake forth, as if it had issued out of the womb? 9 When I made the cloud the garment thereof, and thick darkness a swaddlingband for it, 10 And brake up for it my decreed place, and set bars and doors, 11 And said, Hitherto shalt thou come, but no further: and here shall thy proud waves be stayed?

This portion of Job comes from the very end of the book. In the thirty-seven long chapters that precede it, we have heard the story and the voice of Job, as well as the rebukes of some friends of his that have come to visit him.

Let’s recall that story so that we have the context for the portion we just heard. Job is a kind of Everyman character, a timeless figure. He does not seem to be descended from Abraham; he is not an Israelite. He is from Uz, some faraway city, and he is described as “the greatest of all the people of the east” (1:3). We might picture a wealthy sheikh with a palace and a retinue. His city and his lifestyle are meant to transport us into a sort of fairy tale setting (and remember — as C. S. Lewis and the Inklings remind us — that doesn’t mean the story is any less true! To be swept up in a good fairy tale is to be forced to grapple with something true about us).

One day, according to the story, an accusing, adversarial angelic figure makes a proposal to God in his heavenly court. He claims that Job only worships God and lives a virtuous life because it’s easy for him to do so. “But stretch out your hand now,” the adversary tells God, “and touch all that he has, and he will curse you to your face.” And God gives the adversary permission to take away Job’s family (his ten children are all killed), his wealth, and his health. And Job’s response is to continue, through it all, to worship God: “Naked I came from my mother’s womb, and naked shall I return there; the LORD gave, and the LORD has taken away; blessed be the name of the LORD” (1:21).

At this point in the story, three friends of Job travel from far away to see this greatest of all men reduced to sitting in an ash heap scraping his inflamed skin with a shard of pottery. For seven days they simply sit in silence with Job (as Jews to this day practice sitting shiva with the bereaved), “for they saw that his suffering was very great” (2:13).

But then, for the next thirty-five chapters of the book, Job howls out his innocence in poem after poem, speech after poetic speech, and his three friends remonstrate with him. They rebuke him for his arrogantly supposing that he can call God to account, and he retorts, “Miserable comforters are you all” (16:2). Back and forth it goes. So many words. So many “vain,” “windy words,” as the poet calls them at one point (16:3, KJV; NRSV).

And then, out of a storm that overwhelms all the words, the LORD finally speaks. Job had earlier wished that the day of his birth had been shrouded in darkness, but God turns that wish around and asks Job why he has shrouded everything with ignorant speech: “Who is this that darkeneth counsel by words without knowledge?” Then the LORD declares that He intends to question Job: “Gird up now thy loins like a man; for I will demand of thee, and answer thou me.”

And then comes some of the most memorable imagery in the entire book. I encourage you to open your Bible at home and read the passage again later, slowly, and pay attention to the striking imagery and metaphors. The LORD asks of Job:

You who are so full of opinions and recriminations, where were you when I was hoisting the rafters of the universe? Where were you when I was taking a plumbline to the Milky Way? Were you there, Job, when the roar of exploding galaxies sounded like a thundering choir of praise? Were you there when the ocean’s water broke, and I wrapped the sea with clouds like a mother wraps an infant in a warm blanket? If you know so much, Job, tell me, were you there? Because I was!

The LORD goes on like this for four whole chapters, giving Job a tour of all the wonders and terrors of creation.

And it’s at this point many readers have felt that the book of Job is at its least convincing. Here is Job, in psychological and bodily agony, crying out from the depths, “Why me?” And God’s answer is… to talk about oceans and stars and ostriches and crocodiles, as if merely asserting His power as the Creator were enough to put an end to honest, gut-wrenching questions, as if God were saying, “Shut up and just look at how much bigger and stronger than you I am.”

That’s a common interpretation that people have of our reading for today, but I don’t think it does justice to the text. Because God isn’t silencing Job so much as He is inviting Job to see in a new way. The LORD is not simply cataloguing His creatures for Job, as if He were curating a nature exhibit. Job has been trying to relate to the LORD as if He were a contractor; the LORD is trying to tell Job that, from the very beginning of creation, He is a covenant-maker. The LORD is reminding Job that back behind and underneath Job’s calculus of guilt and innocence; deeper than tit-for-tat human schemes that would supposedly sort out all the rational, moral reasons for why things happen in the world the way they do; beyond all this, at the heart of everything there is an unending, un-endable generosity, a light that can never be extinguished, an unfathomable source of life and goodness and wisdom. This isn’t merely some impersonal source of inspiration or fortitude that will get you safely through grief and out the other side; this ceaseless gift comes from the presence of the LORD Himself, the God who addresses Job, who speaks with Job, who seeks Job out precisely in his pain and loneliness. Beyond all deserving or undeserving, the LORD comes to Job. The LORD reveals Himself. Job is not given a platitude; he encounters a Person. The LORD is there — in majesty and mercy. And ultimately, in repentance and trust and hope, Job says to God, “I had heard You with my ear, but now my eye perceives You. Therefore, I recant and relent, being but dust and ashes” (42:5-6, NJPS). Job has not had his questions answered, but he has met the One who made him — the One who will open a future for him beyond all deserving or comprehending, the One who asks not for comprehension but for humility and trust.

Some of you may have seen Terrence Malick’s film The Tree of Life from ten years ago. It was nominated for multiple Oscars and struck a chord with many Christian viewers in particular. It opens with a blank screen and the words from our reading, the words that the LORD speaks to Job: “Where were you when I laid the foundations of the earth… When the morning stars sang together, and all the sons of God shouted for joy?” The movie follows the story of a family with young children in Waco, Texas in the 1950s. I don’t want to spoil it for you (if you haven’t seen it, I encourage you to), but I will say that tragedy of the most awful kind strikes this family, and throughout the film, the characters return to that haunting question God asks of Job, “Where were you?” — except, in the film, it is the people who say it to God, rather than God who says it to them. Where were you?

Astonishingly, the movie tries to visually depict God’s speech to Job by taking a full 18 minutes — roughly an eighth of the entire film — to show the unfolding of creation, from the big bang to the emergence of dinosaurs. It sounds bizarre, but it’s extraordinary to see. One minute you’re watching one ordinary family in Waco in the 1950s navigate ordinary human sorrow, anger, remorse, and longing, and the next minute you’re watching nebulae and planetary rings and cell divisions. At the same time that you’re seeing one particular family’s life play out in all of its quotidian drama, you’re seeing the dazzling, awe-evoking origin of all life.

Where were you? the characters ask God.

The answer to that question that the LORD gives to Job is, in essence, “I am here, and I was here before you, and I will be here ahead of you. I am here, speaking to you, addressing you, seeing you, knowing you, redeeming you. I, the Maker of heaven and earth, am the same God who draws near.”

One scene in the movie takes place at a funeral, in a church. The text for the sermon is the same one we have heard this morning. And you can hear the priest say (and by the way, in real life, the priest in the film is an Episcopal priest who helped write the words he would perform!), “Is there some fraud in the scheme of the universe? Is there nothing which is deathless? Nothing which does not pass away?”

And at that point the camera slowly pans away from the character sitting in the pew listening, who has endured and will endure so much grief in the course of the story — the camera pans up to a stained glass window where we see the LORD of Israel who spoke to Job — the LORD as a human being, the man Jesus, bound with ropes, crowned with thorns, looking out from the glass with eyes of grief and unceasing love, ready to give His life for the world He had made.

It is He whom Job meets. It is He who is alive and here with us today, who speaks to us, who feeds us with His own Body and Blood.

Amen.

[bobdylanrevisited]

Blood On The Tracks

Released: 20 January 1975

Rating: 10/10

Often regarded as Dylan’s greatest album, and potentially the greatest album of all time, it’s hard to disagree. Released on Columbia Records following Bob starting a relationship with an employee whilst his marriage to Sara was crumbling following the 1974 tour, the record is actually two different recording sessions. One was in New York, with a much more mellow feel, the other was in Minneapolis with a backing band, following Dylan’s brother stating that the New York songs sounded too similar. Whilst the original recordings are available on the Bootleg Series Vol. 14: More Blood, More Tracks, and are fucking fantastic in their own right, the final product is a thing of inconceivable genius. It’s an album that perfectly captures the turbulence of divorce, love, longing, and self reflection, and is easily the most beautifully written collection of songs ever released.

1) Tangled Up In Blue - Once again, Bob opens the album with one his best ever compositions. A non-linear tale of love and loss which would rival the postmodern writing style of Kerouac and Ginsberg. The story he tells here is both sweet and tragic, filled with nostalgia and longing for a companion. Potentially partially biographical in nature, the lyrics are among his very best, relatively simple at face value, but filled with references and meaning that could take a lifetime to fully digest. His voice continues to sound more mature and even quite commercial, though his brilliant nasal twang is still present, particularly when he hits the title line. This Minneapolis version is astonishing, it may be the perfect song, though the slower and more chilled out New York recording is equally as brilliant. Although for me the defining performance is the one found on his 1984 live album ‘Real Live’, which completely alters most of the lyrics, something Bob carries on doing to this day.

2) Simple Twist Of Fate - A beautiful track about the cruel nature of fate and losing a soul mate. The song talks of the life cycle of a relationship, through metaphor and abstract imagery that wouldn’t be amiss on ‘Blonde On Blonde’, and feels like a dream sequence that ends with waking up alone and confused. The walking bass in the background and soft acoustic strumming create a relaxed and almost floaty tune that only elevates the vivid lyrics. As this is the ‘divorce’ album, the song ends with the lover being gone and Dylan deep in regret, and whilst he says this record is based on the work of Chekhov, I believe this is how Bob viewed and dealt with his separation. Sara came into his life through fate, and he let her slip through his fingers, it’s a moving song that is drenched in a need to understand the confusing and painful side of love.

3) You’re A Big Girl Now - Bob is begging for forgiveness here, promising to change and asking to be taken back as he sings through tears. I do take issue with the idea of Bob saying it pains him to see Sara walking away from him given his infidelity, however he does accept that it is entirely her decision and he is pleading his case. Ultimately, despite the brilliant performance Bob gives of desperation and pain, along with some great piano and guitar playing from his band, I do think this is the weakest song on the album due to the lyrics bordering on self pitying. It’s still a great song, I just don’t think Dylan comes across the best here. The rest of the record focuses on either anger, sadness, or regret, whereas here it seems he’s focusing on himself and almost being absolved of his own wrongdoings.

4) Idiot Wind - Though Bob claims this isn’t about the causes of the breakdown of his marriage, I think we all can take that to mean that it definitely is. It also happens to be the best song on the album, Bob is snarling his way through an epic poem of accusations and falsehoods, betrayal and bitterness. It harks back to his finger pointing songs of 10 years earlier, and it doesn’t hold punches against the press and those who had been circulating rumours about both him and Sara. It’s fucking amazing, Bob sounds genuinely enraged and yet also confused at the exaggerated actions he’s having to defend or downplay. Not only are the lyrics both chaotic and fascinating, the organ playing is superb. Throughout the 7:47 minute song, every time Bob sings ‘Idiot Wind’ it’s like a direct insult to those who meddled in his relationship, as well as another nail in the coffin of his once happy marriage.

5) You’re Gonna Make Me Lonesome When You Go - It’s been argued as to whom was making Bob lonesome, is it Sara or his Columbia girlfriend? Either way, it’s quite a happy sounding song that’s actually a heartbreaking tale of loss and reluctance to accept life moving on. Bob invokes the poets Verlaine and Rimbaud’s turbulent relationship, with Bob very much being the Rimbaud of the 20th Century, to describe the breakdown of love and happiness leading to feeling alone and self-reflection. As with the whole album, the backing band sound great alongside Bob’s relaxed vocal style and joyous harmonica, and the song creates a tragic feeling of putting on a brave, upbeat facade as life goes on. It’s undeniably becoming much sadder and, as the title suggests, much more lonesome, but Bob attempts to carry on and learn from his mistakes. It’s a hard message to convey in under 3 minutes, but Bob’s pained and honest writing from this period manages it perfectly.

6) Meet Me In The Morning - Musically, this is the best song on the album. All the instruments have a brilliant bluesy feel to them, and Dylan’s voice matches this style, with his nasal tone elongating phrases and making him sound like the blues singers of old. From what I can gather, the protagonist of the song is asking his lover to a rendezvous, but waits from dawn to dusk with no appearance from her. Throughout the song he wishes they could be elsewhere, and compares his love and longing to the darkness of the night and the setting of the sun. It’s a difficult song to unpack as Dylan is the master of mysterious and metaphorical storytelling, but understanding every line really doesn’t matter here. The song itself is a joy to listen to, proving that Dylan shouldn’t just be applauded for his lyricism, but also his ability to compose and record with various musicians to achieve a specific and memorable sound.

7) Lily, Rosemary And The Jack Of Hearts - I’ll quickly mention that Dylan and his harmonica sound amazing on this song, as do the backing band who evoke the sound and atmosphere of the cabarets of old. However, it would be impossible to do the lyrics to this song justice in one small paragraph. This song is the ‘Desolation Row’ of the album, a sprawling epic poem featuring a host of characters in various criminal and romantic encounters. It’s an incredible piece of work, more interesting and exciting than most of what we see on the silver screen. I urge you to fully immerse yourself into the world Dylan creates here, as for nearly 9 minutes, he and his band weave a perfect story worthy of Homer.

8) If You See Her, Say Hello - This song reminds me of ‘Girl From The North Country’. It’s about passing on well wishes to a former lover, letting them know you’re still thinking about them, even though they’ve left your life and moved on. The lyrics are heartbreaking, as Bob remarks that the love still burns within him, but he wants to ensure this information isn’t passed on to her. A brilliantly moving and desperate song once again, with another beautiful backing arrangement and a pained voice longing to rekindle what he has lost.

9) Shelter From The Storm - A love song that focuses on being saved, clearly Bob is talking about Sara and his needing to be rescued from the hurricane of fame, drugs, and parting of 1965 when they met. It’s a romantic story featuring religious imagery, showing Bob’s true feelings towards how he viewed himself and the period of life that was now being ripped apart by his actions. The near angelical way he describes Sara, and his ending thoughts on how he still feels about her nurturing and caring personality, are a far cry from some of the earlier tracks on the album, but this feels like perhaps the most personal song on the record. The stripped back instrumentation allow the bittersweet lyrics to take centre stage, with Bob again sounding much more mature and accessible with his relaxed vocal style. Whilst this version is incredible, I’d also recommend the live 1976 recording on ‘Hard Rain’. The song is much rockier, Bob barks the lyrics, and it sounds fucking brilliant.

10) Buckets Of Rain - The album closes with a genuinely lovely track, both simple and sweet as it addresses a lover. The melody is delicate and Dylan’s singing is soft and full of warmth. There’s not much else to say about this beautiful song, other than it feels like Bob showing us that there is light at the end of the tunnel, and that everything will work out in the end.

Verdict: I could happily just listen to this album until the day I die. If Dylan going electric is the most important musical moment of the 1960s, then this release is the 1970s equivalent. It’s pure art, it captures a feeling most struggle to internally process, let alone articulate in such a poetic and moving way at only 33 years old. The lyricism on this one record alone proves Bob is the greatest poet of the 20th Century. Even the outtakes from this album, especially ‘Up To Me’, are better than most artists creative peak. This may be Dylan’s most personal record (despite his insistence that it is not autobiographical), and I imagine it will be studied for centuries to come as his magnum opus. In typical Bob style, he would bizarrely head out on an exhaustive tour called the ‘Rolling Thunder Revue’, playing at small venues with a band that resembled a circus show, whilst his family life continued to disintegrate. But before he managed to capture the spirit of these carnival-esque performances, he gave permission for some mythical recordings from 1967 to finally be released.

[zerogate]

The late David Bowie was asked if his inspiration included dreams and he stated it happened frequently: "There's a thing that, just as you go to sleep, if you keep your elbows elevated you will never go below the dream stage.  I've used that quite a lot and it keeps me dreaming much longer than if I just relaxed. I keep a tape recorder by the bed, and if anything comes, I just say it into the tape recorder."

Arlo Guthrie, an American folk singer and songwriter, once said that music was like a stream going by. "Songwriting's kinda like catching fish - you just sit there and pull them out as they go by - though I think Bob Dylan's upstream from me somewhere." 

"The best songs that are written write themselves," said Michael Jackson. "You don't ask for them; they just drop into your lap... I don't force it. I let nature take its course. I don't sit at the piano and think, 'I'm going to write the greatest song of all time.'  It doesn't happen. It has to be given to you. I believe it's already up there before you are born, and then it drops right into your lap."

[...]

Some of the stories about dream music are so bizarre they just couldn't be made up. Consider the story of "Mystery Woman" written by U2's Bono. As Bono tells the story he is about to play a major concert in Wembley Stadium and was not able to sleep the night before. He stayed up most of the night watching the movie Blue Velvet on repeat and became aware of Roy Orbison's song "In Dreams" every time it came up in the movie. Orbison, himself, claimed that when he came up with the song "In Dreams" in 1962, he got the lyrics to the song in a dream. Eventually, Bono fell asleep and woke up with a song in his head. At first, he believed it was another Orbison song but then realized that it was new. He played the new Orbison-sounding song about a "mystery woman" to his band during the concert sound check. When they heard how it happened they told him he had "a bit of voodoo in him." When the concert was over, Bono sat down backstage to finish the song. Suddenly, his bodyguard knocks on the door and says Roy Orbison and his wife were at the concert and would like to meet him. No one knew Orbison would be attending! During the meeting, Orbison synchronistically said he would like to work with U2, and then asked, "you wouldn´t happen have a song for me?"  Bono then told him of the Orbison-like song that appeared in his head that morning. Orbison sang the song and it was released after his death. The album, Mystery Girl became a worldwide hit reaching #5 on the US Billboard 200, and #2 on the UK Albums Chart.

[...]

Noel Gallagher of the UK rock band Oasis sold the third best-selling record in the country. Gallagher stated he used lucid dreaming to create songs. "I write a song before I go to bed," Noel told Alternative Press in December 1995. "I won't have any lyrics, just a melody. If I can remember it first thing in the morning, then I know it's good. I've done it with 'Don't Look Back in Anger' and nearly every song on Definitely Maybe. When I woke up, I remembered the songs chord-for-chord - I knew the vowels and syllables I was gonna use."

[...]

The claims for dream music go back for centuries.  Mozart claimed to hear his best music when he slept but couldn't remember it when he woke up. The composer Revel stated that the most wonderful music came to him in his dreams. Anton Bruckner spoke of perhaps his most famous piece “Symphony No 7, 1st movement."  “This theme wasn't mine at all.  One day the (deceased) conductor Kitzler and old friend of mine from Linz appeared to me in a dream and dictated the thing to me. I wrote it down straight away. 'Pay attention,' added Kitzler, ‘this will bring you success.'"

[...]

Probably the most famous song that came in a dream was the song "Yesterday" by Paul McCartney. It has the most cover versions of any song ever written (2200) and, according to record label BMI, was performed over seven million times in the 20th century. McCartney described a song being his head when he woke up one morning.  There was a piano in the room and he quickly recorded the melody and lyrics.  McCartney stated:

I woke up with a lovely tune in my head. I thought, 'That's great, I wonder what that is?' There was an upright piano next to me, to the right of the bed by the window. I got out of bed, sat at the piano, found G, found F sharp minor 7th -- and that leads you through then to B to E minor, and finally back to E. It all leads forward logically. I liked the melody a lot, but because I'd dreamed it, I couldn't believe I'd written it.  I thought, 'No, I've never written anything like this before.' But I had the tune, which was the most magic thing! 

Once he had the song McCartney was still unsure so he checked around to see if he had just rewritten something he heard but had forgotten.   

For about a month I went around to people in the music business and asked them whether they had ever heard it before. Eventually, it became like handing something into the police.  I thought if no-one claimed it after a few weeks then I could have it.

[...]

Marcus Eoin from the band Boards of Canada wrote the song "Gyroscope" which came in a dream. ��He stated, "Yeah for me it would be the track 'Gyroscope'. I dreamed the sound of it, and although I've recreated dreamt songs before, I managed to do that one so quickly that the end-result was 99% like my dream.  It spooks me to listen to it now."

[...]

Carole King was a prolific singer-songwriter with over 25 solo albums in 50 years. Her highlight album was the 1971 masterpiece Tapestry, which topped the charts for six weeks and remained on the charts for six years.  It outsold The Beatles' Sgt. Pepper's Lonely Hearts Club Band album and included the iconic 1972 Grammy song of the year "You've Got a Friend." Speaking of that song King said, "That song was as close to pure inspiration as I've ever experienced. The song wrote itself. It was written by something outside of myself through me. It happens from time to time in part. That song is one of the examples of that process where it was almost completely written by inspiration and very little if any perspiration."

[...]

On May 6, 1965, in Clearwater, Florida, while on their first U.S. tour, according to a St. Petersburg Times article, about 200 young fans got in an altercation with a line of police officers at the show, and The Stones made it through just four songs as chaos ensued. That night, Keith Richards woke up in his hotel room with the guitar riff and lyrics, "Can't get no satisfaction" in his head. He recorded it on a portable tape deck, went back to sleep, and brought it to the studio that week. The tape contained his guitar riff followed by the sounds of him snoring. Richards stated, "We receive our songs like inspiration, like at a séance. People say they write songs, but in a way, you are more the medium. I feel that all the songs are floating around, and it is just a matter of being like an antenna, of whatever you pick up. So many uncanny things have happened to us. A whole new song appears from nowhere in five minutes, the whole structure and you haven't worked at all."

[...]

Beethoven - "I must accustom myself to think out at once the whole, as soon as it shows itself, with all the voices, in my head." He used sketchbooks to write down his ideas when they flew into his head so as to not forget them. "Music is a higher revelation than all wisdom and philosophy." "Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind, but which mankind cannot comprehend." "Music is the mediator between the life of the senses and the life of the spirit." "Tones sound, and roar and storm about me until I have set them down in notes."

-- Grant Cameron, Tuned-In: The Paranormal World of Music

[shemakesmusic-uk]

Simpson is a Richmond-based singer and rapper who you may also know as Babe Simpson, one-fourth of the Tumblr-born rap collective Barf Troop. They dazed the internet back in the early 2010s with their uncensored, forward-thinking rhymes and aesthetics, and even got the attention of Drake. Though the collective has gone silent in recent years, Simpson has since cultivated her own steady following around her soft, and ruminative tunes. Her latest is 'Cherry Ice Cream Sundae,' a song about "treating ourselves with as much tenderness as we treat everyone else," she says, and is backed by a lush landscape of jazzy guitars and drums — a sound that could be considered a close sibling to the rap lullabies of Noname. Simpson's now sharing the song's peculiar video, which features a charming but eerie cast of marionette puppets. Over email, Simpson explains that she wrote the song after experiencing "a feeling that I’ve always been trying to put into words but I don’t think I was mature enough to be able to sing. I reached my breaking point where I was like, f*ck it, whatever happens, happens, and I’m gonna look on the bright side everywhere I can. I’m going to 'smile because I can.' I actually changed the original opening lyrics from 'The world is in the shitter' to 'Life is kind to who’s kind to it back.' The world has always been in the shitter, but that hasn’t made it any less special or sweet. I think that’s made me much more of a realist. I recorded it tipsy, upside down, hanging off my bed as a freestyle, and it felt so natural saying and listening to it back made me feel so proud." [via NYLON]

Earlier this week, Lana Del Rey revealed the artwork and tracklist for her new album Chemtrails Over The Country Club. Back in October, Del Rey shared the album’s lead single 'Let Me Love You Like A Woman.' It was the first song she shared from the album after postponing its planned September release. Now, she’s sharing the album’s second single and title track. She’s also announced that Chemtrails Over The Country Club will be out March 19. In a lengthy interview with BBC Radio 1 — during which she talked about the Trump insurrection and her album cover controversy — she mentioned that Jack Antonoff produced much of the album, minus 'Yosemite,' which was produced with Rick Nowels. Watch a music video for the album’s title track, directed by BRTHR, above. In a different kind of statement, prior to the release of the 'Chemtrails Over The Country Club' music video, Del Rey explained why she is wearing a cast in it: "When you see my second video for this album, don’t think that the fact I’m wearing a cast is symbolic for anything other than thinking I was still a pro figure skater. I wiped out on my beautiful skates before the video even began after a long day of figure eights and jumps in the twilight of the dezert. Anyways my fracture isn’t that bad kind of goes with my new bucket hat. Thanks to my beautiful family for my gifts." [via Stereogum]

Joining forces for the new uplifting track, G Flip and mxmtoon are sharing new empowerment anthem ‘Queen’, produced by Rostam Batmanglij. "'Queen' was written about the strong women around me, the queens that raised me and the queens I’ve met through my years,” G Flip explains. “My idea of a queen is not necessarily linked to gender; queens come in all forms and walks of life. To me a queen embodies power and strength; they embrace all they are fiercely yet gracefully. The song was written one sunny day in LA, I was chillin on Rostam’s lovely white couch and he turned around to me and said ‘how about we write a song about Queens’ and I replied with ‘F@!K yeah!’. I’m also super stoked to have mxmtoon on the track with me, she is an absolute queen. I first was introduced to her when I was trying to find ukulele chords to a Khalid song and found her cover on YouTube years ago. She makes awesome music and her voice has such a cruisy timbre to it so I was thrilled to have her jump on 'Queen' with me. She is also an avid croc lover and part of the LGBTQIA+ community, so obviously it just made sense!” mxmtoon adds, “So happy to be a part of ‘Queen’ with G! she and Rostam were such a joy to work with and so so much fun to collaborate with on creative as well. I’m so glad that it’s still possible to make art and music with someone even when they’re on the other side of the world, and I’m lucky that I got the opportunity to feature on G’s song. ‘Queen’ is a power anthem for any person, and I’m so excited for people to love it as much as we do!” [via DIY]

With her hotly-anticipated new album Magic Mirror out now, Pearl Charles gave us our latest teaser of what to expect earlier this week, sharing new glitzy bop ‘Only For Tonight’. “‘Only for Tonight’ tells the story of a currently bygone era of wild nights out on the town - the highs and lows of one night stands and the crashes of the morning after,” she explains. “The music video, directed by Bobbi Rich, leans into those excesses, paying a sparkly homage to the late-night musical television shows of the 70’s, from Soul Train to The Midnight Special, as well as the gauzy, Vaseline’d lens of ABBA’s music videos. With an added sprinkling of VHS special effects, you’re likely to feel like you’re watching a home-taped recording of a lost episode of Top of the Pops.” [via DIY]

Alt-pop trailblazer dodie has shared her new single 'Hate Myself' in full. Everything the songwriter touches seems to turn into melodic gold, with her debut album Build A Problem landing this Spring. Out on March 5, it's led by new single 'Hate Myself', which made its bow as Annie Mac's Hottest Record In The World. It's an apt title, with this instantly-viral moment offering an "inner monologue" that touches on some of dodie's inner-most feelings. The song depicts "someone who seems to find themselves in relationships of any kind with people who deal with their feelings internally - unfortunately resulting in assuming the issue is with them." dodie co-directed the video alongside Sammy Paul, shooting at the Cornish seaside village Polperro. The pair "excitedly landed on the silly idea of the training leading up to becoming a post-lady, and thoroughly enjoyed planning the many bizarre exercises she would have to perfect. Our excellent Art Director, Louis Grant, worked on bringing her home and training station to life. Though jogging on cliff tops in the rain, carrying a large sack and slipping in the mud was certainly cold and exhausting, I think I preferred it to slowly feeling sicker, licking stamps on a swaying boat by the Excel." [via Clash]

Berlin-based indie five-piece People Club are back with new single and video 'Francine', following on from their last release 'Lay Down Your Weapons', which focused on police brutality.  The new single 'Francine' tackles the topics of addiction and lovelessness. In the words of the band: "The song speaks from the voice of a lamenting partner whose lover (Francine) is helplessly addicted to drugs. Francine lost interest in her relationship with the narrator a long time ago. It's a song about commitment and how love can fade away leaving only wickedness behind."  Regarding the visuals, the band said "The 'Francine' video is a play on the old idiom of 'being your own worst enemy'. A phrase which quite beautifully captures the inner critic which we know so well, especially during the course of the pandemic - we've had to learn to each give ourselves a break. The video was shot in the depth of the harsh Berlin winter, in the depth of the pandemic." Director Felix Spitta added "I love the band and I love the different personalities. It is always heaps of fun working on creative output together. Riding through Berlin only with bikes and all the film equipment in the freezing cold almost felt like a masochistic idea from Saxon. It's inspiring to be surrounded by so many creative minds.”

Pale Waves are back with 'Easy', the third single to be shared from their highly-anticipated second album Who Am I?. Lead vocalist Heather Baron-Gracie describes the new track as "a song about how love can change your whole entire perspective on life itself. It’s saying ‘being in love with you is so easy, you finally make sense in my life because nothing did before'." The new single is accompanied by a James Slater-directed video that shows Baron-Gracie performing at a Tim Burton/medieval-style wedding in an abandoned church. Baron-Gracie adds, "I wore a wedding dress throughout and we shot the video in an old abandoned church. I’m really inspired by the gothic medieval aesthetic and at the time I was thinking of the video I was watching a lot of Tim Burton films whose creativity really inspires me." Pale Waves' second album will follow their 2018 debut LP My Mind Makes Noises. Baron-Gracie says of their upcoming album, "For me, music and art is for people not to feel so alone and isolated. I want to be that person my fans look up to and find comfort in." [via the Line Of Best Fit]

The official video for Zoe Wees’ new single, 'Girls Like Us,' is online now. Like the song, the clip sends a message of togetherness and solidarity to girls around the world who are feeling the pressures of society. Zoe Wees says, “It’s not always good to think about how you look to the rest of the world. It’s much more important to think about how you feel inside. It is not easy to call yourself beautiful but being confident helps you to accept and love yourself.” The 18-year-old Hamburg, Germany-based artist adds, “We’re walking through a world with blinded eyes. At the end of the day, we all go to bed without make-up with the ugliest clothes and wake up with the messiest hair on earth.”

Julien Baker has shared a new taste of her forthcoming album Little Oblivions by way of a new single ‘Hardline’. Julien says, “A few years ago I started collecting travel ephemera again with a loose idea of making a piece of art with it. I had been touring pretty consistently since 2015 and had been traveling so much that items like plane tickets and hotel keycards didn't have much novelty anymore. So I saved all my travel stuff and made a little collage of a house and a van out of it. I wanted to incorporate it into the record and when we were brainstorming ideas for videos we came across Joe Baughman and really liked his work so we reached out with the idea of making a stop-motion video that had similar aesthetic qualities as the house I built did. I don't know why I have the impulse to write songs or make tiny sculptures out of plane tickets. But here it is anyway: a bunch of things I've collected and carried with me that I've re-organized into a new shape.” The video for ‘Hardline’ was directed by Joe Baughman, who notes: “Man, even after having spent 600 hours immersed in ‘Hardline’ and having listened to it thousands of times, I am still moved by it. It was a fun and ambitious challenge creating something that could accompany such a compelling song. The style of the set design, inspired by a sculpture that Julien created, was especially fun to work in. I loved sifting through magazines, maps, and newspapers from the 60s and 70s and finding the right colors, shapes, and quotes to cover almost every surface in the video.”

Teenage Joans are staying true to their world and unveiling 'Something About Being Sixteen', a new single that's sure to cement their 2021 as victorious. It's the perfect successor to 'Three Leaf Clover' and a track that makes it two-for-two for Teenage Joans, further capturing the excitement and energy within Cahli and Tahlia as they trade catchy riffs and thriving choruses with the combo of light-heartedness and intimateness that seems to define Teenage Joans' work, and how they're able to look in at themselves (and out at the world around them) through a lens that keeps it fun and digestable. "'Something About Being Sixteen' is undoubtedly Teenage Joans' great take on the classic coming of age rock tune, generally closing our live sets with audiences singing along every time without fail," the duo say on the single. [via Pilerats]

Kate Hollowell took a risk going by the moniker Number One Popstar when she released her debut single 'Psycho.' However, Hollowell didn’t mind if that choice set her up for failure or not. She goes with the flow. Luckily, that mentality has advanced her even farther. Now, Number One Popstar releases her second single, 'I Hate Running.' New Year’s resolutions are, most of the times, created for the wrong reasons. It’s also no surprise that majority of people’s goals center around exercising and weight loss. 'I Hate Running', however, challenges that mindset, satirizing the toxic nature of exercise industry and diet culture. Hollowell said herself, “The song explores facing the hard, emotional work instead of the physical.  I really don’t enjoy running, and I wanted to troll the exercise industry and write an anti-motivational song.” In terms of sound, 'I Hate Running' shares similar vibes to her first single with its classic 80s pop of saturated synths. But, this time, there’s a hint of disco with the zealous psychedelic guitar and electric drums and keys. The interludes consist of a symbolic, robotic, and almost sinister snippet from a workout instructor. It all complements well with Hollowell’s escapist lyrics. Even though the lyrics say otherwise, the track’s sound might just spark that motivation to workout or dance, doing mindful movement that makes us feel good. Exercise should never feel like a punishment, and Number One Popstar is here to remind us. She makes us want to stick it to the exercise industry, proving to it that we will only work out for the right reasons. [via Earmilk]

Alt-pop riser Chloe Rodgers has shared her new video 'The Algea' in full. The Nottingham based talent sparkled in 2020 in spite of the pervasive gloom, releasing two startling singles. Her third release could be her best yet, with 'The Algea' hitting streaming services just before Christmas. The video captures those mid-winter chills, while providing a platform for Chloe to express herself. Constructed alongside creative director Kate Lomas, it was shot at Newstead Abbey in Nottingham. Chloe comments... "I wanted to use a music box in the video to represent being objectified and getting stuck in the same cycles, as that’s largely what the song is about. I wrote the song when I was 18, but didn’t add the verse at the end about claiming my power back until a couple of years later when I felt a bit stronger. We tried to reflect this in the video too with the Chloe in white sort of protecting the other Chloe of the past." Kate Lomas adds: "This was such a joy to watch come together, the video concept is based around the idea that Chloe is the character in a music box, she’s the performer that’s spinning round on an endless cycle for other people’s entertainment. The video tells the tale of Chloe definitely breaking this cycle and no longer playing this role." [via Clash]

Jaguar Jonze has announced her ANTIHERO EP will be released on April 16 via Nettwerk Records. With the EP announcement, Deena shares the official music video for her latest single, 'ASTRONAUT,' the follow-up to two previously released videos for 'DEADALIVE' and 'MURDER'. Each of the five music videos for the forthcoming ANTIHERO EP will come together through bold-palette videos that transform into an antihero character “in a cyberpunk, anime, futuristic, graphic, almost sci-fi world,” says Deena. Deena adds, “as ‘ASTRONAUT’ delves into my anxiety, I wanted the film to reflect that in a simple way that helped portray how my anxiety can sometimes manifest - a contradiction between feeling lost in vast spaces and trapped in claustrophobic spaces. I had a specific idea in mind, which meant that I had to undergo stunt training with professionals and learn how to maneuver in a wire harness. Most of the video had to be shot in a single take because of the stunts' nature in safety preparation, time consumption, and impact on the body. I'm still recovering from the bruises, but it was all worth it, and the team was amazing in pulling it all together. I'm proud of this one as it is 3 minutes of my rawest vulnerability, visually interpreted. I'm also finally ready to share it.” 'ASTRONAUT' is the sound of Deena liberating herself from a lifelong battle with anxiety.  “It is a human trait. It’s how we survive in the wild,” she says. “We’re all wired as humans to be quite anxious.  As females more so, because we’re more susceptible to danger.”

Rising star Mulay shares the smoking visuals for her new single, ‘Antracyte’. It’s the culminating release in a three-part video series from the Berlin-based alternative R&B singer-songwriter/producer/artist, ahead of her highly anticipated EP, which comes out at the end of the month via Groenland Records. Mulay explains about the single, “'ANTRACYTE' is the intro and title track to my debut EP. It’s the soundtrack to the birth of a villain and captures the moment of complete honesty to yourself about the awareness of doing wrong by the ones you love while feeling the inability to turn around. It’s about the desire to taste forbidden fruits, to cross and explore what lies beyond the line and the self-empowering feeling of playing by your own rules defeating the fear of consequences and the power of moral concepts. 'ANTRACYTE' tells a story of contradicting emotions, a story of love, lust, pain and a longing for more. It’s about facing your own darkness and sins, about self-revelation, emancipation and about paying its price, resigning to your fate.”

Only a band like shallow pools could make a blast of 'ice water' sound refreshing and necessary in the dead of New England winter. But the Massachusetts indie-pop group is usually pushing against the current of what we’d normally expect, and now the quartet hits us with a dose of cold reality through their new single and video. 'ice water' is a vivid new single that confronts the mental health struggles brought on by quarantine and isolation, and even the shallow pools aesthetic has reflected this by shifting from bright glowing neons to a more subdued color palette of beiges and browns. Call it a sign of the times, and call 'ice water' the sound of now; upbeat and jovial on the surface, a comet of pop smarts and hooks, but with the darker shine that resides in our lives when we’re positioned away from the screens and digital scenes. As Glynnis Brennan sings “Every day’s the same and / There’s no breaking out / Like I’m stuck here / Going through the motions now” well, we feel that. shallow pools describe “ice water” as “a departure from the music we’ve made in the past, but it’s the perfect bridge between our old and new sound.” That is certainly the case, and 'ice water' continues to showcase the group as one of New England’s sharpest, following a string of 2020 singles that included pop standouts like 'Haunted' and 'Afterlight'. “We wrote the song with our friend and producer, Chris Curran, and learned a lot about the type of music we want to be making in the process,” the band adds. “The song is about the impact that the state of the world has had on our mental health, specifically in the last year. We’re excited to share it and hope that anyone who has had similar experiences will find some comfort in knowing that there are others who can relate.” [via Vanyaland]

[doomedandstoned]

Are You A Bible Basher?

~By Billy Goate~

Art by J. Hannan-Briggs

Words from the Bible,

                      ...riffs from Hell.

This is BIBLE BASHER, a lumbering, sludgey beast of a death-doom band, drawing its fellows from Kurokuma, Archelon, Spaztik Munkey, and a band whose name alone intrigues me enough to spirit them out: Temple of Coke. The debut recording before us is 'Loud Wailing' (2020), just released last month on the Sludgelord Records Label and it's good stuff.

Chances are good that if you're unfamiliar with the band, you're waiting for the other shoe to drop: what's the agenda here? It bears mentioning that "Bible Basher" is an almost uniquely UK term. In the States, we tend to use the more politically acceptable (though still insulting) "Bible Thumper." Getting to the point: a Bible Basher is not someone who subjects the big black book and the pages there to beating, maiming, or otherwise spilling syrup on its Holy Writ nor turning its sacred pages into roll paper for a cheap high.

No, a Bible Basher is someone single-mindedly determined to bash you with their beliefs, clean across the head. You gotta get you on board with the whole worldview, the Last Days manifesto, the 3 steps to this place, the 5 steps to somewhere else, and however many more steps to the sanctuary doors. Usually, this evangelism has all the clumsy subtlety of a Jack Chick tract left on the Gas Station john. Sometimes it gets a bit more intrusive, like a manic street preacher with a megaphone or, more annoying still, a brainwashed politician determined to fence you into their highly selective idea of "God's Will."

All culture warring aside, it might surprise you to learn that I hold a great deal of respect for the Bible and believe it has an important role in developing our understanding of what makes human beings so fundamentally religious. The Bible is just one expression of people's religious and spiritual identity, of course. There have been many volumes written, by the gods it was said, attempting to reconcile the real and the ideal, time and eternity, the drab and the divine.

All fancy preambling aside, I wonder why more bands haven't gotten into the Bible and other sacred/profane lit, you know kinda breathing new life into old words? You have to admit, the concept is fascinating and the medium of expression surprisingly fits the unsparing nature of the content.

Perhaps afraid of appearing sacrilegious or being denounced as a Deicide wannabe, bands have just decided to walk away slowly. That or they don't even know how truly bizarre and sometimes brilliant the Bible can be. True, there are bands like Trouble/The Skull who have adapted Scripture into music, even succeeded in crossing over to a non-religious audience. Hell, The Byrds practically immortalized the words of The Preacher in Ecclesiastes back in '65 with that folk rock classic, 'Turn, Turn, Turn." Bible Basher are definitely onto a thing here.

Regardless of where you find a band called Bible Bash on the meter between "disgusting" and "fucking awesome, dude," they really aren't here to mock Scripture or Christians, not even to pronounce a value judgement. This is an artful attempt at retelling the stories of old, allowing us to gaze upon their vision.

☩

So Samson Sang

Loud Wailing by Bible Basher

Out of all books, The Bible is perhaps most prized for its collection of ancient stories, many of which become embedded in our collective consciousness over time (if not the unconscious mind itself). The tale of Samson, for instance, is practically universal (Hercules, anyone?). Bible Basher invoke its powerful imagery for this Rage against the Philistines opener. The bulldog gruff of "So Samson Sang" suits the song unexpectedly well. Perhaps the impact is greater because we feel the punch of each word, measured and metered, calculated to leave the most indelible impact.

Simson verslaat de Filistijnen met een ezelskaak (1562) by Cornelis Massijs

Plagued

Loud Wailing by Bible Basher

You'll never hear the anguish of Job expressed with as much weight as you will in "Burning and Blackened," for example. And the death-mongers among us, you'll enjoy the swirling storm of blast beats that "Plagued" stirs up and whips around Egypt, 10 plagues in all it is said. As this topsy-turvy number swarms along, the song feels like it's burrowing itself deeper and deeper into the ground in a crazed hypnotic dirge, as if seeking some relief from this madness of rivers turned to blood and a head full of lice.

Seventh Plague of Egypt (1823) by Martin John

Burning and Blackened

Loud Wailing by Bible Basher

I'm really digging the Middle Eastern vibe of "Burning and Blackened," on the tape's flip side. I could all but feel the cool of dawn and that first burning lick of the sun's rise. As a die-hard doomer, it won't surprise you that I marked this my favorite song of the experience. The way this grand skeleton of chords suffles about had me thinking of Iowa City's Aseethe (I hereby wish an Aseethe-Bible Basher tour upon the world come 2021).

Job and his Friends (1885) by Gustave Dore

Sodom & Gomorrah

Loud Wailing by Bible Basher

By the time we reach "Sodom & Gomorrah," we're battered, basted, and baked, ready for a fine finish to this four-course nosh. The vocals seem harsher than usual this time, but you have to understand that's the prophet divining judgement upon the most infamous twin cities of history (we find out in the interview to follow that there are multiple vocalists).

The whole song's got a nice, chewy groove to it. Plenty of meat on them bones. The lyrics consist of nothing more than the Bible's words, adding as much expressive liberty as death vocals will allow. The thick, smoky atmosphere of this whole song gave me flashbacks to 71TONMAN's "Phobia" and Old Man Gloom's "Procession of the Wounded."

The destruction of Sodom and Gomorrah by Jules-Joseph-Augustin Laurens

If I've any gripe with Loud Wailing, it's the runtime. Okay, yeah, sure, it's appropriate for an EP, but I can't shake the feeling that this is actually more of a teaser for something even grander in scope. Perhaps this is a toe in the water for the band, to see how people respond? Well, it's enough to reassure us that this sound and subject matter is poised to make some mighty big footprints.

Heck, I'd do the whole Bible book by book, if I was in their shoes. 66 in all, right? No problem. Okay, 73 if you're Catholic, 78 if you're Eastern Orthodox. Whatever, bonus editions. Works either way, 'cause you've got a guaranteed record deal and freaks like me to follow you wherever this piper lures. The band can break up from the repetitive bore of the long-ass genealogies in Leviticus and Numbers, but then reunite again to take on Deuteronomy.

All kidding aside, the dramatic potential of this collaboration is unreal. Bible Basher's debut is a promising record that presents tantalizing artistic possibilities (perhaps even with a roving collective of performers). The EP wears well on its own terms with repeated listens and I never found myself disinterested, even for a moment. Loud Wailing is the brutal dawning of a New Age in dirty grunts and dank riffs.

Give ear...

Loud Wailing by Bible Basher

An Interview with Bible Basher

By Billy Goate

Intrigued by this hulking beast shrieking out in my backyard, I had to move in for a closer look. Following is my conversation with band member Joe E. Allen, who most of us know from Kurokuma and gives us insight as to who Bible Basher is and what the band is up to.

☩

Would you be so kind as to give me some background on the band, how you guys ended up coming together, basically the whole history?

Tich has recorded and helped produce most of the Kurokuma releases up till now, most of which you've heard or written about. Tich mostly makes electronic music and is pretty well known for it, but he was also in a band called Temple of Coke back in the day. Daft music with two guitarists and no bassist. Some big riffs in there.

They stopped doing much after one of the guitarists left Sheffield, but Tich still had a lot of riffs lying around. Obviously, he used to come to a lot of Kurokuma gigs in Sheffield -- and even saw us in Japan -- so he felt like getting back on writing some big guitar stuff and asked me if I'd give him some input. Over the course of a year or so we just reshaped those old riffs and added plenty of new ones and as we progressed it just kept getting bigger and heavier.

What's up with the name? You've got pretty distinct religious themes (love the motto). I come from a strict religious background myself (preacher's kid). What are your own backgrounds relative to the themes you explore?

I've always thought that some of the stories from the Bible, especially the Old Testament would make for perfect concepts in heavy metal. Unrelatedly, one day we were sitting around and Tich said let's call this Bible Basher -- it just came out of nowhere. I agreed, it just seemed to make sense. Here in the UK it's what you get called if you go to church, it's an insult. I had a really Christian upbringing with my dad being a vicar, as well, so was very into all that when I was younger.

Plus I went to a religious school, so I've definitely been called a bible basher quite a bit. It's actually taken me a while to remove that whole paradigm from the way I see reality, but that's another story. Tich wasn't like me in that aspect, but he did go to a religious school, as well. At this point, I think we're both not massive fans of organised religion, but that doesn't mean we're not into philosophy and more celestial concepts. We've both read quite a bit of things like Manly P. Hall and The Kybalion. We didn't wanna make a "statement" on anything with this, though. Just wanted to present it "as is."

I'm sure we'd all love to know how the individual tracks came together. The single on this one was "So Samson Sang," which met with some pretty positive reception.

I know the Bible pretty well and it wasn't too difficult to find concepts for the tracks. "So Samson Sang" was the first one we did. The lyrics are: "With a donkey's jawbone, I made donkeys of them. With a donkey's jawbone, killed a thousand men." And then "I have slain, heaps on heaps." They were from the book of Judges, when Samson slaughtered loads of Philistines, pretty much taken straight off the page. It was that easy. We got George in to do the vocals, for obvious reasons. We sat on the track for a bit and sent it round a few mates and everyone was like, "This is sick," which made us want to finish up the other tracks, which already were mostly done.

The other three tracks all came together in one night. We basically asked three mates from other bands to come over and figured out concepts for each of them. It was good to get their input and it was pretty collaborative. I think they all enjoyed being given a bit of a brief to work within and we were buzzing to end up with four different vocal styles for each track. So on track 1 you have George from Kurokuma, then on track 2 you have Bing who used to be in a thrash band called Psython and can obviously do the really fast/rhythmic thing and his death growls were just spot on. That track ended up sounding like Pig Destroyer or something to me. Obviously, it's about the ten plagues of Egypt and the fast/swirling nature of the riffs just seemed to fit.

On track three, we have Craig from Archelon and Holy Spider, so I know him pretty well. He did more of a Neurosis style on the track about Job. That one starts off with a zurna, which is a pipe from the Middle East area. There's a spoken word section in the middle, a conversation between God and Satan. I actually only realised what this was when we were going through the Bible for the lyrics.

God calls all his angels together, Satan being one of them, and they get into this conversation where God is saying he likes Job and Satan is saying if his life went to shit, I wonder if he'd still worship you. So God is like, "Okay, go for it." It's stuff like this that fascinates me. I think there's a fairly deep message to be heard in that if you read into it, but most Christians won't. As a text of folkloric wisdom the Bible is pretty meaningful to me, but most Christians don't treat it in that way in my experience.

And then we have the demented squeals of Chris from Spaztik Munkey doing the voice of God on track four which is about Sodom and Gomorrah. It worked out well that the ending riff fit perfectly with the syllables in the phrase "Sodom and Gomorrah."

In general, this release was a right laugh to work on. The songs just came together and it was good for us all to collaborate on something outside of our normal bands. And the response has been mega positive so far. Aaron sold out the first 50 tapes in three days so we're already on the second batch now.

Get Their Music

[hmel78]

In conversation with Keith Emerson ...

Keith Emerson (02.11.44  – 11.03.16)

The Father of progressive rock; the man responsible for the introduction of the Moog synthesiser to the ears of the unsuspecting music lover in the 1960’s; and without a doubt one of the 20th and 21st Centuries (to date) most prolific and talented composers of modern classical music.   In a career spanning 6 decades, which has earned him notability as a pianist and keyboard player, a composer, performer, and conductor of his own music alongside the World’s finest orchestras; as well as achieving super success with “Emerson, Lake, and Palmer” - 2014 has been no less eventful for Keith Emerson! With his 70th Birthday approaching, Helen Robinson caught up with him for a very ‘up-beat’ chat about (amongst other things) the re-releases of his solo records, a brand new album with Greg Lake “Live at Manticore Hall”, his favourite solo works, and his memories of the times spent writing and recording with ‘The Nice’, and ‘ELP’.

HR : This has been a busy year for you so far Keith!   KE : Yes! I’ve been up to allsorts! [laughs]

Music wise – what can I tell you?   Cherry Red , Esoteric, have re-mastered and re-released 3 of my solo albums – “Changing States”,  another which I recorded in the Bahamas called “Honky”, and a compilation of my film scores which consisted of  "Nighthawks”, “Best Revenge”, "Inferno”,  “La Chiesa (The Church)”, "Murderock”, "Harmagedon” and "Godzilla Final Wars”.

HR : That must have been a difficult selection to make based on the number of scores you’ve written! Do you have a particular favourite genre of film to write a score for?

KE : Favourite genre?  Boy, well, I just love film score composition, you know? When I first started I had been touring with ELP for some years, and we’d toured with a full 80 piece orchestra but it was just too expensive – we had to drop the orchestra and continue as a trio, which was very upsetting for me.   I was entranced by what an orchestra could actually do, and found that with doing film music I could work under a commission and have the orchestra paid for by the film company!

It’s always a challenge. I think a lot of composers like to write dramatic music. I like writing romantic music as well – I’ve also written for science fiction where you can let your musical imagination go pretty much where you want, but generally you have to cater specifically to the film. First of all I like to get a good idea of who the producer and director is, and who is likely to be cast as playing the lead roles.  I like to read the script – which helps prior to meeting up with the director and producer. When I wrote the music to Night Hawks I was sent, by Universal films, news of a new film to be made by Sylvester Stallone, a new guy at the time called Rutger Hauer, and Billy Dee Williams, also Lindsay Wagner.   It was basically a terrorist film – not the terrorism that we shockingly see today – but back then it was the beginning of terrorism and was quite mild by today’s standards, however it was still sort of ground breaking as far as writing the score was concerned.  

It’s about vision with film score work.

Although really it’s all about vision with anything you’re writing, and I suppose many of the disagreements that ELP had during their time – of course a lot of it came to wonderful fruition – were not seeing eye to eye because we had such different tastes in music. Ubiquitous I would say – we bounded from one thing to another. Just when you thought it was getting serious we’d want to have some fun and do something light hearted but I’ve always maintained that variation is essential.

I think that’s what helped ELP quite a lot – especially live - in any particular set you had the heavy stuff like “Tarkus” and “Pictures At an Exhibition”, for the guys in the audience, and for the females who attended reluctantly - dragged along by their boyfriend or husbands and just sit there -  I mean, I didn’t sit, I was standing and leaping around [laughs] but you couldn’t help notice the glum looking females in the audience wondering when all this was going to be over.

I think when ELP were together as a unit, we managed to meet everybody’s needs. Greg came up with some really great ballads which sort of got home to the feminine heart, like “From The Beginning” – the feminine heart goes “aaah aint that nice” [laughs] and then suddenly you get the bombardment of something like “Karn Evil 9” and it’s like “Oh GOD”!!

HR : I’d like to talk more about ELP, of course, however there’s so much more outside of that unit , which you have been involved with, that has had quite an influence on modern music.   You’ve got an extraordinary and fairly extensive discography, which we can pick whatever you’d like to talk about, but I’d like to start with ‘The Nice’  -  “Ars Longa Vita Brevis” ...

KE : Ah Yes ‘’Art is long, life is short” - Lee Jackson came up with that title - he’d studied a bit of Latin ... [laughs]

Going back to the 1960’s then – I suppose it was ‘66 when ‘The Nice’ formed – originally as a quartet. Drums, bass, Hammond organ or keyboards, and guitar player.  After the first album we decided to move on as a trio, although I did try to find another guitar player.   I actually auditioned a guy called Steve Howe, who was considering getting together with Jon Anderson, and Chris Squire and forming a band called “Yes”.  Steve was much more interested in getting with the “Yes” guys, so meanwhile ‘The Nice’ continued as a trio with Lee Jackson on bass, Brian Davison on Drums, and myself on Hammond and keys.   It was during this time that I was introduced to a new invention designed by Dr Robert Moog, which became the moog synthesiser, so I was the first to introduce that into live performance.  

With ‘The Nice’ we had come out of an era called the underground / Psychedelia.  

I was very friendly with Frank Zappa and the mothers of invention, and they were really far ahead of their time.

Frank approached me one day, because I was composing and playing with the London orchestras even then, and said ‘’Keith - how do you deal with English orchestras? They’re hopeless!”

And I said ‘’Well, they’re very conservative Frank. If you really want to make it with the London Symphony, or the London Philharmonic - if you really want my advice, I think you should try and change some of the lyrics of your songs. If you’re going to get in front of the London Philharmonic and sing stuff like ‘’Why does it hurt when I pee?’’ obviously these guys are not going to take very kindly to it!” [laughs]

I’d actually done Bachs Brandenburg concerto #3 with a chamber orchestra and had a degree of success in the English charts-  around about the same time ,  Jon Lord  [Deep Purple, Whitesnake] was writing his concerto for orchestra too. I’d already written the “5 bridges suite” which I had recorded with ‘The Nice’ at Fairfield hall in London. So basically Jon Lord and I were kind of both struggling with Orchestras and moving along into what came next musically for the both of us –   Jon was a very good friend.

I think round about the turn of 1970, I had noticed what Steve Howe was doing and it was very harmonic, whereas ‘The Nice’ - well we were a bit more bizarre, and I listen back to it now and I suppose I have a slight bit of embarrassment about how ‘The Nice’ were presenting themselves.

And back then I’d started looking at bands like ‘Yes’, and there were a lot of other bands too, who were really concentrating on the tunes and the vocal element, so that’s when and why I formed ‘Emerson Lake and Palmer’ - in 1970 - and endorsed the whole sound with the moog synthesiser. It sort of took off, and became known as what we know today as “Prog Rock”.  We didn’t have a name for it at that time, we just thought it was contemporary rock. I mean it wasn’t the blues, it wasn’t jazz, but it was a mixture of all of these things, and that’s when we went through.

The first album of ELP, [Emerson, Lake, & Palmer] recorded in 1970; we were still learning how to write together as a unit, so consequently when you listen to it, you’ll hear a lot of instrumentals; mainly because there were no lyrics and there was a pressure on the band to get an album out. For some reason there was an extreme interest in the band - We were to be considered as the next super group after ‘Crosby Stills & Nash’, which we certainly didn’t like the idea of.   That album went very well.   Unfortunately the record company decided to release “Lucky Man” - which was a last minute thought – as a single, and it took off. My concern was the fact that, OK yeah the ending has the big moog sweeps and everything like that going on – but how on earth  do we do all the vocals live? Thousands of vocal overdubs over the top and neither Carl nor I sang.   You know - I sing so bad that a lot of people refuse to even read my lips!   And as far as Carl Palmer was concerned he had “Athletes Voice” and people just ran away when he sang! It was a hopeless task of actually being able to recreate “Lucky Man” on stage, so eventually Greg just did it as an acoustic guitar solo.   It was that one sort of Oasis, in a storm of very macho guy stuff, where the women just went [in a girly voice] “Oh I like that, that’s nice”.  [laughs]

So, inspired by that we got more grandiose and put out ‘’Pictures At An Exhibition” – another bombastic piece based upon Mussorgsky’s epic work. For some reason Greg wanted it released at a reduced price because he said it wasn’t the right direction for ELP to go. So we released it for about £1 and it went straight to number 1!  Then the record company called up and said ‘’what are you doing? This is a hit record and you’re just selling it for £1??!!’’, so I said ‘’well yeah it’s a bit stupid isn’t it?” – so when it was released in America it was at its full price and ended up nominated for a Grammy award! ELP had a lot to do to create the piece you know?   We disagreed on lots of issues but in order to keep the ball rolling we just moved on with the next one, which was in fact “Trilogy”.

I thought it was about this time in ELPs life that we had learned how to tolerate each other, how to write together, and how to be very constructive. “Trilogy” is a complete mish-mash, you go from one thing to another; there’s a Bolero, and then ‘Sherriff’ – which is kind of western bar jangly piano playing on it.   I don’t think you could find such a complete diversity buying a record like that these days. We were very much inspired by our audience accepting that.  

Actually Sony Records are going to re release it in 5.1 – they’re doing a wonderful package with out-takes and everything – I’ve just competed doing the liner notes.

We moved on again then, and started the makings of “Brain Salad Surgery” which was a step further.  

After that I worked on my piano concerto played by the London Philharmonic Orchestra, and actually it’s still being performed all over the world - Australia, Poland, and in October I’m going to East Coast America to do some conducting – Jeffrey Beagle, who’s a great classical pianist, is going to perform it then, and I’m going to perform some other new works of mine.  

HR : Are you likely to release a recording of it?

KE : Yes I guess it might be ... I’ll let you know. It’s a dauntless compelling challenge. I have conducted and played with orchestras before and I’m very thankful to have classical guys around me who are able to point me in the right direction.   I was never classically trained. I started off playing by ear and then having private piano lessons, and then basically teaching myself how to orchestrate. I’m still taking lessons in conducting and I don’t think I’ll ever get to the standard of the greats like Dudamel or Bernstein – I don’t think I’ll ever be able to conduct Wagner, but so long as I’ve written the piece of music I think I’ve got an idea of roughly how it goes!  [laughs] Thankfully I’ve worked with Orchestras who are very kind to me.

HR : Do you enjoy the performance as much as the writing?

KE : Actually I enjoy the writing more than the performance. I know I wrote an Autobiography called ‘’Pictures Of An Exhibitionist” but that’s the last thing that I am really.   I’m pretty much a recluse. I’ve got my Norton 850 and I’m happy ...

HR : I was going to ask you about the Theatrics on stage – Why Knives and swords? Was there something which influenced the decision to include that as a part of your performance, or was it purely born out of frustration from working with Carl and Greg?

KE : [laughs]  Well you see in the 60s, I toured with bands like The Who, and I watched Pete Townshend; I toured with Jimi Hendrix too, and I thought that if the piano is going to take off then the best thing to do is like really learn to become a great piano or and keyboard player, but I also thought “that aint gonna last with a Rock audience in a Rock situation”, mainly because the piano or Hammond organ  - well from the audience you look up on stage and it’s just a piece of furniture! Whereas the guitar player can come on stage and he’s got this thing strapped around his neck, he can wander up and down the sage, check out the chicks, and he’s the guy that has all the fun.   The organ player meanwhile is just seated there at a piece of furniture like he’s sat at a table.   So a lot of what I did was for the excitement of it, and I suppose to exemplify the fact that I could play it back to front. A lot of my comic heroes like Victor Borg, Dudley Moore – they all came into the whole issue too.

I’ll tell you this ok? I once went to see a band at the Marquee club when it was in Wardour Street in London, and I can’t remember this guys name now, but he played Hammond organ - he was a very narky looking fellow, and went on stage wearing a schoolboys outfit which caused a lot of the girls in the audience to chuckle.   I stood at the back of the Marquee club and watched his performance - a lot of the stops and things were falling off his organ, so he had a screwdriver to keep holding certain keys down, and then suddenly the back of his Hammond fell off – and I don’t think it was intentional, because he looked really quite distraught, but he caused so much laughter from the audience. I went away thinking “there is something there, I’m going to use that” ... I actually thought it would be a great idea to stick a knife into the organ, rather than a screw driver -the reason for this was to hold down a 4th and a 5th , or maybe any 5th, or say a ‘C’ and an ‘F’ or a ‘G’, whatever, and then be able to go off stage, take the power off the Hammond, so that it would just die away -  it would go ‘’whoooaaaaaaaoooooh’’; and  then I’d plug it back in and it would  power back up and create like the noise of an air-raid siren, and of course the drummer and bass player would react to that.  It got really interesting. We actually had a road manager at the time by the name of ‘’Lemmy’’ who went on to be with Motorhead.   He gave me 2 Hitler Youth Daggers and said [best Lemmy impression] “here! If you’re going to use a knife, use a real one!”

So that was the start of all that, and people loved it, and actually Hendrix loved it too –  somewhere in his archive collection there must be some footage of me almost throwing a knife at him [laughs] .

The phase for it was my objection to the 3 assassinations they had in the USA -  JFK, Robert Kennedy, Martin Luther King -   I’d been to America once and seen how quick the Police were to pull out their guns to a woman parking her car illegally – so bizarre.  The 2nd amendment will not go away, as much as they want it to. I’ll reserve further comments on that but that was really the whole objective. I was banned from the Albert Hall for burning a painting of the Stars and Stripes, which took some time to get over, but everything worked and they allowed me live in California now. [laughs]

HR : What about the Manticore Hall show, also released this year, presumably you kept burning paintings off the agenda there? Was it good to work with Greg again? and then the complete ELP line up with Carl at High Voltage?

KE : No! [laughs], and Yes ... Actually that was recorded in 2010 and was an idea set up by a manager associate of mine, and an agent in California. I met up with them and they asked how I felt about doing a Duo tour to lead up to the High Voltage Festival in London.   They convinced me that it was a big festival ... and the idea was to have ELP on the Sunday night there. So the lead up was a duo tour with myself and Greg because Carl was off with Asia at the time.   It had its ups and downs, but it did eventually work very well and it was a very good warm up to doing that Festival date as the 3 of us.   I don’t think there was any intention of us going any further with it. I think the resulting “ELP at High Voltage” was good and also I think the album ‘’Live At Manticore Hall’’ - although it wasn’t released until this year, because Greg initially didn’t want it to be released at all - is good stuff too.   These things happen with bands, it takes a while for us to appreciate how good what we do is, sometimes.

HR : You’d had quite a break from ELP at that point, KE : [interrupts] I wouldn’t say that I ever take a break, if I can put it so lightly, and it’s not lightly, as to say that it’s kind of like a hobby – if I feel so inclined I will go to the piano and will write a piece of music. If that piece of music seems to warrant being augmented by anyone then I find the right people to do it.  I had a great experience last year of going to Japan and hearing the Tokyo Philharmonic play the whole of “Tarkus” – a 90 piece orchestra – I’ve never been so blown away. I worked with a Japanese arranger on the orchestration, and actually used it on an album which I recorded with Marc Bonilla, and Terje Mikkelsen called “Three Fates Project”,  which actually didn’t make it anywhere and I don’t know why. It’s a great album, very orchestral – I did the version of “Tarkus” on that complete with the Munich symphony orchestra. I changed it around slightly – I had Irish fiddle players coming in – I suppose, really you could refer to it as being World Music – it’s probably a great example of that.   It’s not based upon the ELP solo piano composition that we did on ELPs first album. I don’t think the record companies knew how to market it you know? Was it classical? was it rock? It has the complete amalgamation of group and orchestra. Wonderfully recorded. It really is quite mind blowing. Not that I want to blow my own trumpet!   Maybe if the art work had been a little more dynamic then it would have caught people’s attention. I agreed on it, but you see our names and they’re really small - I don’t think people realised who’s album it was.

HR : Have you any plans to perform it in the UK, or other parts of Europe? Scandanavia, for Blackmoon fans? Any tour plans at all?

KE : The thing is, first of all, that the direction that I am going at the moment is very orchestral. And that does take an awful lot of planning. As I say I’m going to play with the South Shore Symphony on the East Coast of America, but touring with an orchestra, as I learnt back in the late 70s with ELP, is very expensive.  It doesn’t make any money if I’m perfectly honest. If someone was to come up with the cost of shipping the instruments about then ...  but it’s not like dishing out the orchestral charts to an orchestra and then have The Moody Blues come on and play, and the strings do all the backing stuff, you know! This music is the music which I’ve written and really demands quite a lot of practicing.

For instance when I was recording “Three Fates” with the Munich Symphony, in Munich, I was interviewed during the break after the first day by a radio station, and they asked ‘’how do you think its going?’’ and I said “well if the orchestra are still here with me in 5 days time, I should be very surprised” [laughs] .   I remember on about the 4th day , one of the members of the orchestra had obviously heard the radio broadcast.   As and I walked out into the garden at break time, I passed one of the Trombonists who was smoking a cigarette and he said ‘’well we’re still here”...

There is an awful lot that can go wrong, of course, especially with orchestras. The copyist can sometimes write a b natural rather than a b flat, or they can get a whole load of other things wrong – and that’s what happened this particular recording.  

Marc Bonilla actually came up to me on a break and said “I think you should go up to the control room, and look at the score mate, something doesn’t sound right”, so you can imagine the look on my face! So off I go I’m up in the control room; radio through to the rehearsal room and start going through the score and sure enough it was wrong. I don’t know why I hadn’t heard that before, but it was down to the copyists – its the same with writing a book and you give it away to the editor – they can still mess it up – as copyists do with music. And sometimes you’ll get the orchestra, and they’ll just play what’s written rather than put their hands up and say “that doesn’t sound right”, for fear of retribution I suppose – so it is frustrating, but it’s very rewarding.

The Mourning Sun, taken from “Three Fates” 

https://www.youtube.com/watch?v=4PcOI8nDDeU

It’s been quite funny with some of these albums that Cherry Red are rereleasing. I happened to give one to my eldest son. I gave him ‘’Honky’’ and he came up to me and he said ‘’here Dad I’ve been listening to the Honky album and it’s really really good!’’  He and his friends are in their 40s now and they’ve all complimented me on it, so that’s the biggest compliment I could have really.

I was recording that album when he was about 4 years old. [laughs]

HR : Is that your favourite then? Honky?

KE : Oh yeah – I had so much fun making that album and I think it shows in it’s humour. It was great. The objective behind it was that I wanted to record with all the local bohemian people - I was living at the time in Nassau in the Bahamas. I didn’t really experience a lot of problems with the black bohemians –  I got on great with them all. There were some great musicians, and I wanted to do a very ethnic album to bring to the attention of the world that we can all get on! I used to drive around Nassau in a limited edition Jeep and kids would run out and yell at me ‘’Honky!’’ and I’d wave thinking ‘that’s kind of fun’.  Then, when I worked in the studio I noticed that the black musicians would all greet themselves with the ‘’N’’ word – we can’t say that now - says in an accent “Yo N ...” – so I thought ‘well if they can do that I am going to call myself a Honky!’ And they were horrified!!  [laughs] So I bluntly spoke to them and I said “listen you guys call yourselves ‘’Ns’’ so I’m calling myself a Honky, and damn it I’m going to call the album that too!” [laughs].  It was a lot of fun.

*** Honky - a derogatory term for a Caucasian person.

HR : We must get something down about Blackmoon – given that this is the title of the Magazine!

KE : [laughs] ELP, Blackmoon.  *sighs* Well  ... I remember from this time that Carl Palmer and myself wanted to have a different producer.

It was all well and good that Greg produced all the other albums but – I don’t think it’s a very good idea for any band ; if they’re involved in the writing and the playing, and then one band member decides he’s going to be a producer too.   You need someone objective to come in and say that they think it’s too long, or whatever ... whereas if you have a part in writing and playing, its obvious that you’re going to pay more attention to it, and Carl and myself really wanted an objective opinion about how to make it work. The producers that we auditioned were very familiar with ELPs work and were really considerate in how they constructed it.  The main consideration - and I think really it was a difficult time because Greg could see that his role as being a former producer of ELP was going to be taken away from him. Whereas for me I felt that Greg’s attention should be more on the writing and the lyrics and other aspects. There is so much that one had to pay attention to when running a band. There are the legal, accounting, and everything else – and above all you have the creative aspect and you really cannot go into a studio and become the producer and wear all these different hats. It doesn’t work, I don’t allow that even on my own music writing.  I’m quite happy to go in and play my music as long as I trust that the guy behind the music desk, and the mixing desk,  are on the same page, know who I am, and what I’ve done before – so at least there is a rapport where the engineer can see what you are trying to do and he will say – “ah you know what, why don’t we try and go for that you did on Trilogy - lets try it!” You have to work with people who understand you and then you can just sit back and work on it , accept a good idea, be pushed to your limits. The thing is with Greg - he felt that he had been removed from the situation which he had most power and pride in. Whereas I think most pride he should keep as the fact that he s a damn good singer and has written some great music. If you want a great team you have to designate to the right person.

That’s why I had Lemmy as my roadie.  If I hadn’t had Lemmy the knives wouldn’t have come out [laughs]. We owe Lemmy a lot! HR : Absolutely.  You two should record a duet!   Which Instrument would you choose? Moog, Melotron, Hammond?

KE : Hmmmmmmmm.  Piano. I’ve always written on the piano. I do have a mandolin hanging on the wall here, which is out of tune at the moment. You wouldn’t want to hear me play this mandolin ...

HR : Because it’s out of tune, or just in general?

KE : [laughs] because it’s out of tune but even if it was in tune I don’t know if it would work. It looks great hanging on the wall though ...

© Helen Robinson -  June 2015 Originally published in Blackmoon Magazine.

[Keith and I were great pals - I miss him <3]

[joeonmusic]

Instead of posting photos on FB - influential artists part 5; Nirvana

So, it was 1991, I was 17 and half way through sixth form college. I had been sacked from the first band I played in (because my playing style wasn’t heavy enough - quite like Nirvana’s drummers before Dave Grohl, as I’ve learned now) and had started another band in which I was no longer just the drummer, but also quite key in writing songs. Rehearsals were taking place in the front room of my parents’ house and I felt that I had taken positive steps to assert myself as a creative force. 

I’d heard about this new album by a band called Nirvana and our bass player, Bruce, turned up with a copy of their new album, Nevermind, to play to us, saying that we should cover this song called Smells Like Teen Spirit. We listened to it and agreed, then I begged him to leave the tape with me, so I could copy it and return it to him the next day. I must have listened to that album non-stop for about the next three days.

Their success was phenomenal, so I was by means alone in feeling like that. Some of my friends were lucky enough to see them on their UK tour when the venues they were booked to play in were way too small for their level of fame by then. I once played a gig with my band and two others where all three bands covered Teen Spirit and I realised then that the ubiquitous nature of that song was becoming pretty ridiculous. 

I was lucky enough to go to Reading Festival in 1992, just for the day when Nirvana were headlining. Nobody was sure they’d actually make it on stage, with rumours about whether Kurt was well enough to play circling, so the relief when they emerged was amazing. However, the bizarre theatre they performed with him coming out in a wheelchair wearing a hospital gown and falling over etc. was very puzzling from the back of the crowd. My friend who’d driven us down managed to get himself locked out of the arena just before Nirvana came on and had to listen to their set from the car park! This was in the days before mobiles and we just had to hope he was in the car when we found it afterwards, otherwise we’d have been stuck there; luckily he was. 

The tragedy of Kurt Cobain’s early death was predictable. I had followed every interview and news piece about him in the months before that, but it still hurt like hell when it was announced one week before my twentieth birthday. I don’t remember if I cried (if I did, it wasn’t as much as when I got kicked out of the band earlier that year), but I remember a horrible feeling in the pit of my stomach and then a numbness for the rest of the evening after I heard the news.

There has never been another artist quite like him. He wasn’t perfect, but he knew how to connect with people through music. My kids are a bit young to understand what a lot of the songs are about, but they instinctively love Nirvana’s melodies and the passion in his songs. 

I covered On a Plain in my own way, because there’s no point in trying to sound like Kurt and not being as good, like most people: 

[mokkoriness]

ROCK AND READ vol. 086 - Tora Interview

Their own "alicenine."

At their 15th anniversary tour final that was held at Hibiya Open Air Concert Hall on August 10, their band name changed back to the original "alicenine." from the "A9" that we have gotten familiar with over the last 5 years. Although we heard the reason behind this in the previous issue from the band's frontman, Show, in this issue, we ask each of the members to talk about their feelings towards "alicenine.". With what kind of feelings did they have when facing this band name and the "blend of Japanese and Western styles" concept 15 years ago? Everyone has their own image of "alicenine.", so that means we should be able to see many aspects of the band that is alicenine.

Tora, who had survived a sudden myocardial infarction at the end of last year, makes his appearance in this magazine roughly half a year since last time, vol. 083, an interview done after his recovery. The theme of this interview is to talk about their own feelings towards "アリス九號.", but Tora is Tora, after all! He says it straight out that back then and now, he had no fixation on the band name, and "If you only want a nice story, then there's no need for me to talk". He also speaks about the truth of the coupling song on their new single, "Ageha", and makes clear his bizarre aspirations!

Announcing that you would change the band name back to "アリス九號.", you played your new song "Kakumei Kaika -Revolutionary Blooming-" both at the 15th anniversary live and at your headliner festival on August 24. What had the members talked about to decide to change the band name back in the first place?

Tora: Since the start of this year, in terms of timing, we said that if we could change our band name back, then we wanted to, so it was a matter of whether or not we could change the band name back. So we decided to go and talk to our previous company, and we all paid them a visit. It wasn't until the last minute where we knew if we could really change the band name back or not, though.

Do you mean timing as in because it was your 15th year anniversary?

Tora: There was that, but having come up with many different things for our anniversary lives, when we wondered what we should do for our 15th anniversary live, we couldn't think of anything new, and thought that perhaps the best thing was to change our name back. We've done many things like singing, dancing, and doing a short play, and thought that perhaps the best thing to do would be to change our name back.

So it's not as though you had talked about wanting to change the band name back whenever possible?

Tora: In my opinion, the members aren't fixated on the band name. Rather than for us, the reason was that if we could change our band name back for the people who were waiting for us, then we wanted to change the name back for them. It's not as though the members would be different, and we've never strayed from those feelings.

And the fundamental thought that you want to make music and put on good live shows as the five of you has not changed.

Tora: That's right. I think that probably when we were "A9", we thought of ourselves as "アリス九號.". Or rather, just the stylisation was different. There might be some people who thought the same way when they came to "A9" live shows, but also, when we went from "アリス九號." to "Alice Nine", there were also some people who we didn't see anymore. I'm sure that they all have their own reasons, like becoming an adult and being busy with work, but those people actually don't even know about the existence of "A9". Or even if they were to know about "A9", they would think that we are doing something different musically. But for us, our awareness and the things we are doing haven't changed so much, so a part of the reason why we changed the band name back was for the people who know "アリス九號.".

You had said that you yourselves had not changed, but with what kind of feelings did you personally have to come to terms with the band name changing every 5 years, from "アリス九號." to "Alice Nine" to "A9"?

Tora: Rather than saying I came to terms with it, when we were unable to use our band name and Show had given us the name "A9", I thought that he had really good sense. The logo was also clean and concise, and I felt that it showed that we had developed in a good direction from "アリス九號.".

Did you not have any opinions when you changed from "アリス九號." to "Alice Nine"?

Tora: I don't usually say anything (laughs).

Why is that?

Tora: Probably because I'm not concerned with that.

Hahaha. You give me the impression that rather than thinking about things too deeply, you make a positive thing out of the situation. So I guess that is true?

Tora: There is a part of me that wonders if a band name is that important.

When the band stylisation changes, just like you mentioned, there are risks, such as causing misunderstandings or seeing less people at live shows.

Tora: That's right. But I think that when you are first naming a band, anything is fine. The band name is something that grows as you keep on going forward, and people will come to know of the band. Or rather, the band name starts to have value according to the substance of the band. For example, even if the band name was "Poo", if there is value in that band, then isn't it a good band name? Then if you were to change the stylisation to "POO", isn't it fine (laughs)?

(laughs). It's fine to use a different stylisation. A merit of changing the band name might be that by changing the band name, it's easier to take on new challenges both musically and how you present yourselves.

Tora: Hmm, we've always been a band eager to take on challenges, so we really didn't feel that way about the change of the band name. We never really thought that some things can only be done within certain genres, and have done our musical activities without exception. That's why I think that when we became "A9", we were like "The only thing we have left to do is dance" or to put on a play.

Why did you feel like the only thing left to do was to dance?

Tora: Isn't it because it seems like it would be interesting? I mean, if there are bands that have been around for over 10 years and don't want to dance, then they don't have to (laughs). We just wanted to dance.

That impulse to dance came quite late.

Tora: (laughs) No, it's fine. We thought "Wouldn't it be fun if we tried dancing?". I like that sort of thing. I think that it's a wonderful thing to take on challenges, and we're not the kind of band to pretend and act cool.

But for a band like "アリス九號.", don't people tend to think that you're a band that "acts cool" just because you guys are good looking?

Tora: That might have been the case in the beginning, but around 10 years ago we got our own show on Nico Nico, and I think the image of our band changed quite a lot due to that. We did the kind of things that comedians would do on live broadcasts. We also came to be able to talk a lot more too.

I see. Going back a little, the concept of "アリス九號." was "blending of Japanese and Western styles". What was the background behind this?

Tora: In the beginning, Show said that he wanted the outfits to use Japanese patterns. Not as in traditional Japanese clothing, but in a modern way. So I get the feeling that the phrase first started due to the outfits. Because at the time, we hadn't really thought about the songs.

Did you have any songs at the time?

Tora: We had some, but barely. We had "Time Machine" and "Akai Kazaguruma".

"Time Machine" is a song that you wrote, right?

Tora: That's right. It's a song that doesn't even think about the "blending of Japanese and Western styles" concept at all (laughs). Our band is one where Show's image of the visuals comes first, so especially in the past, it's like we had worked the visuals before the songs. So before we even thought about what the songs should be, we had already made costumes and taken photos in them.

What did you personally think about being a rock band that incorporated Japanese elements?

Tora: With regards to that, at the time, our senior band Kagrra, was already incorporating Japanese elements, and the level of what they were doing was quite high. Or rather, their way of incorporating traditional Japanese instruments was great. We had thought about many things, and wondered if there was a band that would incorporate the Japanese elements this well, then was there a need for us to incorporate Japanese elements?

But the Japanese elements in アリス九號.'s songs in the beginning were quite strong. "Yami ni Chiru Sakura" is heavy and dynamic, but it has a Japanese world view.

Tora: I came up with the original song for "Yami ni Chiru Sakura", and I remember working on it with Hiroto at his parent's place. It's certainly true that the song title and lyrics are Japanesque, but when I was originally writing the song, I didn't really focus on that. Also, with the songs I had written at the time, they were written on the assumption of being performed live, so it's not like I wrote them so we could sell CDs. Or rather, release on a CD was an afterthought. Because we had very few songs to be able to play a live show.

You had that few songs?

Tora: Yeah. In the first year, we did a one-man show with about 10 songs. None of us were good at writing songs. But all we had was energy, and even though we didn't prepare any songs, we formed a band right away. We thought we would do well if we did that. It doesn't make sense (laughs).

That's what you do when you're young.

Tora: At the time, the trend in Visual Kei was not about the songs, but the groove. I wrote songs thinking about the groove, like headbanging or moving sideways. Like "At this part, I want to crowd to do this".

Energy was important there too.

Tora: That's right. I didn't want to write "a good song". We started off from a point of wanting to have about 20 songs so that we could do a one-man show, and I only starting thinking about wanting to write proper songs when we were making an album.

So it was more like it was fine if the songs had a Japanese taste to it, but you weren't that fixated on it?

Tora: Yeah. I mean, the Japanese taste went away pretty quickly. Pretty much right after "Gion Shouja no Kane ga Naru".

Was it because you got bored of it?

Tora: Not that, but I think because there were trends. The world that Show focuses on is fashion, so it changes depending on the season. And it's not as though you can continue doing the same thing forever.

In that area too, アリス九號. is unique. You just mentioned that in the beginning, none of you were able to write proper songs, but even if the approach was different, in general, アリス九號. songs are melodic. Was that due to the influence of the bands you listened to?

Tora: That might be the case. I was raised in the Komuro1 era, or rather, raised listening to 90s music, so I still remember the melody lines.

I thought that you guys were different from the grungy Visual Kei bands.

Tora: But I liked heavy songs, so I wanted to be in that kind of band. I gave it up pretty quickly, but when the band first formed, I had dreadlocks, and I was into screamo and heavy metal. I thought that it would be great to incorporate those elements into our songs, but as the band went on, I thought that that kind of thing didn't suit us. In the beginning, the 5 of us all had our own opinions, but we gradually started to think about how we wanted to be seen as a band, and our own roles within the band.

In terms of releases, when was this?

Tora: I get the impression that it was around "Zekkeishoku" when we divided up the characters, or rather, when our roles started to form.

Hmm. I have the image of the songs that you write having a liberating feeling that are both pop and heavy. Did you write those kinds of songs in consideration of your role in the band?

Tora: No, for some reason, the songs just end up being cheerful (laughs).

Since you are part American, perhaps that background and environment also influenced you?

Tora: Well, I guess. I was brought up in a cheerful household. Also, I can't write songs unless I'm having fun, so as a result, the songs end up that way.

That essence might be connected to the image of アリス九號. songs having a mainstream feeling to it.

Tora: For our band, Show also writes songs, and 4 out of 5 of us write songs, and it's interesting that each of us manage to write songs that are slightly different n nuance. I think that's why we have such a broad range of songs, or to put it in a bad way, that's why we're a band where people don't know what we want to do with our music. Especially in the early days, there was no one to bring the songs together, so it's like we were performing the songs in the way the song was written by that person. The person who wrote the song wasn't able to clearly explain the song. But as we started to work with many different producers, we absorbed those abilities. That's why in the beginning, アリス九號. wasn't a band of 5 people that were very skilled.

If from the very beginning, the 5 of you were highly skilled in composition and performance, and had those good looks, you may have disbanded over disagreements.

Tora: If there was an annoying guy in the band, then it probably would have been his band. In our case, regarding the things we didn't know, all 5 of us didn't know, and it strongly felt like we were doing our best while learning and all walking together. That might be the secret behind why we get along so well.

Actually, to be honest, I thought that all 5 of you had your own personalities, or rather, it was a group of weirdos.

Tora: Hahaha. To this day, people still say that we are weird. For me in particular, people have been saying it to me a lot recently. I think a part of it is that I've stopped trying to talk while hiding things.

I've always had the impression that you've always been straightforward and not hiding anything though.

Tora: Really (laughs)? I'm not hiding anything at all now, compared to that time. I say what I want to say to my friends, and I don't like having to be considerate of people in a weird way. For example, even in this kind of interview, it might be good to only talk about good memories and good stories, but if that's the case, then there's no need for me to talk.

You can speak in words to describe アリス九號.'s history, but that's not the real you.

Tora: Right. I think that no matter which one of us talked, we would all say the same thing.

No matter what people around you think, you're going to speak what you think with your own words.

Tora: I think it's more interesting that way.

"Interesting" is your keyword.

Tora: I mean, if I had to say what kind of interview I want to read, it's an interview with a weird person. I don't want to pay money to buy a magazine only to read a bland and normal article.

I understand you. But that is also done with the band in mind.

Tora: There's a huge difference between "pretending to be cool" and "being cool". Strangely enough, it might be cooler to not pretend to be cool. In the past, I was mistaken, and thought that pretending to be cool was cool.

I think that you only think that way because you yourself are cool. From your perspective, how would you define "アリス九號.", "Alice Nine", and "A9"?

Tora: If the 5 years of the アリス九號. era were an elementary school student, then "Alice Nine" would be a middle and high school student, and "A9" would be someone making their debut as a working adult. In other words, we enjoyed ourselves as we were doing band activities. Like a kid who was playing in the sandbox was finally able to play at the school's culture festival. I think that's something you can only do when you're a student.

In other words, rather than musically, by going independent and changes in the environment, you debuted as working adults with A9?

Tora: A part of it was due to the environment, and in terms of music, we were still inexperienced in some aspects. Since becoming A9, we left our management company and did our activities on our own, so it was about whether or not we could do properly do music as our job.

When you belong to a management company, to a certain extent, you are protected. Perhaps from there on, you went on to walk by yourselves, and came to be more aware of being entertaining?

Tora: I think so.

Even with the live show that incorporates theatrical elements like you just mentioned, in the past, it would have been unthinkable for you to make yourselves "princes", and I felt like you yourselves hated being thought of as like princes.

Tora: That's right. On the contrary, now it's fun.

Hahaha. You guys have changed, after all. To speak in terms of being a student, being opposed to being thought of as cool or cute is like being in puberty.

Tora: That's right. When you're young, you rebel and are like "I am me". Now, I'm actually at the level where I want everyone to use my life as something to enjoy.

You've created a wise saying. Last year, you were hospitalised for a myocardial infarction. Did that change your view of life?

Tora: No, nothing has changed. I just think "I'm alive", and I don't really have any mental anguish. In life, I won't do something if it's not fun. That is the best answer.

That is wonderful. But it is quite a difficult thing to do.

Tora: Since we all die in the end, at that time, won't you think "Did I have fun?". Calculating backwards from there and thinking about it, I think it would be better to live that kind of life. It's not as though I am saying that suffering is not fun. Even with studying, if you try to have fun, you can have fun.

Like as a guitarist, "I want to acquire this kind of skill"?

Tora: Right, right. That's fun, so it's not as though I'm trying to live my life in a comfortable way. I think that the most painful thing is not doing anything. The time spent at home not doing anything is the most boring time. I think that that's a waste of time. So I think that right before I die, when I look back, if I can say "I had fun", then perhaps it means that I was able to put effort into the things I like. I think there are a lot of people in this world who have to put effort into the things they don't like.

So you only think that way because you are doing what you like. So that is the view of life you've always had?

Tora: That's right. And that hasn't changed.

So please tell me about now and the future. The new single after coming back as アリス九號., "Kakumei Kaika -Revolutionary Blooming-, is quite conscious of having Japanese elements.

Tora: On the contrary, because we are in these times, I think it's interesting that we included this many Japanese elements.

It's even more Japanesque than the songs you had in the early days of アリス九號.

Tora: That's right. The costumes are similar to what we had when we first started, but it's appropriate for us now, who have gone back to being アリス九號. It's like once again, we released an アリス九號. song that everyone surely imagines us to be like.

Is the coupling song "Ageha" one of your songs?

Tora: It is. This song is one that fires up the crowd to make them stage dive. It's a song that I randomly wrote at the time thinking "Let's write a song that will fire up the crowd during the live show" so much to the point that it's embarrassing for it to be released on CD. So I thought that it would never be recorded onto a CD and there would never be footage of it. That's why I never knew the lyrics and played the song having no idea what was being sung (laughs). Since we recorded the song, I guess I've finally learned what it was singing about. Show might have re-written the lyrics, so please check it yourself (laughs).

Hahaha. So going forward, what would you, who is always looking for interesting things, like to do as アリス九號.?

Tora: I say this as a half-joke, but there is just one thing that I think is in the realm of "possible" for us. And that is through our band name "アリス九號.", to really become a 9-member band (laughs).

Meaning to get more members?

Tora: I think it would be funny if we got more members (laughs).

That's a little umm... (laughs)

Tora: The average age would immediately drop (laughs).

(laughs). アリス九號. has always been popular in Asia, but what about being active worldwide?

Tora: I'm glad that we are popular in Asia, but I don't want to go overseas. I hate airplanes.

That's what you focus on? Is there anything you can say about future developments?

Tora: I want to search for something that we can do because we have come back as アリス九號. That is all.

1 Tetsuya Komuro from TM NETWORK, a group that was predominant in the 1990s. Tetsuya Komuro wrote many songs for many pop singers in the 1990s that were extremely popular.